Testamentary and unknown vespers signed Monteverdi? A sparkling anthology of his final works, modeled on the Vespro of 1610.
LThe title raises questions, but the point is clever! This Vespers unpublished is not not the reconstitution of a lost historical office from 1643, in the manner of the vespers “of Saint John the Baptist” by Gustav Leonhardt (Philips, 1988) or “of the Salute” by the Akadêmia ensemble (Verany, 1996). THE ” of the Madonna » which appears next to the title does not correspond to a precise Marian liturgy either: we find the five psalms, the hymn and the Magnificat necessary for this rite, but not the Gregorian antiphons which alone would allow them to be included in a particular celebration.
Vincent Dumestre simply drew on the ultimate sacred publications of Monteverdi: the monumental Moral and spiritual wilderness of 1640 and the posthumous collection of 1650 (Mass for four voices and psalms). And he arranged the pieces following the progress of the Vespers of the Blessed Virgin of 1610. In accordance with his model, he inserts after the psalms sacred concerts (supposed to replace the repetition of the antiphons).
Inspiration and freedoms
While Monteverdi stuck to liturgical texts, the leader also introduced spiritual works not intended for the office. He thus slides the counterfeit of a madrigal from Fifth Book (The Virgin Mary was standing) and the Crying of the Madonna, counterfeit of the famous Arianna’s Lament (worn with delicacy and eloquence by Eva Zaïcik).
Another freedom: Hello queen second (where the two female voices indulge in delicious intertwining) is found at the heart of the program, while this song is intended for compline or the conclusion of vespers when they are the last office of the day.
Finally, Monteverdi not having produced God help us neitherAve maris stella after 1610, Dumestre offers “recompositions” here. For the first, he borrows the material of the madrigal Other love songswith a result that is perhaps questionable in terms of style but undeniably brilliant. For the second, he freely counterpoints the firm song with delightful ornamentations.
Throughout this exciting program, the six solo voices compete in brilliance while the choirs and instruments of the Poème Harmonique display, under the vaults of the Royal Chapel of Versailles, sonic splendors that the legendary Cappella di San Marco would not deny Venetian.
Ce Vespers of the Madonna captivated by the gleams of its He said secondlybut also by these volutes joyfully shared between the three duos of soloists in the intoxicating I was happy – a peak of virtuosity. And how can we not succumb to the striking contrasts, between abyssal darkness and celestial lights, that the Except the Lord ? or even to these subtle coloraturas in the Magnificat ? Vincent Dumestre and his troops sign a splendid and exciting tribute to thelast way du génial Oracle of music.
CLAUDIO MONTEVERDI
« Monteverdi Testament, Vespers of the Madonna, 1643 ».
Perrine Devillers (soprano), Eva Zaïcik (mezzo-soprano), Paco Garcia, Cyril Auvity (tenors), Romain Bockler, Viktor Shapovalov (bass), Le Poème Harmonique, Vincent Dumestre.
CVS (2 CDs). Ø 2024. TT : 1 h 27′. Gold fingerboard
