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Since its foundation in 1992 by Alan Curtis, Il Complesso Barocco has fast acquired a reputation as one of the most interesting of the Italian ‘new wave’ ensembles specializing in late renaissance and early baroque chamber repertories. Curtis’s main field of interest is the Italian seconda pratica madrigal from Marenzio (how one would like him to record some Wert) to Michelangelo Rossi. This new recording complements an earlier volume of Monteverdi’s chamber duets (5/98) by completing his full output of 24 pieces in the genre and then rounding off the disc with a group of trios and the Lamento della ninfa, finishing with two larger-scale madrigals.

In preparing the ground Curtis has made new editions, correcting both the literary and musical texts of the pieces as normally recorded. All the performances are given at mean-tone temperament. The results are revelatory. Cz motorcycle serial number search. At the heart of the approach is an overriding concern with the meaning of poetic texts and of the many and varied ways in which Monteverdi responded to them.

This is, of course, the stated objective of many groups who perform Italian music of this period, but few come anywhere near this level of understanding, in a detailed and sensitive way, of the true character of Monteverdi’s fusion of words and music. Part of the secret lies in the fact that, since they are all Italian, these performers have insights into the sense and sound of Italian poetry, the subtleties of its cadences and accentuations, that few non-native speakers can ever acquire. That might make little difference in Donizetti, but for this music it is crucial. Beyond that there is an impressive degree of technical control and vocal balance, with individual voices emerging, retreating and blending into the texture in an intimate and at times even domestic way. It is a sense of immediacy rather than theatricality that remains in the end, for all that Monteverdi’s frequent changes of emotional temperature within pieces are so thoughtfully delineated. The instrumental accompaniments are also varied but, like everything else that happens, are fashioned by rhetorical sense.

Not to be missed.'