Our next concert
Musica Moderna: Monteverdi Moving Fast and Breaking Things
-
Saturday, 9th of May, 2026
at
7:30pm
Venue:St Michael's Church, Lewes -
Sunday, 10th of May, 2026
at
7:30pm
Venue:Friends Meeting House, Brighton -
Friday, 15th of May, 2026
at
7:30pm
Venue:Parish Church of St Mary-de-Haura, Shoreham-by-Sea
More information
Concert programme
Christe, adoramus te
Ch’io non t'ami
Domine ne in furore
From Messa a 4 voci da Cappella (1650)
- Kyrie
- Gloria
Ohime, il bel viso
From Messa a 4 voci da Cappella (1650)
- Credo
Adoramus te, Christe
INTERVAL
From Messa a 4 voci da Cappella (1650)
- Sanctus
Four madrigals from Il Quarto Libro de Madrigali a cinque voci
- Sfogava con le stelle
- Luci serene
- Anima dolorosa
- Ah dolente
Laudate pueri
Rimanti in pace
From Messa a 4 voci da Cappella (1650)
- Agnus
NB: Our concert in Brighton at the Friends Meeting House on Sunday, 10 May 2026 will be shorter (approximately 1 hour, with no interval) and will contain a selection of the music above.
Programme notes
In the early years of the 17th century, in a quite famous academic argument (and what better kind of argument can there be?), an up-and-coming northern Italian composer by the name of Claudio Monteverdi came in for serious criticism. In his early thirties, he was already pretty successful and had a great job as maestro di cappella for the Dukes of Gonzaga in Mantua, but had not yet entered the upper echelons of internationally renowned composers. Nevertheless, his music was circulating among the intelligentsia who would gather in places like Florence and Ferrara to discuss art and culture and make themselves look good of an evening. As was predictable, these gatherings involved clashes between ‘conservatives’ and ‘progressives’, as they always have and always will, but in this particular argument something very important happened in the history of music.
A music theorist and academic (alarm bells should already be ringing) named Giovanni Maria Artusi became so incensed by some music he heard at one of these academic parties because of the ‘monstrous errors’ he identified in it that he went to the trouble and expense of publishing a pamphlet - a short treatise presumably only read by people who attended these gatherings and no one else - decrying, like every other culturally minded man over the age of 40 has done ever since, the ‘imperfections of modern music’. So far, so predictable. In a gentlemanly fashion, Artusi didn’t name the composer of the works he heard that contained the ‘sins against nature’ that had so offended him, but he did include the music itself (printed without the words) and this has allowed us to identify the pieces as madrigals by, of course, Claudio Monteverdi.
The main charge was that Monteverdi was breaking the ‘rules’ of counterpoint, how to set note against note in polyphonic music. These were developed over centuries by many composers to avoid dissonance and create works of transcendent beauty. Without getting technical, these rules involved some maths about frequency relationships and didn’t, as evidenced by Artusi’s failure to include them, take into account the words, neither their meaning nor their emotional impact, that a vocal piece might set.
Evidently a man not lacking in self confidence, Monteverdi’s primary retort to this criticism was to briefly mention in the preface to a published book of madrigals containing some of the very pieces Artusi had highlighted, almost by way of a throw-away comment, that he wasn’t really breaking the rules as much as throwing them out entirely and creating his own. He was, by his own assertion, creating a completely new way of writing music. Indeed, so he said, he had already ‘found’ it and it was in fact entirely dependent on the words Artusi hadn’t even bothered to include. Music was, for Monteverdi, to be ‘ruled’ by the meaning of the words, and the words were to come ‘first’.
In a way, this is still not unexpected. Successful and talented people in their early thirties often claim they are creating the future and destroying the past. The difference is that this time, insofar as the history of music is concerned, Monteverdi was right. He is now known by some as the ‘Father of Modern Music’ and his unabashed belief that music should fundamentally be about human psychology and things we can grasp and understand (words, stories, characters), rather than abstraction and ineffable transcendence, has shaped every kind of music that came after him. He was of course a product of his time and his contribution fit into the broader cultural movements of humanism and the Enlightenment to come but he is alone among composers as having so clearly articulated what ‘modernity’ meant for him in a way that was then so validated by the rest of history. Monteverdi was absolutely at the cutting edge, he knew it, and he was unapologetic. He moved incredibly fast and broke many things, and the result was music of extraordinary power with literally centuries of influence.
The music on our programme tonight contains some of the technical experimentation at the heart of the controversy, but all of the arrogance, ambition, and power with which Monteverdi raced into the future. Much of the sacred music he wrote throughout his life confronted, probed, examined, and almost satirised the clash between old and new that he had identified. His secular music is where his new ideas found their fullest expression. We present both of these kinds of music, using a mass setting composed late in his life entitled simply ‘a mass for four voices’ and appearing on the surface to be a conservative piece but powered by the beating heart of Baroque music, as a scaffold for a programme that contains an early madrigal (Ch’io non t’ami) and a late one (Ohime, il bel viso), some wildly contrasting sacred music (the exquisite pair of Christe, adoramus te and Adoramus te, Christe contrasts so well with the jagged and uncontrolled motets Domine, ne in furore and Laudate pueri), and a focus on the pinnacle of Monteverdi’s a cappella madrigal output with four selections from his fourth book of madrigals (published right at the middle of the controversy with Artusi). This all leads toward a towering masterpiece, the lengthy and incredibly powerful madrigal Rimanti in pace, claimed by many to be the best he wrote.
Monteverdi’s take on the perennial clash between old and new, conservative and progressive, traditional and scandalous, was unique in ambition, audacity, and influence. Monteverdi’s modern music, while indeed breaking things, ushered in a way of thinking about what music is for at a fundamental level that has never left.
Greg Skidmore, April 2026
Texts & Translations
Christe Adoramus Te,
et benedicamus tibi,
quia per santam crucem tuam
redemisti mundum.
Domine, miserere nobis.
Christ, we adore you,
and we bless you,
for through your holy cross
you have redeemed the world.
Lord, have mercy upon us.
Ch’io non t’ami, cor mio?
Ch’io non sia la tua vita e tu la mia,
che per novo desio e per nova speranza
io t’abandoni?
Primo che questo sia morte non mi perdoni!
Ma se tu sei quel core
onde la vita m’e si dolce e gradita,
fonte d’ogni mio ben, d’ogni desire
come poss’io lasciarti e non morire?
That I not love you, my heart?
That I not be your life, and you mine?
That I abandon you
for a new desire or a new hope?
If this were to happen may death not forgive me!
But if you are that heart
which makes my life so sweet and pleasant,
source of my every good, of every desire,
how could I leave you and not die?
Domine, ne in furore tuo arguas me,
neque in ira tua corripias me.
Miserere mei, Domine, quoniam infirmus sum,
sana me, Domine,
quoniam conturbata sunt ossa mea
et anima turbata est valde.
Sed tu, Domine, usquequo?
Lord, in your rage do not condemn me,
nor, in your anger, reprove me.
Have mercy, Lord, for I am weak;
heal me, Lord,
for my body is in torment and
my mind is greatly distressed.
But Lord, for how long?
Kyrie, eleison
Christe, eleison
Kyrie, eleison.
Lord, have mercy
Christ, have mercy
Lord, have mercy.
Gloria in excelsis Deo
et in terra pax hominibus bonae voluntatis.
Laudamus te, benedicimus te,
adoramus te, glorificamus te.
Gratias agimus tibi propter magnam gloriam tuam.
Domine Deus, Rex caelestis,
Deus Pater omnipotens.
Domine Fili, unigenite, Jesu Christe.
Domine Deus, Agnus Dei, Filius Patris.
Qui tollis peccata mundi
miserere nobis
Qui tollis peccata mundi
suscipe deprecationem nostram.
Qui sedes ad dexteram Patris
miserere nobis.
Quoniam tu solus sanctus, tu solus Dominus,
tu solus altissimus, Jesu Christe.
Cum Sancto Spiritu in gloria Dei Patris. Amen
Glory to God in highest heaven
and on earth peace to people of good will.
We praise you, we bless you,
we adore you, we glorify you.
We thank you for your great glory.
Lord God, King of heaven,
God the Father almighty.
Lord, the only son, Jesus Christ.
Lord God, Lamb of God, Son of the Father.
You who take away the sins of the world
have mercy on us.
You who take away the sins of the world
receive our prayer.
You who sit at the right hand of the Father
have mercy on us.
For you alone are holy, you alone are Lord,
you alone are the most high, Jesus Christ,
with the Holy Spirit in the glory of God the Father. Amen
Oimè il bel viso, oimè il soave sguardo,
oimè il leggiadro portamento altero,
oimè il parlar ch’ogni aspro ingegno et fero
facevi humile, ed ogni huom vil gagliardo!
Et oimè il dolce riso, onde uscio ‘l dardo
di che morte, altro bene omai non spero!
Ah that beautiful face, that gentle glance,
that graceful, proud bearing,
that voice that humbled every harsh wit
and would turn every coward brave!
And ah that sweet smile from which issued the arrow
of the death that is the only good I can ever hope for.
Alma real dignissima d’impero
se non fossi fra noi scesa si tardo:
per voi conven ch’io arda, e’n voi respiro,
ch’ i’ pur fui vostro; et se di voi son privo
via men d’ogni sventura altra mi dole;
di speranza m’empieste et di desire
quand’ io parti’ dal sommo piacer vivo,
ma ‘l vento ne portava le parole.
Her regal soul could have ruled an empire
if she had not arrived among us so late:
Naturally, for you I burn, in you I breathe,
that I have lived for you alone; and if I have to live without you,
that makes less all my other grief;
You filled me with hope and desire
when I left you in great delight
But the wind did not carry my words to you.
Credo in unum Deum
Patrem omnipotentem, factorem caeli et terrae
visibilium omnium et invisibilium.
Et in unum Dominum Jesum Christum,
Filium Dei unigenitum,
et ex Patre natum ante omnia saecula.
Deum de Deo, lumen de lumine,
Deum verum de Deo vero.
Genitum non factum, consubstantialem Patri:
per quem omnia facta sunt.
Qui propter nos homines
et propter nostram salutem
descendit de caelis.
Et incarnatus est de Spiritu Sancto
ex Maria Virgine
et homo factus est.
Crucifixus etiam pro nobis
sub Pontio Pilatus passus et sepultus est.
Et resurrexit tertia die
secundum scripturas.
Et ascendit in caelum,
sedet at dexteram Patris
Et iterum venturus est cum gloria
iudicare vivos et mortuos:
cuius regni non erit finis.
Et in Spiritum Sanctum Dominum
et vivificantem
qui ex Patre Filioque procedit.
Qui cum Patre et Filio simul adoratur
et conglorificatur:
qui locutus est per Prophetas.
Et unam sanctam catholicam
et apostolicam ecclesiam
Confiteor unum baptisma
in remissionem peccatorum.
Et expecto resurrectionum mortuorum
et vitam venturi saeculi. Amen.
I believe in one God
Father almighty, maker of heaven and earth
of all that can be seen and of that which is invisible.
And I believe in one Lord Jesus Christ,
the only Son of God,
and born from the Father before the world began.
God from God, light from light,
true God from true God,
Was born not made of one being with the Father,
through whom everything was made.
For us all
and for our salvation
He came down from heaven.
And he became flesh by the power of the Holy Spirit
from the Virgin Mary
and became man.
He was even crucified for us
under Pontius Pilate, he suffered and was buried.
And he rose again on the third day
according to the writings of old.
And he ascended into heaven
where he sits at the right hand of the Father.
And he will come again with glory.
to judge the living and the dead
and of his kingdom there will be no end.
And I believe Holy Spirit, the Lord,
the giver of life,
who comes from the Father and the Son,
who with the Father and the Son is worshipped
and glorified:
who has spoken through the Prophets.
And I believe in one holy catholic and apostolic church
I acknowledge one baptism
for the release from all sin
And I await the resurrection of the dead
and lifein the time that will come. Amen
Adoramus te, Christe,
et benedicimus tibi.
Quia per sanguinem tuum pretiosum
redemisti mundum.
Miserere nobis.
We adore you, O Christ,
and we bless you.
For by your precious blood
you have redeemed the world.
Have mercy on us.
Sanctus, sanctus, sanctus
Dominus Deus Sabaoth.
Pleni sunt caeli et terra gloria tua.
Hosanna in excelsis.
Holy, holy, holy
is the Lord God of the heavenly host.
Heaven and earth are full of your glory.
Hosanna in the highest.
Benedictus qui venit in nomine Domini.
Hosanna in the highest.
Blessed is the one who comes in the name of the Lord.
Hosanna in the highest
Sfogava con le stelle
Un infermo d’Amore
sotto notturno ciel il suo dolore,
e dicea, fisso in loro:
O imagini belle del’idol mio ch’adoro,
si com’a me mostrate,
mentre così splendete,
la sua rara beltate
così mostrast’a lei
i vivi ardori miei:
la fareste, col vostr’aureo sembiante,
pietosa sì, come me fat’amante.
Crying out to the stars
someone sick with Love
spoke of his sorrow under the night sky,
saying, his eyes fixed upon them:
O beautiful images of the idol I adore,
as you are showing me,
while you shine thus,
her rare beauty,
so you could show to her
my burning ardour:
you could make her, with your golden likeness,
show mercy, just as you make me her lover.
Luci serene e chiare,
voi m’incendete, voi; ma prov’il core
nell’incendio diletto, non dolore.
Dolci parole e care,
voi mi ferite, voi; ma prov’il petto
non dolor ne la piaga, ma diletto.
O miracol d’amore!
Alma ch’è tutta foco e tutta sangue
si strugg’e non si duol, mor’e non langue.
Eyes serene and clear,
you inflame me; but my heart feels
delight in the fire, not pain.
Sweet and dear words,
you pierce me; but my breast feels
not pain in the wound, but delight.
O miracle of love!
A soul that is all fire and all blood
consumes itself and does not hurt, dies and does not pine away.
Anima dolorosa che vivendo
tanto peni e tormenti
quant’odi e parli e pensi e miri e senti,
amor spiri? Che speri? Ancor dimori
in questa viva morte? In quest’inferno
de le tue pene eterno?
Mori, misera, mori!
Che tardi più? Che fai?
Perché, mort’al piacer, vivi al martire?
Perché vivi al morire?
Consuma il duol che ti consuma omai,
di questa morte che par vita uscendo.
Mori, meschina, al tuo morir morendo.
Sorrowful heart,that lives in
such great pain and torment
whatever you hear and speak and think and wonder and feel,
do you breathe love? What are you hoping for?
Do you still exist in this living death? In this hell
of your eternal anguish?
Die, wretched one, die!
Why do you delay? What are you doing?
Why, dead to pleasure, are you living as a martyr?
Why are you living to die?
Devour the sorrow which is now devouring you,
and leave this death that appears to be life.
You are dying, poor thing, by dying away to your death.
Ah! Dolente partita!
ah, fin della mia vita!
Da te parto e non moro? E pur i’provo
la pena de la morte,
e sento nel partire
un vivace morire,
che dà vita al dolore
per fa che moia immortalmente il core.
Ah! sorrowful parting!
ah, end of my life!
Do I part from you and not die? Even so I endure the pain of death,
and feel in the loss
a vital dying
that gives life to sorrow
through which my heart keeps dying forever.
Laudate, pueri, Dominum,
laudate nomen Domini.
Sit nomen Domini benedictum
ex hoc nunc et usque in saeculum.
A solis ortusque ad occasum,
laudabile nomen Domini.
Excelsus super omnes gentes
Dominus et super caelos gloria eius.
Quis sicut Dominus Deus noster
qui in altis habitat
et humilia respicit in caelo et in terra.
Suscitans a terra inopem
et de stercore erigens pauperem
ut collocet eum cum principibus populi sui.
Qui habitare facit sterilem in domo
matrem filiorum laetantem.
Gloria Patri et Filio
et Spiritui Sancto,
sicut erat in principio, et nunc et semper,
et in saecula saeculorum,amen.
Praise the Lord, servants of God,
praise the name of the Lord.
May the name of the Lord be blessed
from this time now and forever.
From the rising of the sun to its setting,
the name of the Lord is to be praised.
High above all nations
is the Lord and his glory is above the skies.
Who is there like our Lord God
who lives on high
and who looks on the lowly in heaven and on earth!
He raises the helpless from the ground
and lifts the poor man out of the dungheap
to set him with the princes of his people.
He causes the childless woman to make a home,
a mother rejoicing in her children.
Glory to the Father and the Son
and the Holy Spirit,
as it was in the beginning, is now and ever shall be,
world without end. Amen.
‘Rimanti in pace’ a la dolente e bella
Fillida, Tirsi sospirando disse.
‘Rimanti, io me ne vo; tal mi prescrisse
legge, empio fato, aspra sorte e rubella.’
‘Rest in peace’ sighed Thyrsis
to the beautiful and grieving Phyllis.
‘Rest, I’m going, as has been prescribed for me
by laws, by cruel fate, by bitter and hostile destiny’.
Ed ella ora da l’una e l’altra stella
stillando amaro umore, i lumi affisse
ne i lumi del suo Tirsi e gli trafisse
il cor di pietosissime quadrella.
And she, as one eye or the other
shed a bitter tear, her eyes fixed
on the eyes of her Thyrsis, pierced his heart
with the most pitying arrow.
Ond’ei, di morte la sua faccia impressa,
disse: ‘Ahi, come n’andrò senza il mio sole,
di martir in martir, di doglie in doglie?’
Then, with death imprinted on his face,
he said ‘Ah, how can I leave without my sun,
from torment to torment, from pain to pain?
Ed ella, da singhiozzi e pianti oppressa,
fievolmente formò queste parole:
‘Deh, cara anima mia, chi mi ti toglie?’
And she, overcome by sobs and weeping,
feebly spoke these words:
‘Alas, my dear heart, who takes you from me?
Agnus Dei, qui tollis peccata mundi,
miserere nobis,
dona nobis pacem.
Lamb of God, who takes away the sins of the world,
have mercy on us,
grant us peace.
Future concerts
Our 2025-26 season events haven't yet been fully planned. More information on each of our upcoming concerts and events will be posted here when it's available.