The Thirteen & Matthew Robertson: Monteverdi: The ‘Lost' Vespers
Acis

Described as a curated compilation of Claudio Monteverdi (c. 1567-1643) material that's been “hiding in plain sight for the last 350 years,” The ‘Lost' Vespers brings to a sumptuous close four years The Thirteen and its Artistic Director Matthew Robertson have dedicated to Monteverdi's sacred choral works. The release capitalizes on the momentum and interest generated by Monteverdi: Vespers of 1610, the ensemble's 2023 release, and re-affirms the group's status as an exceptionally sympathetic interpreter of the composer and his works.

To be clear, The ‘Lost' Vespers is not a newly unearthed single work but rather one culling material from two late volumes by the composer, Selva morale (1641) and Messa et salmi (1650), that have been fashioned into a vespers with all the tonal contrasts that entails. Alternations between introspective solemnity and radiant celebration transpire as this rich vocal tapestry unfolds across seventy-five minutes. The Robertson-conducted performance is distinguished by the splendour and authority of the singing, but as critical to its impact is the instrumental component. To that end, eight vocalists (four pairs of sopranos, mezzo-sopranos, tenors, and bass-baritones) are accompanied by an instrumental unit of two violins, organ, theorbo, cello, and two cornettos. If a performance by the ensemble sounds particularly cohesive, its two hundred concerts, two dozen concert tours, and seven commercial recordings help explain why.

Rich in florid vocal and instrumental writing, the work originated when six years ago Robertson delved into Selva morale, which contains five hours of late compositions by Monteverdi, and then turned his attention to Messa et salmi and Madrigali e canzonette, volumes published seven years after the composer's death. In Robertson's words, material was selected from two of those volumes to produce a vespers-like programme of psalm settings and other liturgical material that would have the effect of “bringing the day to a close in an alternating narrative of celebration and reflection.” Astute liner notes by Steven Plank draw attention to specific moments that demonstrate a striking symbiosis of music and text, for example the use of a single chord to suggest slumber in accordance with the words “for so he giveth his beloved sleep” or the deployment of trumpet-like vocal fanfares to evoke a battle episode.

Recorded at the Franciscan Monastery of the Holy Land in America in Washington, DC in October 2023, The ‘Lost' Vespers is elevated by meticulous attention to detail. Every vocal and instrumental gesture is treated with the utmost sensitivity and imbued with intense feeling. The vocalists acquit themselves magnificently, whether they sing in unison, contrapuntally, or individually. The intricate polyphony of their voices is a constant source of pleasure as they rise joyously or intone solemnly; any number of parts could be chosen by way of illustration, but the fourth, “Lauda Jerusalem á 5,” sixth, “Nisi Dominus á 6,” and seventh, “Beatus vir á 7,” are particularly glorious. For many of the eleven parts, individual singers are identified as soloists, which enhances one's appreciation for their contributions and vocal artistry. “Laudate Dominum” features Edmund Milly exclusively, and the bass-baritone makes the most of the opportunity. “Sanctorum meritis primo” and “Salve Regina” do the same for sopranos Sheila Dietrich and Katelyn Grace Jackson, and they impress as much. As arresting as the vocal dimension is, the instrumental component proves as satisfying when it complements the singing so beautifully.

September 2024