The Prague Philharmonic choir join over a dozen others who have recorded Rachmaninov’s All-Night Vigil, a work once thought the special property of the Russian choirs who are, of course, prominent in the lists. The Czechs sing it without a cantor, and more as a concert work than some of the others do. Though they take the famous scale in the Nunc dimittis, descending to a profound B flat, in their stride, they are not as sonorous as some others, and their particular contribution is to sing the music lightly and flexibly, with a lively response to the words. They have excellent sopranos, safe in intonation when attacking the exposed high entries in thirds which are a feature of the music, and a good tenor for the three numbers that involve him as a soloist. The Magnificat, with all its tempo changes and shifts of register, is expressively done, as are the light rhythms of ‘Blessed art Thou, O Lord’.
Claudio Giovanni Antonio Monteverdi (15 May 1567 (baptized) – 29 November 1643) was an Italian composer, gambist, singer and Roman Catholic priest.
Monteverdi's work, often regarded as revolutionary, marked the transition from the Renaissance style of music to that of the Baroque period. He developed two individual styles of composition – the heritage of Renaissance polyphony and the new basso continuo technique of the Baroque. Monteverdi wrote one of the earliest operas, L'Orfeo, an innovative work that is the earliest surviving opera that is still regularly performed. He was recognized as an innovative composer and enjoyed considerable fame in his lifetime.
The 'Sinfonia Concertante in E-flat Major, K 364/320D' is one of those refined works that is so well written that it exudes genius. Composed for violin, viola, and orchestra the work is a conversation with the two instruments with a beautifully woven tapestry of comment for the orchestra. Violinist Midori and violist Nobuko Imai are not only well paired in technique and virtuosity, they find a compatibility of discourse that is refreshingly fine. Christoph Eschenbach conducts the Norddeutscher Rundfunk Sinfonieorchester with grace and sensitive collaboration. The work is a complete success. The Philip Wilby reconstruction of the accompanying concerto for violin and piano is a fine little piece, if not in the same realm as the Sinfonia Concertante. The performance of this uneven work makes up for the inconsistencies that arise when sonatas are adapted for orchestra. Midori again focuses on her pliant, clear technique and is matched by Christoph Eschenbach's piano role as well as his conducting. It is a minor work played in a major manner.
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