A re-issue from Chaconne 
                of a delightful collection of rather 
                interesting works by Vivaldi, here performed 
                excellently by The Purcell Quartet and 
                Catherine Bott. As well as the obvious 
                choral/vocal works, many of Vivaldi’s 
                instrumental pieces were also composed 
                for religious services. It is impossible 
                to say which – if any – instrumental 
                works were purely secular. Some fine 
                examples are provided here. 
              
 
              
The disc commences 
                with a skilfully-fashioned Suonata 
                a Quattro al Sepolcro, which immediately 
                shows the players’ mastery of this repertoire, 
                and their outstanding level of ensemble 
                playing – sensitive and understanding. 
              
 
              
The following work, 
                In Furore iustissimae irae, introduces 
                Bott’s distinctive and sweet voice with 
                the exciting aria "In furore iustissimae 
                irae". She creates a suitably plaintive 
                mood in the aria "Tunc meus fletus", 
                and demonstrates great versatility and 
                agility in the ensuing Alleluia. 
              
 
              
The music in the Concerto 
                a Quattro "Madrigalesco" (meaning 
                "in the style of vocal polyphony") 
                may strike one as oddly familiar – most 
                likely because the listener will be 
                better acquainted with the vocal works 
                on which it is based. Again the Purcell 
                Quartet give a polished yet warm performance. 
              
 
              
The Laudate pueri, 
                Dominum is probably the main gem 
                here. It is a charming work, full of 
                innovation, not least by including the 
                highest note anywhere in Vivaldi’s sacred 
                music, and the use of the transverse 
                flute as an obbligato instrument. A 
                fairly virtuosic work for the voice, 
                Bott carries it off with flair. From 
                the operatic "Sit nomen Domini 
                benedictum" to the gentle, searingly 
                beautiful and lyrical "A solis 
                ortu usque ad occasum", she combines 
                a welcome lightness of touch and richness 
                of tone, whilst showing dexterity and 
                a greatly impressive range with some 
                extremely demanding high notes! 
              
 
              
All these works are 
                taken at a good steady pace, and the 
                playing is accomplished throughout. 
                Bott’s lush and mature soprano captures 
                the nuances well, and brings a sparkle 
                to these gorgeous works. A combination 
                of wonderful music and exquisite music-making 
                that I definitely recommend. 
              
Em Marshall