The 1610 Vespers, composed at a pivotal moment in Claudio Monteverdi’s life when he sought not only to establish his new musical language but also to obtain high-placed employment, take on new significance here. Based on a renewed philological approach and the most recent musicological research, this version recreates the Vespers in accordance with the Mantuan customs of the time, featuring an order of service and plainchant drawn from local sources. Recorded in the Palatine Basilica of Santa Barbara in Mantua and using only the instruments mentioned in the score, this interpretation favours a chamber aesthetic, as suggested by Monteverdi’s remark ad Sacella sive Principum Cubicula accomodata — a work conceived for chapels and the princes’ chambers — and reveals the Vespers in their original intimacy and far removed from monumental display.

Tarquinio Merula belonged to a generation of Italian composers, all of whom were born around 1600, for whom the concertante style was no longer a new idiom but a preferred musical medium, one that had been acquired in childhood and which had become not only the dominant musical language of the time but which was also to spread across the whole of Europe. Tarquinio Merula was renowned as a violin and organ virtuoso and published a wide variety of instrumental music per la chiesa e la camera. Here InAlto explores Merula’s sacred works, including the famous lullaby Hor che è tempo di dormire. His works may seem simple at times, but are impressively innovative; whilst sacred in character, they are rooted in human emotion.

"The mute cornett, whose mouthpiece resembles that of the cornett but is integrated into the instrument, has a very soft and tender sound. For this reason it is called a mute cornett”. Four such instruments that by some miracle survived the loss of the great collections of the Kassel court are now kept in Leipzig; these instruments formed the starting point for a doctoral thesis led by Lambert Colson.

Ceremonies, both festive and solemn, lie at the heart of all the works in this programme devoted to German music of the 17th century, beginning with music by Heinrich Schütz and ending with Johann Sebastian Bach. These occasional works make frequent use of brass instruments, whose sound is both the foundation and the identity of the InAlto ensemble. This 17th century tradition is reflected in Beethoven’s Aequales for trombone quartet; these are presented here together with their sung texts.