Bavarian Radio Choir / Julius Drake / Howard Arman DVORÁK Stabat Mater

STABAT MATER

 

Bachchor Mainz / Bachorchester Mainz / Ralf Otto JOHANN SEBASTIAN BACH Christmas Oratorio

J.S. Bach’s Christmas Oratorio was written for the Christmas season of 1734, and although it incorporates music from earlier works it belongs firmly among his timeless large-scale compositions. The development of the oratorio, which was to become a new musical form in Protestant church services at that time, was stimulated by Bach’s compositions, particularly by the unusual form of his six-part Christmas Oratorio. From its famously joyful opening ‘Jauchzet frohlocket’ to the arrival of the Wise Men from the East, this work’s enduring popularity has long proven its status as a choral ‘evergreen’.

Claudio Abbado / Orchestra Mozart PERGOLESI Dixit Dominus

These discs complete Claudio Abbado’s three-part tribute to Pergolesi, born 200 years ago.They are most revealing, showing Pergolesi’s sureness of touch as a craftsman, melding together the old-style contrapuntal skill learnt as a student at a Conservatoire in Naples with the elegant tunefulness of contemporary Neapolitan opera. The resulting blend is a remarkably early foretaste of the Galant style. Abbado’s choice of programme emphasises Pergolesi’s versatility and inventive genius, and at such an early age. All this music dates from 1731/36 – he died aged only 26. Not otherwise available on disc is the Missa S Emidio, written after the earthquakes which hit Naples in 1731/2. It’s most attractive and, in the ‘Qui tollis’, highly charged; slow, searing harmonies from the chorus and anguished violin appoggiaturas, lead to a positively perky soloist framing the hushed pleading ‘hear our prayer’. Veronica Cangemi has a bright edge to her tone, a quality rather lacking in the choir, due in part to the spaciousness of the Bolgna church in which they’re recorded, rather distantly. Sara Mingardo is superb, her long first note of ‘Domine Deus’ an object lesson in the subtle manipulation of vocal colour. The high point is Laudate Pueri, a thrilling setting of the Psalm text. Added horns and trumpets add a punchiness to the sound which in turn, inspires the choir. Rachel Harnisch is an exuberant soprano soloist, with an effortless top D. It’s striking that, despite the constantly-changing nuances of the text, Pergolesi’s setting retains a strong sense of structural integrity. and sometimes rather obscured by, lively counterpoint. For the second movement, the choir’s remoteness is beautifully judged, a gentle assurance of the Lord, ‘gracious and full of compassion’ recurring in Julia Kleiter’s radiant soprano solo. Dixit Dominus stretches the forces with double choir and contrasting wind and string groupings in the orchestra. In the secular cantata, Chi non ode…, Pergolesi is at his most Galant as lyrical melody unfolds above reassuringly predictable harmony. Harnisch is superb here, floating into the top register with glorious ease. After a recitative Largo stentato (laboured) as the rejected lover bewails ‘his’ fate, death is welcomed with a sparkling final presto ending with a no-less-sparkling top E flat. A fine tribute to an extraordinary genius. (George Pratt, BBC Music Magazine)

Claudio Abbado / Orchestra Mozart PERGOLESI Stabat Mater - Violin Concerto - Salve Regina in C minor

Giovanni Battista Pergolesi had a tragically short career, living just 26 years, and producing most of his mature works over a period of about five years. This album includes three of the composer's most representative pieces. The most familiar is the 40-minute Stabat mater for soprano, alto, and orchestra, which was the most frequently published composition of the 18th century. This version, featuring soprano Rachel Harnisch and contralto Sara Mingardo, makes a splendid introduction to the work and should be of interest to anyone who loves this poignant music. Both soloists have expressive voices of exceptional purity and intensity, beautifully suited to this alternately serene and wrenching score. Mingardo is particularly striking in the aria, "Fac, ut portem Christi mortem," in which she descends into a baritonal range with startlingly solid, oaken timbre. The cheery, playful tone of the Violin Concerto reveals the composer's versatility and Giuliano Carmignola nails its technical demands with lovely tone and disarming grace. The album includes one of Pergolesi's four settings of Salve regina, with soprano Julia Kleiter. It's a largely somber work, similar in emotional tone to the Stabat mater. In spite of its name, the Bologna-based Orchestra Mozart plays music of all eras, and under Claudio Abbado's leadership it brings just the right fleet agility to this music, which is balanced between the Baroque and Classical eras. The sound of the live performances is clean and well balanced, with a warm ambience. (Stephen Eddins)