Monteverdi: Vespro della Beata Vergine Ludus Modalis & Bruno Boterf
- Claudio Monteverdi (1567 - 1643):
- 1Intonatio: Deus in adjutorium meum intende00:09
- 2Vespro della Beata Vergine, SV 206: I. Responsorium. Domine ad adjuvandum me festina a sei voci01:10
- 3Antiphona: Dum esset rex (i)00:23
- 4Vespro della Beata Vergine, SV 206: II. Psalmus 109. Dixit Dominus a sei voci07:47
- 5Antiphona: Dum esset rex (ii)00:25
- 6Vespro della Beata Vergine, SV 206: III. Concerto. Nigra sum mottetto ad una voce03:14
- 7Antiphona: Laeva ejus (i)00:21
- 8Vespro della Beata Vergine, SV 206: IV. Psalmus 112. Laudate pueri a otto voce sole nell'organo06:56
- 9Antiphona: Laeva ejus (ii)00:24
- 10Vespro della Beata Vergine, SV 206: V. Concerto. Pulchra es a due voci03:50
- 11Antiphona: Nigra sum (i)00:27
- 12Vespro della Beata Vergine, SV 206: VI. Psalmus 121. Laetatus sum a sei voci07:51
- 13Antiphona: Nigra sum (ii)00:31
- 14Vespro della Beata Vergine, SV 206: VII. Concerto. Duo seraphim a tre voci06:21
- 15Antiphona: Jam hiems transiit (i)00:27
- 16Vespro della Beata Vergine, SV 206: VIII. Psalmus 126. Nisi Dominus a dieci voci04:58
- 17Antiphona: Jam hiems transiit (ii)00:30
- 18Vespro della Beata Vergine, SV 206: IX. Concerto. Audi coelum ad una voce sola, poi nella fine à sei voci07:36
- 19Antiphona: Speciosa facta es (i)00:24
- 20Vespro della Beata Vergine, SV 206: X. Psalmus 147. Lauda Jerusalem a sette voci05:08
- 21Antiphona: Speciosa facta es (ii)00:29
- Girolamo Frescobaldi (1583 - 1643):
- 22Toccata avanti il recercar, F12.4301:03
- 23Recercar con obligo di cantar la quinta parte senza toccarla, F12.4402:57
- Claudio Monteverdi (1567 - 1643):
- 24Vespro della Beata Vergine, SV 206: XI. Hymnus. Ave maris stella a otto voci08:31
- 25Antiphona: Beatam me dicent omnes generationes00:23
- 26Vespro della Beata Vergine, SV 206: XII. Magnificat secondo a sei voci18:23
Info for Monteverdi: Vespro della Beata Vergine
The present recording constitutes more than just a new version of the Vespers. It is the first recording of the Vespers in the alternative version proposed by the composer, without concertato instruments. It reveals the underlying matrix of the work we all know, the ‘original version’ to which Monteverdi added concertato instruments for use in large-scale performances. Respecting the structure of the Office of Vespers, Ludus Modalis has chosen to frame the psalms with the antiphons corresponding to a Marian ceremony. The interpretation proposed here is one influenced by the Renaissance tradition. It places the work in perspective in a musical world at the point of equilibrium between prima and seconda prattica, between the achievements of tradition and the contributions of modernity.
Bruno Boterf, direction
Established by Bruno Boterf, the twelve-voice ensemble, Ludus Modalis “The Mode Game” – has set itself the task of restoring the sound palette of sacred and secular polyphonic repertoire of the Renaissance and pre-Baroque. The group tries to distinguish itself from a too-generalised approach to interpretation, by concentrating on those aspects of performance practice sometimes neglected, such as pronunciation, an intonation governed by the use of the different modes, temperament, a search for variety in vocal sonority, and a scrupulous respect for the original sources, reinforced by collaboration with musicologists.
By adopting a practice of combining male, female and children's voices, Ludus Modalis strives to be an ensemble, in the first place, of colours,where the mixing of contrasting timbres is seen as a source of richness, and where beauty is not the predominant notion, but rather an “ornamental” aspect.
After studying Musicology and Art History at university, Bruno Boterf opted for a performing career and was soon in demand as a soloist, singing under leading conductors in programmes of sacred music by Bach, Handel, Monteverdi, Cavalli, Mozart, Rossini, etc. At the same time he was initiated into the mysteries of medieval music by Anne-Marie Deschamps and Marcel Peres while also performing contemporary music with the GroupeVocal de France, taking part in several productions with the ensemble 2E-EM and Radio France.
On stage, he has appeared in operas under the direction of Jean-Claude Malgoire, William Christie, Marc Minkowski and Hervé Niquet, and has collaborated regularly with Mireille Larroche and Peniche Opera. He has performed the title roles in the Play of Daniel and Monteverdi's Orfeo.
His considerable interest in Renaissance and early Baroque music has led him to perform 16th and 17th century music both in duet programmes (A Doi Tenori with Gilles Ragon) and as a soloist with groups like Akademia, the Witches, Ensemble europeen William Byrd and La Fenice. He also performed French repertoire of the same period, particularly the late 16th centuty air de cour in concerts with the Ensemble Clement Janequin for more than twenty years. He has recorded many discs for Harmonia Mundi and features in numerous recordings on other labels, including Alpha, Erato, CBS, Audivis, etc...
A qualified teacher, Bruno Boterf helped to set up a class in Renaissance vocal music performance at the Tours Conservatoire. This experience led him to create Ludus Modalis, an a capella group of a dozen singers focusing mainly on 16th and early 17th century sacred music.
This album contains no booklet.