Vivaldi Sacred Music, Vol. 3
View record and artist detailsRecord and Artist Details
Composer or Director: Antonio Vivaldi
Label: Philips
Magazine Review Date: 4/1992
Media Format: CD or Download
Media Runtime: 53
Mastering:
DDD
Catalogue Number: 432 104-2PH
Tracks:
| Composition | Artist Credit |
|---|---|
| Laudate pueri Dominum |
Antonio Vivaldi, Composer
Antonio Vivaldi, Composer Concertgebouw Chamber Orchestra Margaret Marshall, Soprano Vittorio Negri, Conductor |
| Salve Regina |
Antonio Vivaldi, Composer
Antonio Vivaldi, Composer Concertgebouw Chamber Orchestra Jochen Kowalski, Alto Vittorio Negri, Conductor |
| Confitebor tibi Domine |
Antonio Vivaldi, Composer
Anton Scharinger, Baritone Antonio Vivaldi, Composer Concertgebouw Chamber Orchestra Jochen Kowalski, Alto Nico van der Meel, Tenor Vittorio Negri, Conductor |
| Regina coeli |
Antonio Vivaldi, Composer
Antonio Vivaldi, Composer Concertgebouw Chamber Orchestra Nico van der Meel, Tenor Vittorio Negri, Conductor |
Author: Nicholas Anderson
Hardly had I finished reviewing Vol. 2 (see above) in Vittorio Negri's series of Vivaldi's sacred music for solo voices and instruments, than the third and final volume appeared. It contains two little-known Marian antiphons and two psalm settings. The antiphons are a Salve regina and an incomplete Regina coeli, and the psalms Confitebor tibi, Domine and Laudate pueri Dominum. Vivaldi made three settings of the Salve regina, of which this one (in G minor) is the most striking. The other two are included in Vol. 1.
The present work is scored for solo alto with strings, oboes and continuo. The soloist is the countertenor, Jochen Kowalski, who responds to the music with warmth and lyricism. There are some affecting moments in this intimate score notably, perhaps, in the tender ''Ad te suspiramus''. All that survives of the Regina coeli, alas, are its two concluding movements. These suggest that the remainder of the setting was both colourful and full of contrasts. What we have is a section with da capo for alto, two trumpets and strings and another for tenor with strings. This also comes over well in performance, though Kowalski sounds a shade uncontrolled in the da capo conclusion.
The two psalm-settings are of considerable interest. The Confitebor tibi was new to me and I would hazard a guess that this is its first commercial recording. One of its unusual features is its scoring for a vocal trio, not just three voices though these are heard singly, too, but also a sustained ensemble texture. And I was delighted to find one of my favourite Vivaldi operatic terzettos providing a conclusion to the work. Vivaldians will quickly identify it as the trio which ends the First Act of La fida ninfa. Vivaldi's parody operates in the reverse order, for instance to Bach's secular to sacred pattern since, as Michael Talbot remarks in his notes, the opera followed the psalm.
The Laudate pueri for soprano, oboes, strings and an obbligato flute will be familiar to some readers since there are three alternative versions with Lynne Dawson (Meridian), Maria Zadori (Hungaroton) and Magda Kalmar (Hungaroton (CD) HCD11632-2). Margaret Marshall is on top form, though I found her too distantly placed from the microphone in relation to the accompanying ensemble. This is a radiant, joyful piece of virtuoso writing for the voice. With its many subtle contrasts and vivid word-painting, it seems to me to sit comfortably atop the Vivaldi solo sacred music tree along with the Stabat mater and Nisi Dominus. There are no weak links in this beautiful, often exhilarating piece and listeners will not, by and large, be disappointed by the performance. Dawson and Zadori are at an advantage, perhaps, in singing the music at a lower baroque pitch, but even so Marshall hits her high notes—and there is no shortage of them—dependably and with panache.
A satisfying performance which brings up the rearguard of this new series of Vivaldi's sacred music from Philips with distinction.'
The present work is scored for solo alto with strings, oboes and continuo. The soloist is the countertenor, Jochen Kowalski, who responds to the music with warmth and lyricism. There are some affecting moments in this intimate score notably, perhaps, in the tender ''Ad te suspiramus''. All that survives of the Regina coeli, alas, are its two concluding movements. These suggest that the remainder of the setting was both colourful and full of contrasts. What we have is a section with da capo for alto, two trumpets and strings and another for tenor with strings. This also comes over well in performance, though Kowalski sounds a shade uncontrolled in the da capo conclusion.
The two psalm-settings are of considerable interest. The Confitebor tibi was new to me and I would hazard a guess that this is its first commercial recording. One of its unusual features is its scoring for a vocal trio, not just three voices though these are heard singly, too, but also a sustained ensemble texture. And I was delighted to find one of my favourite Vivaldi operatic terzettos providing a conclusion to the work. Vivaldians will quickly identify it as the trio which ends the First Act of La fida ninfa. Vivaldi's parody operates in the reverse order, for instance to Bach's secular to sacred pattern since, as Michael Talbot remarks in his notes, the opera followed the psalm.
The Laudate pueri for soprano, oboes, strings and an obbligato flute will be familiar to some readers since there are three alternative versions with Lynne Dawson (Meridian), Maria Zadori (Hungaroton) and Magda Kalmar (Hungaroton (CD) HCD11632-2). Margaret Marshall is on top form, though I found her too distantly placed from the microphone in relation to the accompanying ensemble. This is a radiant, joyful piece of virtuoso writing for the voice. With its many subtle contrasts and vivid word-painting, it seems to me to sit comfortably atop the Vivaldi solo sacred music tree along with the Stabat mater and Nisi Dominus. There are no weak links in this beautiful, often exhilarating piece and listeners will not, by and large, be disappointed by the performance. Dawson and Zadori are at an advantage, perhaps, in singing the music at a lower baroque pitch, but even so Marshall hits her high notes—and there is no shortage of them—dependably and with panache.
A satisfying performance which brings up the rearguard of this new series of Vivaldi's sacred music from Philips with distinction.'
Vivaldi Sacred Music, Vol. 3
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