Soloists, choirs and instruments join forces for this third volume of Vivaldi’s sacred music performed by Robert King and what, in this instance, may justifiably be called his King’s Consortium. I enjoyed the first volume (6/95), missed out on the second (7/96), but am happy to encounter the third which contains two of Vivaldi’s most extended and impressive psalm settings. These are the single-choir Dixit Dominus, RV595 (Psalm 110), and double-choir Beatus vir, RV597 (Psalm 112). Vivaldi set both psalms more than once and King’s programme also includes the single movement Beatus vir, RV598, as well as the response, Domine ad adiuvandum me, RV593, and the conservatively styled Vesper psalm, Credidi propter quod, RV605.
One aspect of this music which ought to strike listeners is its sheer variety. Not just variety in colour – the present Dixit setting features a trumpet and a pair of oboes – but also of expressive nuance achieved, as so often by Vivaldi, by gently beguiling inflexions, and by a simple directness of communication, a characteristic feature of his style for which he is too often castigated, and too seldom praised. Both of the generously proportioned psalm settings on this disc provide ample evidence of his originality in the sphere of sacred vocal music and both should make wise and immediate appeal to a cross-section of readership. The King’s Consort Choir, some 20 voices in all, make a lively and warm-textured contribution; indeed, the soprano section is excellent, though I liked the male alto strand rather less. The solo line-up is also quite a strong one with Susan Gritton and Catrin Wyn-Davies providing an evenly matched, lightly articulated partnership in their two duets. Neal Davies and Michael George are splendidly robust in their vigorous “Potens in terra” duet from Beatus vir (RV597). Catherine Denley gives an appropriately strongly inflected account of “Judicabit in nationibus”, heralded by Crispian Steele-Perkins’s awesome solo trumpet blasts, but is intimate and tender in her beautiful “De torrente in via bibet” (from Dixit). The remaining soloist, Charles Daniels, delivers the virtuoso “Peccator videbit” (Beatus vir, RV597) with articulate lightness and comfortable agility.
Though consisting of only three movements and of short duration, the G major Domine ad adiuvandum me, for double choir and orchestra with solo soprano (Susan Gritton), is easily on a level with the larger-scale pieces. Its expressive warmth is irresistible, its textual illustration effective and its structure taut, coherent and satisfying. A rewarding issue, well documented and spaciously recorded.'