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Catherine Bott|LAUDATE PUERI, DOMINUM / IN FURORE IUSTISSIMAE IRAE etc.

LAUDATE PUERI, DOMINUM / IN FURORE IUSTISSIMAE IRAE etc.

VIVALDI

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Chandos first issued this disc of Catherine Bott and the Purcell Quartet back in 1997 as Vivaldi: In furore. Here it comes again, this time with a snazzier, more exotic front cover as Vivaldi: Laudate Pueri, Dominum. Nothing else about the package or contents have changed, and this is good news as this disc is one of the best Baroque offerings to be found in Chandos' early music series, Chaconne. This is still one of the finest discs of Antonio Vivaldi's sacred solo music one is likely to find, similar recitals by Patrizia Ciofi and Cecilia Bartoli notwithstanding. Catherine Bott sails over the spindly textures of the Purcell Quartet like a siren's song aloft in the night, as sailors struggle with a storm-tossed vessel. Bott's voice is sweet, airy, and transparent, whereas the Purcell Quartet keeps itself profitably busy in the two vocal motets (the title work and In Furore iustissimae irae). The Quartet lets it all hang out in the Concerto a Quattro Op. 12/3, RV 124, the Concerto Madrigalesco, RV129, and the Sonata and Sinfonia al Santo Sepulcro, RVs 130 and 169, respectively. The Sinfonia al Santo Sepolcro is heard in its most bracing performance here -- this unusual little piece begins on a pungent discord, the minor second, and the Purcell Quartet makes you feel it, like a dagger going in. These pieces are often played with full string sections, but were intended as chamber concerti; the Purcell Quartet definitively makes the case that smaller dimensions fit the music more comfortably. Vivaldi: Laudate Pueri, Dominum also includes excellent notes by topmost Vivaldi scholar Michael Talbot, in itself a sign of quality. If you take a long, hard look at your music collection and decide you have only room for three or four Vivaldi discs, Vivaldi: Laudate Pueri, Dominum should be one of them.
© TiVo

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LAUDATE PUERI, DOMINUM / IN FURORE IUSTISSIMAE IRAE etc.

Catherine Bott

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Sonata for 2 Violins and Viola in E-Flat Major, RV 130, "Suonata a 4 al Santo Sepolcro" (Antonio Vivaldi)

1
I. Largo molto —
Cecelia Bruggemeyer
00:01:44

Catherine Bott, soprano - Cecelia Bruggemeyer, double bass - Purcell Quartet, Ensemble

1997 Chandos 1997 Chandos

2
II. Allegro ma poco
Cecelia Bruggemeyer
00:01:55

Catherine Bott, soprano - Cecelia Bruggemeyer, double bass - Purcell Quartet, Ensemble

1997 Chandos 1997 Chandos

In furore iustissimae irae, RV 626 (Antonio Vivaldi)

3
Aria: In furore iustissimae irae
Catherine Bott
00:04:37

Catherine Bott, soprano - Jane Rogers, viola - Cecelia Bruggemeyer, double bass - Purcell Quartet, Ensemble

1997 Chandos 1997 Chandos

4
Recitative: Miserationum Pater piissime - Aria: Tunc meus fletus
Catherine Bott
00:07:47

Catherine Bott, soprano - Jane Rogers, viola - Cecelia Bruggemeyer, double bass - Purcell Quartet, Ensemble

1997 Chandos 1997 Chandos

5
Alleluia
Catherine Bott
00:01:42

Catherine Bott, soprano - Jane Rogers, viola - Cecelia Bruggemeyer, double bass - Purcell Quartet, Ensemble

1997 Chandos 1997 Chandos

Concerto for Strings in D major, RV 124 (Antonio Vivaldi)

6
I. Allegro
Cecelia Bruggemeyer
00:02:23

Catherine Bott, soprano - Cecelia Bruggemeyer, double bass - Purcell Quartet, Ensemble

1997 Chandos 1997 Chandos

7
II. Grave —
Cecelia Bruggemeyer
00:01:49

Catherine Bott, soprano - Cecelia Bruggemeyer, double bass - Purcell Quartet, Ensemble

1997 Chandos 1997 Chandos

8
III. Allegro
Cecelia Bruggemeyer
00:01:54

Catherine Bott, soprano - Cecelia Bruggemeyer, double bass - Purcell Quartet, Ensemble

1997 Chandos 1997 Chandos

Concerto for Strings in D Minor, RV 129, "Concerto madrigalesco" (Antonio Vivaldi)

9
I. Adagio —
Cecelia Bruggemeyer
00:00:55

Catherine Bott, soprano - Cecelia Bruggemeyer, double bass - Purcell Quartet, Ensemble

1997 Chandos 1997 Chandos

10
II. Allegro —
Cecelia Bruggemeyer
00:01:35

Catherine Bott, soprano - Cecelia Bruggemeyer, double bass - Purcell Quartet, Ensemble

1997 Chandos 1997 Chandos

11
III. Adagio —
Cecelia Bruggemeyer
00:00:48

Catherine Bott, soprano - Cecelia Bruggemeyer, double bass - Purcell Quartet, Ensemble

1997 Chandos 1997 Chandos

12
IV. [Allegro molto moderato]
Cecelia Bruggemeyer
00:01:02

Catherine Bott, soprano - Cecelia Bruggemeyer, double bass - Purcell Quartet, Ensemble

1997 Chandos 1997 Chandos

Laudate pueri Dominum, RV 601, 'Psalm 112' (Antonio Vivaldi)

13
Laudate pueri, Dominum
Catherine Bott
00:03:20

Catherine Bott, soprano - Jane Rogers, viola - Stephen Preston, flute - Cecelia Bruggemeyer, double bass - Purcell Quartet, Ensemble

1997 Chandos 1997 Chandos

14
Sit nomen Domini benedictum
Catherine Bott
00:02:14

Catherine Bott, soprano - Jane Rogers, viola - Stephen Preston, flute - Cecelia Bruggemeyer, double bass - Purcell Quartet, Ensemble

1997 Chandos 1997 Chandos

15
A solis ortu usque ad occasum
Catherine Bott
00:04:44

Catherine Bott, soprano - Jane Rogers, viola - Stephen Preston, flute - Cecelia Bruggemeyer, double bass - Purcell Quartet, Ensemble

1997 Chandos 1997 Chandos

16
Excelsus super omnes gentes Dominus
Catherine Bott
00:03:09

Catherine Bott, soprano - Jane Rogers, viola - Stephen Preston, flute - Cecelia Bruggemeyer, double bass - Purcell Quartet, Ensemble

1997 Chandos 1997 Chandos

17
Suscitans a terra inopem
Catherine Bott
00:02:19

Catherine Bott, soprano - Jane Rogers, viola - Stephen Preston, flute - Cecelia Bruggemeyer, double bass - Purcell Quartet, Ensemble

1997 Chandos 1997 Chandos

18
Ut collocet eum cum principibus populi sui
Catherine Bott
00:01:59

Catherine Bott, soprano - Jane Rogers, viola - Stephen Preston, flute - Cecelia Bruggemeyer, double bass - Purcell Quartet, Ensemble

1997 Chandos 1997 Chandos

19
Gloria Patri et Filio et Spiritui sancto
Catherine Bott
00:03:50

Catherine Bott, soprano - Jane Rogers, viola - Stephen Preston, flute - Cecelia Bruggemeyer, double bass - Purcell Quartet, Ensemble

1997 Chandos 1997 Chandos

20
Gloria Patri et Filio et Spiritui sancto
Catherine Bott
00:00:59

Catherine Bott, soprano - Jane Rogers, viola - Stephen Preston, flute - Cecelia Bruggemeyer, double bass - Purcell Quartet, Ensemble

1997 Chandos 1997 Chandos

21
Amen
Catherine Bott
00:02:01

Catherine Bott, soprano - Jane Rogers, viola - Stephen Preston, flute - Cecelia Bruggemeyer, double bass - Purcell Quartet, Ensemble

1997 Chandos 1997 Chandos

Sinfonia in B Minor, RV 169, "Al Santo Sepolcro" (Antonio Vivaldi)

22
I. Adagio molto —
Cecelia Bruggemeyer
00:01:41

Catherine Bott, soprano - Cecelia Bruggemeyer, double bass - Purcell Quartet, Ensemble

1997 Chandos 1997 Chandos

23
II. Allegro ma poco
Cecelia Bruggemeyer
00:01:36

Catherine Bott, soprano - Cecelia Bruggemeyer, double bass - Purcell Quartet, Ensemble

1997 Chandos 1997 Chandos

Album Description

Chandos first issued this disc of Catherine Bott and the Purcell Quartet back in 1997 as Vivaldi: In furore. Here it comes again, this time with a snazzier, more exotic front cover as Vivaldi: Laudate Pueri, Dominum. Nothing else about the package or contents have changed, and this is good news as this disc is one of the best Baroque offerings to be found in Chandos' early music series, Chaconne. This is still one of the finest discs of Antonio Vivaldi's sacred solo music one is likely to find, similar recitals by Patrizia Ciofi and Cecilia Bartoli notwithstanding. Catherine Bott sails over the spindly textures of the Purcell Quartet like a siren's song aloft in the night, as sailors struggle with a storm-tossed vessel. Bott's voice is sweet, airy, and transparent, whereas the Purcell Quartet keeps itself profitably busy in the two vocal motets (the title work and In Furore iustissimae irae). The Quartet lets it all hang out in the Concerto a Quattro Op. 12/3, RV 124, the Concerto Madrigalesco, RV129, and the Sonata and Sinfonia al Santo Sepulcro, RVs 130 and 169, respectively. The Sinfonia al Santo Sepolcro is heard in its most bracing performance here -- this unusual little piece begins on a pungent discord, the minor second, and the Purcell Quartet makes you feel it, like a dagger going in. These pieces are often played with full string sections, but were intended as chamber concerti; the Purcell Quartet definitively makes the case that smaller dimensions fit the music more comfortably. Vivaldi: Laudate Pueri, Dominum also includes excellent notes by topmost Vivaldi scholar Michael Talbot, in itself a sign of quality. If you take a long, hard look at your music collection and decide you have only room for three or four Vivaldi discs, Vivaldi: Laudate Pueri, Dominum should be one of them.
© TiVo

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