Titles are everything, and I suppose this one, Vespers 1612 (or 1612 Vespers if we read it literally), needs a little explaining.
The Vespers part is fairly
self-explanatory; at least, for those folks who know what Vespers are in terms of music. Just as a reminder, Vespers refer to a late-afternoon or
evening religious service. In the Roman Catholic Church, they form a part of the service evenings and
often held as a public ceremony on Sundays and holy days, most often containing
evensong, a form of worship that’s sung.
OK, the album contains vesper evensong. But what’s the 1612 all about? For one thing, the year
1612 marked the death of the great Italian composer of vocal and instrumental
music Giovanni Gabrieli, very influential early on in the musical development
of the Baroque age. In addition, it marked the first public celebration of the
Venetian naval victory at Lepanto in 1571, a celebration that went on for over
200 years after the incident as the festival called The Feast of Our Lady of
the Most Holy Rosary. (The Venetians figured Mary had a significant influence
on the outcome of the battle and, thus, dedicated the festivities and devotions
Maestro Robert Hollingworth and his award-winning vocal
ensemble I Fagiolini have attempted in this album to reconstruct what at least
some of the program for that initial celebration might have been like. What we
get in the reconstruction are world-premiere recordings of Vesper Psalms by Lodovico Viadana, a composer who helped usher in
changes from the Renaissance to the Baroque period; the 28-voice Magnificat by Gabrieli; and a seeming
host of other pieces from the era of multi-choir music.
I mean, if you called the album Baroque Vespers, Vol. IV,
or, heaven forbid, just Baroque Vocal
Music, Vol. CCCXVII, it wouldn’t have quite the same ring, would it?
Anyway, the program begins with several short pieces by Viadana (c. 1560-1627),
including his setting for Psalm 109
and four others. We notice quickly that Hollingworth and his team have varied
the selections considerably, so that we get large groups of singers followed by
more-intimate arrangements for smaller groups, even individual voices. They are
all lovely and display a wide range of styles.
Bartolomo Barbarino (1568-c. 1617) next contributes Exaudi, Deus, with its stirring cornett
solo. There follow more psalms and multi-choir pieces by Viadana, Palestrina,
Monteverdi, and Gabrieli, some accompanied, some not, some with soloists, some
These all lead up to the centerpiece of the program,
Gabrieli’s Magnificat a20, a28. Con il sicut locutus. In ecco, one of a
pair of seven-choir arrangements that survive incomplete. Hugh Keyte supplied
the reconstruction in this first-time recording. The battle music that
constitutes the middle portion comes as a welcome surprise.
The singing itself sounds precisely articulated, yet not
without adequate expression. The instrumental and vocal accompaniment,
augmented by the English Cornett and Sackbut Ensemble and De Profundis
(Cambridge), is light enough never to intrude upon the primary voices, and that
includes the unobtrusive and almost ever-present organ. For anyone interested
in the early Baroque period (or for those who are not, who knows), these
multifaceted works with their breadth of expression provide a uniquely moving,
rewarding, and often spectacular listening experience. More of an event,
The sound is quite agreeable, recorded for Decca at St.
John’s, Upper Norwood, London, in 2012. The engineers capture a fine sense of
occasion, with a wide stage, and especially good depth and hall resonance.
Occasionally, one notices a very slightly hard, bright, glassy response from
closer sounds, but it is not enough to be a problem. In fact, these qualities
often provide a more sharply etched definition for the sonics. As it is, we get
rich, resplendent voices set in an environment with just the right amount of
reverberation to simulate the live space of St. John’s in one’s living room. In
short, it makes pleasant listening.