Paul Agnew pays a sonorous tribute to the fundamental body of work by Monteverdi. For Monteverdi, this means half a century of music and experimentation. (Starts at 1:01)
Les Arts Florissants:
Miriam Allan – soprano
Hannah Morrison – soprano
Marie Gautrot – contralto
Paul Agnew – tenor
Sean Clayton – tenor
Lisandro Abadie – bass
Claudio Monteverdi – Madrigals (Book I)
1:01 Ch’ami la vita mia nel tuo bel nome, SV 23
3:34 Se per havervi oimè donato il core, SV 24
5:00 A che tormi il ben mio, SV 25
7:51 Amor per tua mercè, vattene à quella, SV 26
9:23 Baci soavi, e cari, SV 27
12:58 Se pur non mi consenti, SV 28
14:51 Filli cara e amata, SV 29
16:57 Poi che del mio dolore, SV 30
19:30 Fumia la pastorella, SV 31a
20:07 Almo divino raggio, SV 31b
21:26 All’bora i pastor tutti, SV 31c
22:58 Se nel partir da voi mia sento, SV 32
25:27 Tra mille fiamme e tra mille catene, SV 33
27:19 Usciam, ninfe, homai fuor di questi boschi, SV 34
29:07 Questa ordì il laccio, SV 35
30:41 La vaga pastorella, SV 36
33:25 Amor, s’il tuo ferire, SV 37
35:05 Donna, s’io miro voi, giaccio divengo, SV 38
36:35 Ardo, sì, ma non t’amo, SV 39a
37:56 Riposta. Ardi o gela a tua voglia, SV 39b
39:06 Contrariposta. Arsi e alsi a mia voglia, SV 39c
Click here to watch the Claudio Monteverdi’s Madrigals Books II, III
& IV: https://goo.gl/8u7wQr
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The nine madrigals of Monteverdi occupy a prominent position in the composer’s production and represent the culmination of the madrigal genre. Throughout these books, it is possible to appreciate the evolution of Monteverdi’s music, from the polyphonic style of Renaissance music to the use of monody accompanied by the characteristic Baroque. The first four books of madrigals are located within the “prima prattica” (first practice), the traditional polyphonic style, although Monteverdi uses an increasingly innovative harmonic language, with bolder dissonances as the series progresses. They are composed for 5 a cappella voices.
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