Le Poème Harmonique, Vincent Dumestre
87:28
Château des Versailles Spectacles CVS145
Those familiar with the life and works of Monteverdi can be forgiven if they feel slightly confused by the title of this thrilling, pulsating issue. They are, of course, likely to be aware that 1643 is the date of Monteverdi’s death, not a date of publication for a setting of Vespers. There is, as many will also know, only one unified Monteverdi collection of the five Vespers psalms (Dixit Dominus, Laudate pueri, Laetatus sum, Nisi Dominus and Lauda Jerusalem) plus the Magnificat and attendant motets, that being the famous publication of 1610. This present set is therefore a conjectural Vespers put together largely from two much later publications, Selva morale e spirituale of 1640/41, which includes 38 sacred works, including two quite separate settings of the Magnificat and several of the Vespers psalms, in addition the Laetatus sum and Nisi Dominus from the posthumous 1650 collection. And this is where ‘testimento’ comes in, for Selva morale in particular does indeed represent a summation of the almost bewildering variety of styles Monteverdi employed during his long career as a composer of sacred music. Rather pretentiously termed ‘Monterverdi’s “other” Vespers’ at the heading of a detailed and fascinating note by Matthieu Franchin, it should be obvious from the above that this is not the only way an alternative Monteverdi Vespers can be performed and indeed it is not unique in that respect.
What it is, as the above spoiler implies, is an exceptional recording in which the glorious acoustic of the Chapelle Royale at Versailles plays its own role. Vincent Dumestre, now one of the doyens of the French early music scene, has never been one to eschew extremes or a grandiose approach. Here he not only employs large choral forces, 24 voices, plus a continuo section including two theorbos and a triple harp to help provide a ripe bed of arpeggiations that at times feels a trifle over-egged. But there is little music so suited to lavish gesture as much of this is, especially that written in the polychoral style founded in Venice by the Gabrielis. The first psalm, the 8-part Dixit Dominus secondo (SV 264) is a mouth-watering introduction to what is to come. The first entry of the full chorus is electrifying in its rhythmic vitality, while ‘Virgam virtutis’ introduces a first-rate team of soloists, firstly in solos, then as an ensemble drawing the first of many rich tapestries of sound evoked by Dumestre. At the opposite end of the spectrum, the words ‘De torrente’ bring a memorable moment of stillness before we are hastened to the doxology with its rapid iteration of words tumbling over each other.
Throughout the performance, there are so many points of interest that it would be impractical to try to draw attention to many of them. Certainly, one is the six-part Laetatus sum primo (SV 198), scored primarily for Monteverdi’s favourite combination of pairs of voices. Here it is the two tenors (Paco Garcia and Cyril Auvity) especially that excel, as indeed they do throughout the performance, communicating strongly in a manner not quite achieved by their soprano and bass colleagues. The doxology, sung by the full choir, is a magnificent blaze of almost overwhelming glory. While on the subject of the doxology, it should be noted there is an error in the booklet’s text, where that of Laudate sum pueri (SV 270) is printed as the opening of the following Stabat Mater (SV 96)! That solemn motet is given a beautifully judged reading, mournful brass succeeded by the male voices of the choir joined by the lovely sound of the upper voices. This is ravishingly lovely, perfectly tuned choral singing. Finally, mention must be made of Pianto della Madonna, a solo motet in the stile rappresentivo that is a contrafactum (or sacred adaptation) of the famous Lamento d’Arianna from Monteverdi’s lost opera L’Arianna (1608). Here it is given great intensity by Perrine Devillers, passages done with organ accompaniment communicating more strongly than those where the lute and harp tend to be obtrusive.
Uplifting, spiritually refreshing, moving and exhilarating by turn, this joyous set is strongly recommended.
Brian Robins