Natale Monferrato: Salve Regina

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These are fine compositions, indicating that the composer’s reputation was well deserved. They are cohesive, interesting in the musical patterns as well as text painting, and have a finely tuned... — Fanfare, September/October 2020 More…

Release Date: 27th Sep 2019
Catalogue No: RIC405
Label: Ricercar
Length: 62 minutes

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Monferrato: Sic ergo Jesu de Sacramento

Work length6:02

$1.00

$1.50

$2.05

Paulin Bündgen, Ensemble Céladon

Monferrato: Ad sonos pro quotlibet Sancto

Work length7:53

$1.50

$2.30

$3.05

Paulin Bündgen, Ensemble Céladon

Monferrato: Regina Cæli

Work length4:39

$1.00

$1.50

$2.05

Paulin Bündgen, Ensemble Céladon

Monferrato: Jubilate Deo de Beata Maria Virgine

Work length4:12

$1.00

$1.50

$2.05

Paulin Bündgen, Ensemble Céladon

Monferrato: Salve Regina

Work length13:15

$2.05

$3.05

$4.05

Paulin Bündgen, Ensemble Céladon

Monferrato: Vigila mortalis in omni tempore

Work length3:51

$1.00

$1.50

$2.05

Paulin Bündgen, Ensemble Céladon

Monferrato: Propera Domine de Sacramento

Work length7:10

$1.50

$2.30

$3.05

Paulin Bündgen, Ensemble Céladon

Monferrato: Convenite terrigenæ de Beata M. Virgine

Work length8:45

$1.50

$2.30

$3.05

Paulin Bündgen, Ensemble Céladon

Monferrato: Clamo ad te de Beata Maria Virgine

Work length6:19

$1.00

$1.50

$2.05

Paulin Bündgen, Ensemble Céladon

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Of those composers who held the highest positions at St Mark’s basilica in Venice, Natale Monferrato (1610-85) is manifestly one of the most thoroughly forgotten nowadays. After working with the leading musicians of this prestigious institution, he succeeded Francesco Cavalli as maestro di cappella in 1676. His output, consisting exclusively of sacred music, includes some twenty collections published between 1647 and 1681. Although he wrote a great deal of polyphonic music, he also produced three collections of Motetti a voce sola. Most unusually, these three books accord an important place to compositions for the often neglected alto voice. They are so voluminous that only the Libro Terzo of 1666 was used for this recording. The motets are divided into varied and contrasted sections that range from the spirit of recitative to that of the aria, using very diverse forms in a manner that is bound to remind us of the models of opera as it developed in Venice from 1637 onwards. This world premiere recording blazes the trail for discovery of an undeservedly neglected composer

Reviews

September/October 2020

These are fine compositions, indicating that the composer’s reputation was well deserved. They are cohesive, interesting in the musical patterns as well as text painting, and have a finely tuned sense of harmony. The performance by the Céladon ensemble is excellent. The continuo group provides the perfect foil for the sonorous countertenor of Paulin Bündgen.

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