Monteverdi: Messa et Salmi

In 1650, seven years after Claudio Monteverdi's death, the Venetian publisher Alessandro Vincenti, with the help of Francesco Cavalli, a student and successor of Monteverdi, decided to put together the compilation Messa a quattro voci et salmi. It was a unique tribute to Monteverdi. In an era when looking back was not fashionable, the preservation of written music was rare, and for the most part the names of dead musicians were quickly forgotten, Monteverdi's fame seemed to persist for a long time.

In 1641, Monteverdi himself had compiled the collection Selva Morale et Spirituale. Perhaps he considered these to be the great treasures of his oeuvre. But there must have been many more. After all, music was always written for the Liturgy of the Hours (Liturgia Horarum) and for special occasions, and Monteverdi was not excepted from this practice. Cavalli and Vincenti had plenty to choose from when putting together this beautiful compilation, to which Cavalli added his own Magnificat.

Alongside the Messa a quattro -church music in the old contrapuntal style - there is a lot of other beautiful music. We find the Confitebor in two different versions (Monteverdi was constantly modifying existing pieces) which gives us a nice insight into how he worked.

We also know that Monteverdi looked back to the old contrapuntal techniques in his church music. The Laudate pueri, Laetatus sum, Nisi Dominus II and the Lauda Jerusalem for 5 voices are good examples of this. In contrast to this are the works where he looked forwards, where he translated the concertante practice into psalms such as Nisi Dominus I and the intoxicating Beatus vir. In the Laetatus sum, he let's the infinite possibilities over an infinitely repeating bass be heard. The second CD begins with a mass that was written as an opening piece for the Marian Vespers: the Messa in illo tempore. And with this, we complete the circle. In 1610 Monteverdi began a church-music career that to the end of his life was notable for the enormous variety of styles he employed. We should be grateful that Cavalli and Vincenti, perhaps driven by commercial interests, left us this extra treasure.