Monteverdi: Altri canti d'amor, Il ballo per l’Imperator Ferdinando (reference rec.: Edwin Loehrer)

Full Album available // Monteverdi: Madrigali Guerrieri e Amorosi by Edwin Loehrer
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Claudio Monteverdi (1567-1643) Madrigali Guerrieri e Amorosi
00:00 Madrigals, Book VIII. Canti Guerrieri. Sinfonia: Altri canti d’Amor, SV 146 (2024 Remastered, Lugano 1963)
10:23 Madrigals, Book VIII. Il ballo per l’Imperator Ferdinando (2024 Remastered, Lugano 1963)

Societa Cameristica Di Lugano
Conductor: Edwin Loehrer
Recorded in 1963, at Lugano
New mastering in 2024 by AB for classicalmusicreference.com/
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Harry Halbreich: "The recording by Edwin Loehrer was awarded the Grand Prix of the Académie Charles Cros as well as the National Grand Prix of Belgium.

The Eighth Book of Madrigals, published by Monteverdi in Venice in 1638 at the age of seventy-two, preceded by a dedication to Emperor Ferdinand III dated September 1st, bears the title Madrigali Guerrieri e Amorosi. It represents the pinnacle and synthesis of his madrigal creations, being the last collection of this genre published during his lifetime.

This 1638 book stands as a summit, not only for the quality of the works it contains, which undoubtedly represent the quintessence of Monteverdi, but also for the richness of expression and the variety of styles employed. It is also a synthesis of its time. Some of the greatest pieces, especially those for six or eight voices, were composed shortly before their publication, while others are much older, likely dating back to 1619, the year of the previous book’s publication. Some pieces, known as alla francese, even date back to Monteverdi’s journey to the Netherlands in 1599, with the exception of Vago Augelletto.

Monteverdi’s genius gradually transformed the traditional framework of the madrigal, which none of his contemporaries, not even Marenzio or Gesualdo, had challenged. He infused it so deeply that he eventually broke it apart. As early as the Fifth Book (1605), the instrumental basso continuo appears as an option. In the Sixth Book (1614), it becomes mandatory in seven madrigals, and by the Seventh Book (1619), the decisive step towards the stile concertato is taken. Monteverdi introduces vocal solos and obbligato instrumental parts, while also exploring the new world of the cantata. The Eighth Book annexes the immense realm of illustrative and expressive dramatic music to the madrigal, which at times could be described as expressionistic. Monteverdi, at seventy-two years old, ardent and passionate, whose heart and senses know no rest, expresses himself with an intensity that even the greatest romantics would struggle to match.

The madrigals for six and eight voices with instruments are a culmination, comparable to Beethoven’s late quartets or sonatas. Among them, Vago Augelletto, classified among the alla francese pieces, beautifully closes the history of the madrigal. These works, of unprecedented expressive richness and complexity, mark an unparalleled fusion of the lyrical and the dramatic. They are likely the last to have been composed for the Eighth Book."

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Claudio Monteverdi PLAYLIST (reference recordings):    • Claudio Monteverdi (1567-1643) Giovan...