The Ecstasy of St.Teresa

Extremes of feeling and depiction from the High Renaissance

“Beside me on the left appeared an angel in bodily form . . . He was not tall but short, and very beautiful; and his face was so aflame that he appeared to be one of the highest ranks of angels, who seem to be all on fire . . . In his hands I saw a great golden spear, and at the iron tip there appeared to be a point of fire. This he plunged into my heart several times so that it penetrated my entrails. When he pulled it out I felt that he took them with it, and left me utterly consumed by the great love of God. The pain was so severe that it made me utter several moans. The sweetness caused by this intense pain is so extreme that one can not possibly wish it to cease, nor is one's soul content with anything but God. This is not a physical but a spiritual pain, though the body has some share in it -- even a considerable share.”

 The connection between spiritual and physical pleasure, violent religious and secular emotion was something that consciously or subconsciously fascinated late-Renaissance and early Baroque composers in Italy.

This programme presents works of the four greatest composers of the time – Palestrina, Gesualdo, De Wert and Monteverdi. Their music shared many characteristics, if differing aims. Settings from the Song of Songs are a feature of this programme. These provocative texts inspired the graphic depiction, in fascinatingly differing way, of these great composers.

Palestrina wrote masses and motets that perfectly characterised the sacred texts he used.  He is usually seen as the classic and cool composer of late 16 th century Rome but his Song of Songs settings have a passion and controlled heat that aches through the symbolic poetry.

De Wert and Gesualdo's madrigals are known for their wild mannerist techniques - a counterpart to the mannerist sculpture of the period and violent in tone and gesture.  Yet their sacred music has the same spirit.  What possessed them?

Beyond all these, Monteverdi’s music has a psychological depth which reaches the heart of his subject matter, whether setting erotic duets or impassioned religious motets.

6-7 voices / 2 continuo players

This list of pieces is only a suggestion and must be confirmed with I Fagiolini before going to print.