Album insights
Philippe de Monte was an exceptionally prolific composer during the Renaissance and arguably of all time. Known for his vast collection of works in the Madrigal genre, he surpassed all competition with over 34 books published between 1554 and his death in 1603, containing over a thousand individual pieces. Born in 1521, Monte was likely a choirboy at Mechelen's Sankt Romuald Church. His work spanned various locations, including Italy, where he worked as a music teacher in Naples. Noteworthy for his tenure as the court Kapellmeister at the Habsburg Court in Austria, he was employed by Emperor Maximilian II in 1567 and served for 35 years. His compositions are known for their relaxed, melismatic lines.
Monte's renowned composition "Ultimi miei sospiri" by Philippe Verdelot stands out as one of the most beautiful secular pieces from the early 16th century. Verdelot, an early Madrigal pioneer, was one of the first to write for up to six voices, allowing for contrasting high and low vocal groups. These techniques offer expressive text settings despite not achieving the chromaticism of later years. Verdelot's artistry is evident in the shifts of tone and narrative within his compositions, emphasizing moments through varying vocal groups. These features made his works ideal for the genre of Imitation Masses dominating the late 16th century.
Monte's techniques in his Missa "Ultimi miei sospiri" align with the theorist Pietro Cerone's description of combining polyphonic sections within significant moments of Mass settings. The Mass exhibits formal subdivisions, such as in the "Et incarnatus" of the Credo. In Verdelot's Motets, the fusion of Choral Antiphons with canonical treatment showcases a reflective and interconnected narrative, denoting reverence and unity through the polyphonic structure. His Motet "Ad te levavi" impresses with its wide vocal range and dramatic expression, revealing the poignant themes of divine supplication.
Notably, Monte's composition "Miserere mei, Deus" is stark in dissonance, emphasizing the profound emotional depth often found in penitential texts. In contrast, the Ablutions Antiphon "Asperges me, Domine" serves a liturgical purpose at the beginning of Mass, demonstrating a lighter connection to the Choral line. Monte's treatment of the Magnificat in the sixth tone employs a tonal contour aligned with the recitation tone, showcasing his mastery of polyphonic techniques within a conservative idiom. Through his works, Monte's compositional legacy reveals his adeptness at conveying diverse emotions and narratives through intricate and masterful polyphony.