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Monte: Missa Ultimi Miei Sospiri, Etc; Verdelot / Cinquecento


Release Date: 05/13/2008 
Label:  Hyperion   Catalog #: 67658   Spars Code: n/a 
Composer:  Philippe de MontePhillippe Verdelot
Performer:  Thomas KunneTore Tom DenysTerry WeyUlfried [bass voice] Staber,   ... 
Orchestra/Ensemble:  Il Cinquecento
Number of Discs: 1 
Recorded in: Stereo 
Length: 0 Hours 56 Mins. 

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Notes and Editorial Reviews



DE MONTE Missa Ultimi miei sospiri. Miserere mei Deus. Magnificat sexti toni. Ad te levavi oculos meos. Fratres ego enim accepi. Asperges me. Gaudent in caelis. Ne timeas Maria & Cinquecento HYPERION 67658 (56:12 Text and Translation)


& VERDELOT Ultimi miei sospiri


Just last month, in a review due to appear, we had a varied Read more group of works by Philippe de Monte (1521–1603), followed now by a disc of sacred music. It is the third Hyperion recording by a superb new vocal ensemble, following “Maximilian II” (30:6) and Regnart (31:3). Fortunately, we are not getting much duplication among recent issues of de Monte. Among the discs mentioned in the previous review, only the Ensemble Orlando includes Gaudent in caelis from this disc, while Higginbottom recorded Miserere mei Deus on both Metronome and Collins/Brilliant. The latter motet, some verses from Psalm 56 (57), is notable for the degree of dissonance, not unusual in a penitential text, and by placing it first on the disc the group calls attention to its singularity. The Verdelot madrigal parodied in the Mass is placed last; typically on a recording of a parody Mass we hear such a piece just before the Mass to give us a clue to the melody, but I suspect the ensemble didn’t want it heard that way every time and placed it at the end of the disc only for reference.


The Magnificat in the sixth tone is typical of alternatim-praxis at the time, with the even verses chanted. Of de Monte’s settings of the canticle, Jan Boogaarts once recorded an eighth-mode Magnificat, but even among older recordings nothing else here seems to have been recorded before. The motet Asperges me uses chant for intonation and verses, saving polyphony for the responses. The Mass is an especially interesting addition to the discography because of the manner in which de Monte imitates the madrigal. Each movement begins with a different version of the madrigal’s opening, but after that the borrowings are effective but sparing. The other motets offer contrasting styles, Gaudent in caelis being an antiphon for the common of martyrs, Fratres ego enim accepi for Corpus Christi, and Ne timeas Maria for feasts of the Blessed Virgin. Ad te levavi oculos meos is not the familiar proper chant for Advent but a selection of psalm verses for an unstated purpose. This is an admirable way to expand the repertoire, with unfamiliar music sung in superb style.


FANFARE: J. F. Weber
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Works on This Recording

1. Miserere mei by Philippe de Monte
Performer:  Thomas Kunne (Tenor), Tore Tom Denys (Tenor), Terry Wey (Countertenor),
Ulfried [bass voice] Staber (Bass), Jakob [ctr tenor] Huppmann (Countertenor)
Orchestra/Ensemble:  Il Cinquecento
Period: Renaissance 
Length: 3 Minutes 6 Secs. 
2. Missa Ultimi miei sospiri by Philippe de Monte
Performer:  Jakob [ctr tenor] Huppmann (Countertenor), Thomas Kunne (Tenor), Tim Scott Whiteley (Baritone),
Tore Tom Denys (Tenor), Ulfried [bass voice] Staber (Bass), Terry Wey (Countertenor)
Orchestra/Ensemble:  Il Cinquecento
Period: Renaissance 
Length: 3 Minutes 55 Secs. 
3. Magnificat sexti toni for 4 voices by Philippe de Monte
Performer:  Tore Tom Denys (Tenor), Ulfried [bass voice] Staber (Bass), Terry Wey (Countertenor),
Tim Scott Whiteley (Baritone)
Orchestra/Ensemble:  Il Cinquecento
Period: Renaissance 
Length: 5 Minutes 56 Secs. 
4. Ad te levavi for 5 Voices by Philippe de Monte
Performer:  Jakob [ctr tenor] Huppmann (Countertenor), Tim Scott Whiteley (Baritone), Thomas Kunne (Tenor),
Tore Tom Denys (Tenor), Terry Wey (Countertenor)
Orchestra/Ensemble:  Il Cinquecento
Period: Renaissance 
Length: 4 Minutes 19 Secs. 
5. Fratres, ego enim accepi by Philippe de Monte
Performer:  Jakob [ctr tenor] Huppmann (Countertenor), Thomas Kunne (Tenor), Tore Tom Denys (Tenor),
Tim Scott Whiteley (Baritone), Ulfried [bass voice] Staber (Bass), Terry Wey (Countertenor)
Orchestra/Ensemble:  Il Cinquecento
Period: Renaissance 
Length: 4 Minutes 51 Secs. 
6. Asperges me, Domine for 5 Voices by Philippe de Monte
Performer:  Jakob [ctr tenor] Huppmann (Countertenor), Thomas Kunne (Tenor), Ulfried [bass voice] Staber (Bass),
Tore Tom Denys (Tenor), Terry Wey (Countertenor)
Orchestra/Ensemble:  Il Cinquecento
Period: Renaissance 
Length: 4 Minutes 5 Secs. 
7. Gaudent in caelis animae Sanctorum by Philippe de Monte
Performer:  Jakob [ctr tenor] Huppmann (Countertenor), Thomas Kunne (Tenor), Tore Tom Denys (Tenor),
Tim Scott Whiteley (Baritone), Ulfried [bass voice] Staber (Bass), Terry Wey (Countertenor)
Orchestra/Ensemble:  Il Cinquecento
Period: Renaissance 
Length: 2 Minutes 23 Secs. 
8. Ne timeas, Maria for 5 Voices by Philippe de Monte
Performer:  Jakob [ctr tenor] Huppmann (Countertenor), Tim Scott Whiteley (Baritone), Thomas Kunne (Tenor),
Tore Tom Denys (Tenor), Terry Wey (Countertenor)
Orchestra/Ensemble:  Il Cinquecento
Period: Renaissance 
Length: 5 Minutes 5 Secs. 
9. Ultimi miei sospiri by Phillippe Verdelot
Performer:  Jakob [ctr tenor] Huppmann (Countertenor), Thomas Kunne (Tenor), Tim Scott Whiteley (Baritone),
Tore Tom Denys (Tenor), Ulfried [bass voice] Staber (Bass), Terry Wey (Countertenor)
Orchestra/Ensemble:  Il Cinquecento
Period: Renaissance 
Written: Italy 
Length: 3 Minutes 18 Secs. 

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