Vivaldi: Laudate peuri, Dominum/ In furore iustissimae irae Early Music Chaconne(Classics)

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ANTONIO VIVALDI

(1678-1741)

Suonata a quattro al Santo Sepolcro, RV 130

3:34

in E flat major - in Es-Dur - en mi bémol majeur

Largo molto -

1:44

Allegro ma poco

1:50

In furore iustissimae irae, RV 626*

14:01

Aria. In furore iustissimae irae

4:38

Recitative. Miserationum Pater piissime - Aria. Tunc meus fletus

7:47

Alleluia

1:36

Concerto a quattro, Op. 12 No. 3, RV 124

5:59

in D major - in D-Dur - en ré majeur

Allegro

2:23

Grave -

1:50

III

Allegro

1:46

Concerto a quattro, RV 129 'Madrigalesco'

4:14

in D minor - in d-Moll - en ré mineur

Adagio -

0:55

10.

Allegro -

1:35

11.

III

Adagio -

0:48

12.

[Allegro molto moderato]

0:56

Laudate pueri, Dominum, RV 601*†

24:32

13.

Laudate pueri, Dominum

3:21

14.

Sit nomen Domini benedictum

2:14

15.

III

A solis ortu usque ad occasum

4:42

16.

Excelsus super omnes gentes Dominus

3:07

17.

Suscitans a terra inopem

2:17

18.

Ut collocet eum cum principibus populi sui

1:58

19.

VII

Gloria Patri et Filio et Spiritui sancto

3:49

20.

VIII

Gloria Patri et Filio et Spiritui sancto

0:59

21.

Amen

1:56

Sinfonia al Santo Sepolcro, RV 169

3:15

in B minor - in h-Moll - en si mineur

22.

Adagio molto -

1:41

23.

Allegro ma poco

1:34

56:11

Chamber: Purcell Quartet

Catherine Mackintosh - Catherine Weiss violins

Richard Boothby cello

Robert Woolley organ

with

Stephen Preston flute†

Jane Rogers viola

Cecelia Bruggemeyer double-bass

4-6 March 1996

Catherine Bott shows theres more Vivaldi beyond the Gloria…

Classic CD

The works presented here are those presumed to have been written c1708, at a time of the first flowering of Bach’s genius. They are stunningly marvellous, and the performances on this CD are highly accomplished.

International Record Review

The Purcell Quartet and their distinguished single-voice ‘chorus’ simply and refreshingly take as they find by relishing the intimate and heart-warming potential of reflective devotion which ‘Christ lag in Todesbanden’ and ‘Gottes Zeit’ (or Actus tragicus), the two best-known works here, offer. Throughout, the mixed group of singers and instrumentalists provide a lightness of touch where others might sink into despondent purplish textures. There is certainly less of the smouldering rhetoric of the rich palette of Continental ensembles and yet rarely has the stark trajectory from loneliness to hope been so intimately realised in ‘Christ lag’ – Bach’s first real masterpiece.

Gramophone

Catherine Botts ethereal soprano and the instrumental vitality of the ensemble prove a winning combination…

The Observer

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