The first two books of Madrigals by Monteverdi date from the period in which he lived and worked in his native town Cremona. They are sublime examples of the Prima Prattica, in which Recitation of the text came first, and affects were made audible by melody, rhythm, and by playing with repetitions, strengths and harmony. In the Second Book we encounter lovely word painting and evocation of images and moods.
This is the third instalment of the complete recording of Monteverdi’s Madrigals by Le Nuove Musiche. This vocal ensemble consists of the elite of Dutch Early Music vocalists, led by eminent conductor and scholar Krijn Koetsveld. Their previous Monteverdi recordings received excellent reviews in the international press, among which a “5 star” in the French Diapason and a “10/10” in Dutch classical magazine Luister.

Composer: Claudio Monteverdi
Artists: Le Nuove Musiche, Koetsveld Krijn (artistic leader)

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Le Nuove Musiche, led by acclaimed director Krijn Koetsveld, continue with their exceptional series of Claudio Monteverdi’s complete madrigals. Here, they look back to the very beginning of Monteverdi's works, when the young composer was still under the influence of his teacher Marc'Antonio Ingegneri. At this time, the madrigal was already a popular art form, one that Monteverdi was beginning to add his name to, before – as we know – he would go on to radically extend it with the introduction of the seconda prattica. These two books show that Monteverdi was an assured and dexterous composer in the established genre. He could follow the conventions of madrigal-writing – concentrating on the recitation of the text, adding in affects by altering the melody, rhythm and harmony – with skill and originality. Although he had to compete with other books already on the market, he was confident and ambitious – he dedicated his books to prominent patrons, and finally gained a royal appointment in Mantua shortly after the second book of madrigals was published.

Le Nuove Musiche’s approach to Monteverdi is an innovative one: to bring the past into the present, keeping alive the questions of the Renaissance that still permeate our musical landscape today, while seeking to maintain the highest standards of performance authenticity. Their release of Books V & VI garnered excellent reviews, including five stars in the French magazine Diapason.

Tracklist:
Disk 1: Mardigals, Book 1
00:00:00 Ch’ami la vita mia nel tuo bel nome, SV 23
00:02:00 Se per avervi ohimé donato il core, SV 24
00:03:23 A che tormi il ben mio, SV 25
00:05:35 Amor, per tua mercè vatten’a quella, SV 26
00:07:05 Baci soavi e cari, SV 27
00:09:41 Se pur non mi consenti, SV 28
00:11:26 Filli cara et amata, SV 29
00 13:16 Poi che del mio dolore, SV 30
00:15:13 Fumia la pastorella, SV 31a
00:15:52 Almo divino raggio, SV 31b
00:17:01 Allora i pastor tutti, SV 31c
00:18:33 Se nel partir da voi, vita mia, sento, SV 32
00:20:32 Tra mille fiamme e tra mille catene., SV 33
00:22:32 Usciam, ninfe, omai fuor di questi boschi, SV 34
00:24:46 Questa ordí il laccio, SV 35
00:26:36 La vaga pastorella, SV 36
00:29:01 Amor, s’il tuo ferire, SV 37
00:30:48 Donna, s’io miro voi giaccio divengo, SV 38
00:32:05 Ardo, sì, ma non t’amo, SV 39a
00:33:22 Ardi o gela a tua voglia, SV 39b
00:34:37 Arsi et alsi a mia voglia, SV 39c

Disk 2: Madrigals, Book 2
00: 36:11 Non si levav’ancor l’alba novella, SV 40
00: 40:19 E dicea l’una sospirando allora, SV 40b
00: 44:16 Bevea fillide mia, SV 41
00: 46:39 Dolcissimi legami, SV 42
00: 49:25 Non giacinti o narcisi, SV 43
00: 52:35 Intorno a due vermiglie e vaghe labra, SV 44
00: 54:45 Non sono in queste rive, SV 45
00: 56:59 Tutte le bocche belle, SV 46
01: 00:25 Donna, nel mio ritorno, SV 47
01: 03:19 Quell’ombr’esser vorrei, SV 48
01: 05:23 S’andasse Amor a caccia, SV 49
01:08:25 Mentr’io miravo fiso, SV 50
01:10:37 Se tu mi lassi, perfida, tuo danno, SV 53
01:13:49 Ecco mormorar l’onde, SV 51
01:15:52 Dolcemente dormiva la mia Clori, SV 52
01:21:01 Crudel, perché mi fuggi, SV 55
01:24:08 Questo specchio ti dono, SV 56
01:26:54 Non m’è grave il morire, SV 57
01:29:58 Ti spontò l’ali, Amor, la donna mia, SV 58
01:32:54 Cantai un tempo, e se fu dolce il canto, SV 59

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