The full extent of Vivaldi’s output
was not known until the Italian National
Library in Turin acquired the library
of his surviving manuscripts.
Just as in the concertos,
there was the prejudice that he wrote
the same concerto repeatedly and only
The Seasons was played, it has
taken time for the remainder of his
sacred music to come out of the shadow
of the famous Gloria.
This compact boxed
set (cardboard slip-cases and abbreviated
liner-notes) is Hyperion’s repackaging
of Robert King’s pioneering project
from the 1990s to record all of Vivaldi’s
sacred music. And there is a significant
amount: eleven well-filled CDs.
Most of the music comes
from three distinct periods in Vivaldi’s
life. He was trained as a violinist
by his father, but life as a jobbing
musician brought all manner of surprises.
His Stabat Mater RV 621 was written
for the patronal festival of the Church
of Santa Maria dell Pace in Brescia
in 1712; this is probably his earliest
surviving sacred music. Then in 1713,
Gasparini left his post as choirmaster
at the Pieta orphanage where Vivaldi
worked as violin-master and orchestral
director. Gasparini was not replaced
until 1719 and in the interim Vivaldi
and the singing-master deputised providing
singers for the choir and writing music.
The Pieta was not just an orphanage,
they also took talented young girls
for training as musicians; the boys
were trained to be apprentices. This
meant the choir was made up solely of
girls. Vivaldi’s choral music from this
period is four-part SATB with high tenor
parts (suitable for singing by women)
and simple bass parts. These latter
were probably sung either by a few women
with really low voices or an octave
higher. Solo parts were for high voices
and called for some considerable virtuoso
talent.
From the mid-1720s
to the early 1730s, his second period,
Vivaldi wrote a series of more elaborate
sacred works, often for two ensembles:
two choirs and two orchestras. These
are more flamboyant, contrapuntal works
than the earlier ones and have bass
parts unsuitable for singing by women.
There is some connection with the Feast
of St. Lawrence and the music may have
been written for patronal festivals
for the Venetian church of San Lorenzo.
Just five works survive from Vivaldi’s
third period, when in 1739 he again
supplied works for the Pieta.
Disc 1 opens with the
Magnificat RV610a which is beautifully
constructed, full of well engineered
contrasts; the big choral statements
being strongly projected by the Kings
Consort forces. I found Catherine Denley’s
solo contributions a little careful
but enjoyed those by Susan Gritton and
Lisa Milne.
Lauda, Jerusalem
RV609 is a single movement work written
for two sopranos (Susan Gritton and
Lisa Milne), double choir and double
string orchestra with an opening featuring
a vigorous chorus and strings. Ensemble
and solo moments alternate to create
a work with a very satisfying balance.
The Kyrie RV587
for double choir and double string orchestra
features a haunting slow introduction;
when the choir does come in they produce
some stunning choral suspension. The
Kyrie is followed by the Credo
RV591 for choir and orchestra; barely
longer than the Kyrie; Vivaldi
seems to have been at pains to ensure
the clarity of the words.
The last work on this
disc is the Dixit Dominus RV594
for soloists, double choir, double string
orchestra, two oboes and two trumpets.
A lively opening movement is followed
by some lovely contrasting moments;
the soprano duet Virgam virtutis
tuae, the remarkable upward glissandi
on the trumpets in Iudicabit in nationibus
and an attractive if effortful duet
between the male soloists, Lynton Atkinson
and David Wilson-Johnson. Again though,
I was a little disappointed in Catherine
Denley but did wonder about the tessitura
of her part as it sounds a little low
for her.
The contribution which
Robert King and his forces make to these
items is incalculable. As ever, King’s
speeds are always apposite and choir
and orchestra project with crispness
and brilliance.
The 2nd
disc consists of six motets for solo
voice and string orchestra. Each motet
is divided into opening da capo aria,
recitative, slower aria and concluding
Alleluia; but within this Vivaldi finds
some thrilling variations. The first
two motets start with brilliant dramatic
arias but variety comes from the voice
types. In In fuore iustissimae irae
RV626, soprano Deborah York copes
well with the taxing passagework, but
I would have liked a little more vocal
bravura, and this contrasts well with
the low mezzo-soprano Catherine Denley
in Longe mala, umbrae terror
RV629, though again I found Denley a
little too careful in her passagework.
All the soloists on this disc turn in
admirably musical performances but with
the exception of James Bowman, rather
lack the slightly over the top bravura
which the pieces require of their soloists.
Bowman’s first motet,
Clare stellae, scintillate RV625
is rather courtly and less virtuoso
but Bowman put over the words quite
vividly. This is also true of his second
motet Filiae maestae Jerusalem
RV 638 which opens with a lovely accompagnato.
Deborah York is the
heroine of the disc, performing three
motets in all. The gem of the set is
the final motet Nulla in mundo pax
sincera RV630, which opens with
a lovely siciliana, affectingly sung
by York. This is followed by a truly
bravura recitative which York throws
off with relish going on to give include
a cadenza in the bravura final movements.
The third disc opens
with the Dixit Dominus RV 595
which starts brilliantly with chorus
and trumpets; this promising opening
is followed by a lovely soprano solo
from Catrin Wyn-Davies and a soprano
duet where Wyn-Davies and Susan Gritton
blend beautifully with the concertante
cello part. Gritton contributes a brilliant
solo.
In the short but striking
Domine ad adiuvandum RV593, good
antiphonal advantage is taken of the
two choir layout. Here Susan Gritton
contributes a lovely elaborate solo
in the Gloria Patri and the piece
concludes with a fine Fugue, something
not much heard on these discs. Credidi
propter quod RV605 is an attractive
and rather substantial choral movement.
This disc concludes with a pair of settings
of Beatus Vir. The first (Beatus
Vir RV598), a miracle of compression
with a rather short choral part complimented
by some lovely singing in thirds from
the soloists, it was almost certainly
written for the Pieta.
The second Beatus
Vir RV597 is far more substantial
and makes much of the double nature
of the vocal/instrumental forces. A
double chorus is followed by a duet
for two basses (Michael George and Neal
Davies) - quite a rarity - and duet
for two sopranos (Susan Gritton and
Catrin Wyn Davies); each movement is
linked by the antiphon phrase Beatus
vir sung by the chorus to the opening
music. The result is a most attractively
structured work.
Discs 4 and 5 consist
of one work, the oratorio Juditha
Triumphans. This tells the rather
grisly Biblical tale of how Judith seduces
the enemy general Holofernes and chops
off his head in order to save the Jews;
a distinctly odd choice of subject matter
given that it was written for performance
by an all female cast at the Pieta.
All the solo parts are written for female
voices. Though the subject matter inclines
to the dramatic, Vivaldi’s setting does
not; the events unfold in a leisurely
fashion with a number of significant
arias for each of the soloists. I have
not always found this work to be satisfactory,
but under Robert King’s vibrant direction
and with his superb cast, I was bowled
over. It is not easy casting and recording
a work with five solo female voices,
but King has chosen a group who can
all cope with the virtuoso nature of
Vivaldi’s vocal writing but who have
sufficiently contrasting voices. Maria
Cristina Kiehr is the only soprano in
the group and is positively brilliant
in the role of Vagaus, giving superb
shape and projection to her arias. In
the title role Ann Murray is superbly
affecting; perhaps her passagework is
a little smudged but she knows how to
use Vivaldi’s vocal lines for telling
emotional effect. Susan Bickley has
a good ring to her voice as the barbarian
general Holofernes. In the relatively
short role of Ozias, Jean Rigby is in
superb firm voice, making me wish for
more.
To vary the vocal quality
of the solo number, Vivaldi often accompanies
the voices by obbligato instruments;
the result is a ravishing sequence of
arias accompanied by such instruments
as chalumeau, mandolin, recorders and
viola d’amore.
Disc 6 consists of
a further group of works for solo voices.
Susan Gritton is in brilliant form is
the lively motet In Turbato Mare
RV627 which takes the same form
as the motets on the second disc, ending
in an Alleluia. Jean Rigby’s motet Non
in pratis aut in hortis RV641 takes
a different form; a long aria preceded
by a recitative and accompagnato, the
whole completed with another short recitative.
Rigby is on fine form in the lovely,
contemplative aria.
The plum on this disc
is the Stabat Mater RV621, a
much recorded work. Vivaldi sets the
verses of the poem in nine contrasting
movements, repeating the serene music
of the opening. I am rather fond Robin
Blaze’s voice, it has something of an
edge to it; his account is not the loveliest
on record, other counter-tenors can
provide sheer beauty. What Blaze brings
to the music is a beautifully intelligent
sense of line and poise. The result
is a performance which is profoundly
moving.
Susan Gritton returns
for O qui caeli terraeque serenitas
RV631, this time a motet in a rather
courtlier mode, but still ending in
an Alleluia. The disc concludes with
a pair of works for soloists and accompaniment,
no chorus, neither utilises a soprano
soloist and in both, Jean Rigby’s alto
part almost sounds as if it could have
been written for a man.
Disc 7 opens with another
substantial Beatus Vir setting,
this time RV795 for one soprano soloist
(Susan Gritton) and three altos (Nathalie
Stutzman, Alexandra Gibson and Hilary
Summers). Again Vivaldi links the solo
movements with choral repetitions of
the antiphon phrase Beatus vir
sung to the opening music, but in this
Beatus Vir the number 3 features
rather a lot. Susan Gritton first of
all has a row of three arias (fast,
slow then fast); Gritton is excellent
here, displaying good focused tone and
fine passagework. Then there is a lovely
trio for the three altos, each of them
contributing some shapely phrasing.
Then there are three alto solos; in
the first Alexandra Gibson is a shade
careful but in the final two Hilary
Summers displays her wonderful caramel
tones to good effect.
Gritton is equally
on form in the Salve Regina RV617
which features lovely violin playing
from Simon Jones in two of the four
movements.
Two short choral pieces,
Laudate Dominum RV606 and In
exitu Israel RV604 complement rather
simple homophonic choral parts with
more lively string parts. You get the
impression that Vivaldi was mainly concerned
to get the words over clearly, and perhaps
minimise the limitations of his chorus;
but Choir of the King’s Consort manage
to make much what little is given them.
The disc concludes
with a psalm setting for solo voice;
the Nisi Dominus RV608 sung by
Nathalie Stutzman. Opening with some
fine, crisp passagework the piece alternates
faster and slower movements, taking
in the haunting beauty of the andante
Cum dederit, and the larghetto
Gloria Patri with a lovely viola
d’amore solo from Katherine McGillivray.
Though soprano Susan Gritton was on
fine form on this disc, it is the lovely,
dark alto voices of Nathalie Stutzman
and Hilary Summers which stick in the
memory.
Disc 8 starts with
a further piece for homophonic chorus
and lively strings, Laetatus sum
RV607. This is followed by Carolyn
Sampson in brilliant form in the Laudate
Pueri RV601 for soprano and strings.
Again Vivaldi alternates fast and slow
arias, the fast ones requiring (and
getting) some considerable virtuoso
brilliance from Sampson. The piece concludes
with a bipartite Gloria Patri,
the first a beautiful movement with
solo flute from Rachel Brown, the second
returning to the virtuoso passagework
of the opening.
Vestro Principi
divino RV633 is a four movement
motet constructed like those earlier
in the set, with a lively opening, recitative,
slower aria and brilliant Alleluia close.
In this one Stutzman combines her fine,
dark tones with some crisp passagework.
The disc concludes
with the Gloria RV588 and its
matching Introduzione Jubilate, o
amoeni chori RV639. Stutzman is
again in fine form in the bravura Introduzione.
The Gloria features a lovely duet from
Susan Gritton and Carolyn Sampson and
fine solo work from Gritton, Sampson,
Stutzman and Charles Daniels, plus the
obbligato oboe playing of Alexandra
Bellamy. But the choir also get their
moments to shine as Vivaldi gives them
some music to really get their teeth
into.
Disc 9 consists of
five works for soloist alone, without
choir. In the first, Sum medio tempestatum,
the four movement (fast, recitative,
slow, alleluia) motet provides a good
showcase for the lyric coloratura talents
of soprano Tuva Semmingsen. Then another
Laudate Pueri RV600, sung
by Susan Gritton. The opening movement
features vigorous strings and some fine
passagework from Gritton, but in the
slower 2nd movement the throbbing
strings suddenly transport us to the
world of The Seasons. Slow and
fast movements alternate; crisp coloratura
from Gritton is followed by a Gloria
Patri featuring the violin playing
of Simon Jones.
Nathalie Stutzman returns
for Cur sagittas, cur tela RV637,
a four movement motet which does not
end with an Alleluia but with a remarkable
dramatic recitative. Stutzman’s solo
part is remarkably low; despite the
tessitura she contributes some fine
coloratura.
Susan Gritton sings
the short Sanctorum meritis RV620
and the disc concludes with Salve
Regina RV616. In this Stutzman is
accompanied by two flutes and double
string orchestra. Another low contralto
part, well taken by Stutzman, is accompanied
by some lovely, rich textured orchestral
playing with Vivaldi making the most
of his double forces.
Disc 10 opens with
the Laudate Pueri RV602. It is
quite remarkable how Vivaldi manages
to ring the changes on these multiple
settings of the same vespers texts.
Here sopranos Carolyn Sampson and Joanne
Lunn contribute some brilliant, bravura
duets accompanied by the relatively
straightforward choruses and each soloist
gets to sing a lovely, lyric solo.
Stutzman sings the
Salve Regina RV618; perhaps not
one of Vivaldi’s most inspired works,
but Stutzmann is most persuasive. Though
Vivaldi alternates slow and fast movements
he starts and finishes slowly, the ending
particularly is most haunting.
Joyce DiDonato displays
some vibrant coloratura in Ascende
Laeta RV635; a three movement work
with a dance-like final movement. Susan
Gritton is the soloist in the short
Gaude mater Ecclesia RV634. Carolyn
Sampson returns in sparkling form with
the motet Vos Aures per montes RV634,
in the usual 4 movement format with
a closing Alleluia in sprightly triple-time.
There is one extra item on the disc,
a stray Gloria Patri RV602a.
The final disc in the
set opens with the best known work,
Gloria RV 589. This finds soloists
Carolyn Sampson, Joanne Lunn and Joyce
DiDonato, choir and orchestra on peak
form and makes a fitting climax to the
set. This is followed by the lovely
Nisi Dominus RV803, written for
just soloists (Carolyn Sampson, Tuva
Semmingsen and Hilary Summers) and orchestra.
But what gives the work its wonderful
festal air is the presence of a variety
of obbligato instruments in the different
movements. This must have been a real
showpiece for the Pieta forces. Kings
Consort instrumentalists Katherin McGillivray
(viola d’amore), Colin Lawson (chalumeau),
Simon Jones (violin ‘in tromba marina’),
Jonathan Cohen (cello) and Silas Standage
(organ) all match the vocal soloists
in their virtuosity. This work has only
recently been identified as being by
Vivaldi (the manuscript misattributes
it to Galuppi) by Michael Talbot in
2003, just in time to be included in
this set.
Carolyn Sampson is
the soprano soloist in the motet Ostro
picta RV642, a pair of brilliant
arias separated by a recitative. The
closing work in the set is something
of a novelty, the Gloria RV ANH.
23, actually a work by Giovanni
Maria Ruggieri but which Vivaldi quarried
for ideas for both his Glorias. It opens
with a magnificent choral statement,
decorated with trumpets and throughout
the piece the solo numbers are punctuated
with massive choral statements. Only
Robin Blaze gets a real solo movement,
all the rest are combined in solo ensembles
(with fine soloists taken from the choir)
which make a fine contrast with the
choral movements. Whilst one can identify
ideas re-used by Vivaldi throughout
the piece, it ends with what is apparently
the same movement as the Cum sancto
spirito from the Gloria RV589,
almost as if Vivaldi lifted it bodily.
Despite the compact
nature of this boxed set, Hyperion still
manage to include an illuminating essay
on Vivaldi’s sacred music, complete
texts, full track listings and credits.
You can even down-load Michael Talbot’s
detailed programme notes for each disc
from the Hyperion website.
This set is a magnificent
pioneering achievement; Vivaldi’s sacred
music was written for talented virtuoso
soloists and Robert King has assembled
a good team who, by and large, do justice
to Vivaldi’s music. At all times they
are accompanied by the incomparable
King’s Consort. Where Vivaldi gives
them something to get their teeth into,
the Choir of the King’s Consort is equally
admirable. The consistently stylish
singing and playing from the King’s
Consort is one of the great pleasures
of this set. Robert King’s tempi are
always apt and his musicians respond
with playing which is crisp and lively
whilst always remaining well shaped;
the faster movements have a nice degree
of bounce.
The performances here
are never less than musical and satisfy
in many ways, but the style of performance
does have something of the coolness
of Northern climes hanging over it.
This may be entirely to people’s taste,
but it is instructive to compare some
of the King’s Consort performances with
those of on the Opus 111 label. Opus
111 are currently in the process of
releasing their own Vivaldi series,
but this covers much more than the sacred
music; Opus 111 are attempting to do
justice to all of Vivaldi’s music in
the National Library in Turin. Rinaldo
Alessandrini and Concerto Italiano have
contributed discs of the sacred music.
Alessandrini’s performances have a vibrancy
and vividness to them which is extremely
appealing and particularly wonderful
when heard live. But I still find myself
returning to Robert King and his forces
for their crisp perfection. And after
all, this wonderful boxed set is available
for under £50.
Robert Hugill
The Choir of the King’s Consort 
for
details
