Keyboardist and conductor Rinaldo Alessandrini has led the Concerto Italiano for over three decades in the realm of early music and Baroque. Returning to the madrigals of Monteverdi after a 15-year hiatus, this latest release extends an impressive discography of a genre the composer worked with largely in the first half of his life. Monteverdi was just 25 years old when his well-received third volume of madrigals was published in 1592. Reflecting influences from Flemish composer Giaches de Wert (a noted figure in the development of the form), we see Monteverdi’s curiosities come to light through an exploration of harmony and texture.
The text of La giovinnetta pianta (track 1) speaks through a metaphor about the passion of love, though the performance itself creates a more refined portrayal of the words. Despite the intertwining of the vocal lines, the ensemble maintains a translucence that lets us hear the complex layering – the upper voices in particular show Monteverdi’s rich counterpoint. The entries of the lower and middle voices are also made with care and in such a way that distinguishes their presence but does not interrupt the flow. So much here relies on seamless entrances and handoffs between voices, but they are so well done that we can hear a broader complexity and dimensionality as it unfolds.
O primavera (track 11) is a fine example of Monteverdi’s use of different textures and rhythms to represent the text. In the opening section, faster moving melodic figures create an intricate web of sound to express the liveliness and joy that spring evokes. Although there is a lot going on, the clarity is well-preserved as is the balance especially when pairs of voices move in parallel fashion. The middle section, with more vertical harmonies and less rhythmic movement, complements the wistful reminiscence of the words. The lower voices do help create movement here, though, through rich and expressive dynamic swells. The final section shifts to a marked use of dissonance, which the performers treat with a sophisticated subtlety.
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Monteverdi sets Ch’io non t’ami (track 13) to beautifully poignant text by Guarini. The ensemble centers its approach around contrast – a reflection of the verbal evolution from love to death. The elegant opening, by way of some lovely color changes, gives way to the latter half where the weight of the expression is. The final words (“come poss’io lasciarti e non morire/how can I leave you and not die”) are some of the most moving. The ensemble brings them to life effectively with a well-controlled sostenuto that evokes deep longing. Perhaps a matter of personal taste, but while the concept of the character divide stays close to the words themselves, I did think that there could have been more gravitas earlier on.
Occhi, un tempo mia vita (track 14) is one of the best madrigals of the album. Like O primavera, it shows the composer’s attention to musical symbolism: the moments of vertical harmonies are reserved for the darker moments where the narrator reflects within while more forward-moving melodies align with the questions the narrator asks his lover. The voices make this distinction salient, but it is also their sensitivity in timbre and phrasing that enhances it.
The sound engineering presents the intricate vocal layers in a clean and well-balanced fashion, though the voices do seem a little up-close, especially when they are all present. Still, the album is an enjoyable listen that, to the discerning and appreciative listener, nicely highlights the composer’s innovative style.
Monteverdi – il terzo libro de’ madrigali
Concerto Italiano
Rinaldo Alessandrini – Conductor
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