Tag: Choral

The Syred Consort, Orchestra of St Paul’s, Ben Palmer
79:28
Delphian DCD34182
Credo in g, Dixit Dominus in g, Miserere in c, Missa Sancti Christophori

[dropcap]L[/dropcap]otti is best known for the three Crucifixes a6, 8 & 10 (though there are more), extracted from Masses in the 19th century. He was born in 1667 and studied with Legrenzi from 1683. He joined the musical fraternity of St Cecilia at the basilica of St Mark and worked from 17 till his death in 1740. There is one tiny slip in the second column: “Claudio Monteverdi, Lotti’s predecessor…” could appear to have placed Lotti immediately after Monteverdi, who died in 1643! Lotti began his work at San Marco as an alto in 1689, then 2nd organist (1692), first organist (1704) and maestro di cappella from 1736. He also wrote operas (1692-1719), seven oratorios, only two of which survived, and a large number of secular cantatas.

The title is somewhat confusing: but it should just be ignored. The disc includes four substantial liturgical works, as listed above. The booklet is extremely informative. The performances are vigorous and bold for much of the time, with some slower sections that contrast well. This disc is a revelation, in terms of the composer and also of the ability of the performers – full marks!

Clifford Bartlett

Hana Blažiková, Lucile Richardot, Kamila Mazalová, Václav Čížek, Stephan MacLeod SAATB, Collegium Vocale 1704, Collegium 1704, Václav Luks
71:45
Accent ACC24301

[dropcap]S[/dropcap]t. Francis Xavier held a special place in the liturgy of the Dresden court on account of his being the “Holy Patron” of Maria Josepha (Austrian-born wife of August II, “the Strong”). The two works on this magnificent recording date from 1729 and most likely represent Zelenka laying out his wares in the hope of being officially appointed as successor to the recently deceased Kapellmeister, Johann David Heinichen. As Jan Stockigt’s typically detailed notes explain, even without a Credo setting, the mass rivals anything else he wrote in terms of sheer scale, and his setting of the litany is similarly expansive; whether Heinichen’s demise was seen by the court accountants as a financial blessing, or whether musical fashion was changing around him, Zelenka did not secure promotion… Be that as it may, both of these pieces are most welcome to the catalogue, in stunning performances from soloists, choir and orchestra alike; I have to concur entirely with Stockigt’s highlighting the “Quoniam” of the mass as an absolutely outstanding piece of writing – three instrumental groups alternating with the four solo voices and added (4!) trumpets and drums for the ritornelli. The edition is now available from Bärenreiter Praha, so I hope there will be a spate of performances around the world!

Brian Clark

Musica Fiorita, Daniela Dolci
61:38
Pan Classics PC 10344
+music by Banchieri, Cima, Donati, Grancini, Rognoni & de Selma

[dropcap]T[/dropcap]he madrigal Vestiva i colli  by Palestrina occasioned a flurry of interest in the years following its appearance, and its music became the subject of parody motets (including some by Palestrina himself), sets of divisions and even a Mass by Baldassare Vialardo. The present CD is a survey of these works, built around the movements of Vialardo’s Mass. The four solo voices and brass and strings of Musica Fiorita produce a lovely rich ensemble sound, and the solo instruments and voices in turn provide engaging accounts of the virtuosic divisions by a variety of composers. Of Baldassare Vialardo little appears to be known – the programme note imparts little apart from the fact that he died after 1620 and even Mr Google is at something of a loss. He was a thoroughly capable composer though, and the Mass displays a thorough acquaintance with forces it is written for as well as an imaginative and inventive style. The CD also usefully dredges up composers about whom a little more is known and precious little of whose music has been recorded. Among these is the violin virtuoso Francesco Rognoni, and the rarely heard but impressively creative Giovanni Cima, Michel’Angelo Grancini and Bartolomeo de Selma. The star of the programme however is Vialardo about whom it would be fascinating to know more, such as where he worked and who influenced him in his composition.

D. James Ross