Document

  1983
    August 1983
        Choral and Song
                Vivaldi Gloria, RV588. Gloria, RV589.

Vivaldi Gloria, RV588 ^a. Gloria, RV589. Lynda Russell (sop) Patrizia Kwella (sop) ^a Anne Wilkens (mez) ^a Kenneth Bowen (ten) Wren Orchestra; St John's College Choir, Cambridge / George Guest.

Argo (Full price) (Cassette) KZRDC1006 (CD) 410 018-2ZH. From ZRDL1006 (12/82).

When I reviewed the original LP release of these performances of Vivaldi's two settings of the Gloria I remarked on their fresh and sympathetic approach to these satisfying works. Encountering them again, now on a Compact Disc, I find my enjoyment increased. It is, as I said in my earlier review, more than mere convenience to have both settings side by side for it affords the listener the opportunity of making his or her own comparisons; and there are many features shared between each composition. Both are in D major, both follow a closely related sequence of movements, and material common to both is utilized in the closing fugal movements. There are many more interesting similarities between the two Glorias as well, which indicate that Vivaldi was writing for almost identical forces on each occasion. What occasion? We cannot be sure, but Vivaldi, though never Maestro di choro at the Pieta was, for several years, responsible for the church music there.

The Choir of St John's College is on fine form and though occasionally it tends to sing under the note, the timbre of the boys' voices and an overall alertness very much compensate for that. The soloists vary a little in their natural aptitude for this repertoire, perhaps; Lynda Russell and Patrizia Kwella make a fine pair of sopranos, though as I commented before, it would have been a good idea to have shared out the solo material more fairly. As it is Lynda Russell has the lioness's share! Anne Wilkens manages her solos well but I find the quality a little too plummy for this music. Kenneth Bowen sounds well in his only solo aria, a fine one in RV588 which opens in a strikingly similar manner to the first aria in Vivaldi's serenata La ninfa e il pastore. Incidentally, Guest follows the Malipiero edition for RV589, the much better known of the two Glorias, which gives the obbligato of the ravishing soprano "Domine Deus" aria to a violin rather than to an oboe. A pity, for it is a beautifully-written melody for an oboe.

Whilst my enjoyment of Guest's performance increases I still feel that it is RV588 which comes off best. There are some instances of phrasing in RV89 which do not seem quite to achieve what is needed. The Wren Orchestra provides polished and lively support throughout, and there is some splendid obbligato playing too. In short I am more enthusiastic than I was and warmly recommend this issue. Good sound and no distortion. The little Introduzione (RV639), for alto with strings and continuo, which originally was intended to lead straight into the Gloria (RV588), has been omitted both from the LP and the CD, partly, I suspect, for practical reasons.

NA



		When I reviewed the original LP release of these performances of Vivaldi's two settings of the Gloria I remarked on their fresh and sympathetic approach to these satisfying works. Encountering them again, now on a Compact Disc, I find my enjoyment increased. It is, as I said in my earlier review, more than mere convenience to have both settings side by side for it affords the listener the opportunity of making his or her own comparisons; and there are many features shared between each composition. Both are in D major, both follow a closely related sequence of movements, and material common to both is utilized in the closing fugal movements. There are many more interesting similarities between the two Glorias as well, which indicate that Vivaldi was writing for almost identical forces on each occasion. What occasion? We cannot be sure, but Vivaldi, though never Maestro di choro at the Pieta was, for several years, responsible for the church music there.



		The Choir of St John's College is on fine form and though occasionally it tends to sing under the note, the timbre of the boys' voices and an overall alertness very much compensate for that. The soloists vary a little in their natural aptitude for this repertoire, perhaps; Lynda Russell and Patrizia Kwella make a fine pair of sopranos, though as I commented before, it would have been a good idea to have shared out the solo material more fairly. As it is Lynda Russell has the lioness's share! Anne Wilkens manages her solos well but I find the quality a little too plummy for this music. Kenneth Bowen sounds well in his only solo aria, a fine one in RV588 which opens in a strikingly similar manner to the first aria in Vivaldi's serenata La ninfa e il pastore. Incidentally, Guest follows the Malipiero edition for RV589, the much better known of the two Glorias, which gives the obbligato of the ravishing soprano "Domine Deus" aria to a violin rather than to an oboe. A pity, for it is a beautifully-written melody for an oboe.



		Whilst my enjoyment of Guest's performance increases I still feel that it is RV588 which comes off best. There are some instances of phrasing in RV89 which do not seem quite to achieve what is needed. The Wren Orchestra provides polished and lively support throughout, and there is some splendid obbligato playing too. In short I am more enthusiastic than I was and warmly recommend this issue. Good sound and no distortion. The little Introduzione (RV639), for alto with strings and continuo, which originally was intended to lead straight into the Gloria (RV588), has been omitted both from the LP and the CD, partly, I suspect, for practical reasons.