(Monteverdi Madrigali guerrieri et amorosi — Altri canti d'amor; Gira il nemico insidioso; Hor ch'el ciel e la terra; Altri canti di Marte; Lamento della ninfa, "Non havea Febo ancora". Volgendo il ciel. Sinfonia a cinque. Cantate Domino (arr. instr). La Capella Reial de Catalunya / Jordi Sayan.

Astree Auvidis E8546 (57 minutes: DDD).

Texts and translations included.

The poetic title of Monteverdi's Eighth Book of Madrigals refers both to its internal organization and also the whiff of an aesthetic programme in the preface which speaks of the composer's 'invention' in the concitato genere. In practice this results in a limited number of techniques (which Monteverdi arguably overuses) destined to broaden the expressive potential of rhythm. Indeed, it is the madrigali guerrieri that have attracted the most attention in the recording studio, particularly the opening sonnet "Altri canti d'amor" and, above all, "Hor ch'el ciel e la terra", currently available in some half-dozen interpretations. Both occur in this selection together with other well-known pieces including the "Lamento della ninfa" and the ballo, "Volgendo il ciel", an attractively balanced grouping which effectively presents a fair sample from this, the most heterogeneous of all Monteverdi's books.

The overall approach here is robust and theatrical, making the most of all the possibilities for virtuosic display that the music provides in its pursuit of heady eroticism and high drama. In this the singers are ably supported by some fine string playing, beautifully shaped and phrased, as well as a luxuriant continuo grouping which includes theorbo, double harp, harpsichord and organ. There is some splendid singing too; Lambert Climent gives an eloquent account of the introduction to the ballo, the men give a splendidly characterized reading of "Gira il nemico", and Montserrat Figueras a persuasive account of the "Lament° della ninfa".

There are also some less satisfactory songs, however; the brilliant passagework which is such a prominent feature of the book as a whole is sometimes ragged in execution, there are occasional lapses of intonation among the singers, and there is a certain amount of fussy added ornamentation in the string parts that at times becomes intrusive and distracting. All in all, a mixed blessing. IF