Reviewed by Steven Whitehead

Music, even sacred music, was considered a branch of state propaganda in the Republic of Venice over many years and this excellent collection shows how it changed with the times from anonymous chants to famous names including Cavalli and Monteverdi. A word of warning is required though, as all the recordings in this triple CD set have been issued before but a word of thanks is not out of place, as some are now deleted. To have almost three hours of music of this quality on a mid-price release is reason to be grateful although we are left wondering about the target audience. As an introduction to Venetian sacred music it is too long but, on the other hand, as a survey it is too short. But rather than commenting on what cannot be changed let us turn to what is on offer. Disc One gives us a "Messa Concertata" by Francesco Cavalli (1602-1676) sung by a double choir from Sine Nomine. Cavalli was a pupil of Monteverdi and if you enjoy the one you will enjoy t'other. Disc Two would be the one I would omit if told to edit this down into a double CD as there is too much chant for my taste. It is sung very well by Cappella Musicale Monteberico and Nova Cantica and spans the liturgical year but, to my ears, does not sound sufficiently different to replace any of my other collections. It makes the point that Venice had a strong choral tradition stretching back to the ninth century and the music produced there stands comparison with any of the great cathedrals of Europe but it did not float my gondola. However CD Three, showcasing Schola Marciana and La Stagione Armonica, is well worth hearing. In addition to Cavalli and Monteverdi we hear music by Alessandro Grandi (1586-1630), Giovanni Legrenzi (1625-1690) and Giovanni Rovetta (1596-1668). The simple review is to repeat that if you enjoy Monteverdi you cannot fail to enjoy the rest of CD Three. So, for this reviewer, CDs One and Three are applauded and CD Two is one too much. But, to coin another phrase, two out of three ain't bad.

The opinions expressed in this article are not necessarily those held by Cross Rhythms. Any expressed views were accurate at the time of publishing but may or may not reflect the views of the individuals concerned at a later date.

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