SACDs - Astorga

2010

“These settings of the same text by two Italian composers (more exactly, Sicilian in the case of Astorga), who spent much of their lives in Spain, vary from each other both by the different groupings of the lines into movements and by the stylistic changes that had taken place in music in the course of the at least half century that separates them. Astorga's earlier setting has a good deal more contrapuntal writing, especially in three of its four choruses, as well as some diversity of style: more ornate in the double duet 'Quis est homo' and, in particular, the extremely florid, almost operatic, final 'Amen', but gently pathetic in the instrumental introduction and the soprano solo 'Sancta mater'. Intensity of feeling is heard in the duet stanza voicing the desire to weep with the distraught Mary, and the chorus sings expressively throughout, though 'Virgo virginum praeclara' sounds altogether too cheerful, and in the initial chorus the tenor line obtrudes rather edgily.
Boccherini's is by far the more remarkable and beautiful setting. Originally written in 1781 for solo soprano, it was expanded in 1800 for three solo voices: fears that this could lead to a more 'symphonic' sound are dispelled by King's use of only seven instrumentalists. Robert King has a fine team of vocalists who on the whole blend well, an important consideration since only four of the 11 sections of the work are single-voice settings. The anguished melancholy of the opening and the grave serenity of the ending enclose a finely planned diversity of treatments, from the intense 'Quae moerebat' or the lyrical 'Fac ut portem' (both admirably sung by Sarah Fox) to the vigorous 'Tui nati' or the vehemently passionate 'Fac me plagis vulnerari' (for all three singers). The performance is accomplished and polished, but the recording venue tends to amplify singers' higher notes out of proportion.”

“'Boccherini's chamber-music output is so prolific - more than 120 string quintets, 100 quartets and almost 50 trios - that few today can know his entire oeuvre. But this setting of the Stabat Mater - in F minor like the famous one by Pergolesi, its evident model - is a little masterpiece: spartanly scored for two sopranos and tenor and accompaniment of four strings and continuo, this "sequence for the Feast of Seven Dolours of the BVM" shares the intimate quality of Boccherini's chamber music, with only rare opportunities for operatic display. The earlier setting by the Spaniard Emanuele D'Astorga, a near contemporary of Handel's, is more overtly flamboyant, yet, with its chorus and mezzo and bass soloists - darker in colour. The King's performances are outstanding, with superb solo contributions from Susan Gritton, Sarah Fox, Susan Bickley and Paul Agnew. Two marvellous discoveries.' (The Sunday Times)”