Following their album largely devoted to sacred polyphonic works composed for the basilica of Santa Barbara during the period in which Claudio Monteverdi worked for the Gonzagas in Mantua, Odhecaton now presents sacred compositions from the composer's later years, written for St Mark's basilica where he became maestro di cappella in 1613. This new recording presents both sides of Monteverdi's sacred style: the stile antico or strict contrapuntal style, exemplified in the Mass for four voices published posthumously in 1650; and the stile moderno, that is, concertato and solo vocal writing. The concertato style, which combines and intertwines voices and instruments in dialogue, characterizes the monumental Gloria a 7, which was conceived for a cappella rich in virtuoso singers and instrumentalists. But in this city of theaters, in the heyday of the canto a voce sola, Monteverdi transformed the famous Lamento d'Arianna (from his lost opera Arianna) into a sacred piece. The Litanies to the Virgin Mary, published in three collections between 1620 and 1650, represent the expression of a gentle Marian style, dominated by a cappella choral invocations alternating with brief solo passages.
7 Gloria a 7 Voci Concertato Con Due Violini and Quattro Viole Da Brazzo Overo 4 Tromboni
8 Sinfonia
9 Pianto Della Madonna a Voce Sola Sopra Al Lamento D'arianna
10 Lætaniæ Della Beata Vergine a Sei Voci
Following their album largely devoted to sacred polyphonic works composed for the basilica of Santa Barbara during the period in which Claudio Monteverdi worked for the Gonzagas in Mantua, Odhecaton now presents sacred compositions from the composer's later years, written for St Mark's basilica where he became maestro di cappella in 1613. This new recording presents both sides of Monteverdi's sacred style: the stile antico or strict contrapuntal style, exemplified in the Mass for four voices published posthumously in 1650; and the stile moderno, that is, concertato and solo vocal writing. The concertato style, which combines and intertwines voices and instruments in dialogue, characterizes the monumental Gloria a 7, which was conceived for a cappella rich in virtuoso singers and instrumentalists. But in this city of theaters, in the heyday of the canto a voce sola, Monteverdi transformed the famous Lamento d'Arianna (from his lost opera Arianna) into a sacred piece. The Litanies to the Virgin Mary, published in three collections between 1620 and 1650, represent the expression of a gentle Marian style, dominated by a cappella choral invocations alternating with brief solo passages.
