San Francisco Classical Voice

Purcell's reputation as a paragon of late 17th-century English musical life is well established, in contrast to his predecessor William Lawes, who achieved renown earlier in the 17th century for his reworking of Italian styles but today is more obscure. Capriccio Stravagante took steps toward rectifying the situation with two of Lawes' instrumental works. The mannerist Suite in D minor, for two violins, viola da gamba and organ, was delightful all around, from the opening Fantazia's languid, sustained lines to the Alman's charming figurations and the sprightly concluding Galliard. The ensemble played with faultless precision both here and in the second Lawes work, the Pavan in D minor, where its unerring accuracy and sensitivity were disrupted only by unusually vociferous coughing fits from the audience.

Chanticleer's capacity for creating luscious waves of sound was fully displayed in "O Lord, rebuke me not," a fervent plea for mercy scored for two sopranos and chorus. Accentuating the work's sense of drama are its outstretched vocal lines, presented in Renaissance-style imitation alongside passages of homophony. The solo parts, in the hands of Christopher Fritzsche and Ian Howell, were touching in their simplicity, evoking images of how contemporary boy sopranos might have performed the work. Fritzsche's pure, crystalline tone differs markedly from Howell's bolder, more incisive voice, but this did not prevent the two from achieving solid blend and projecting a plaintive expression of the yearning text.

The anthem "My heart is inditing," celebrating the 1685 ascension of James II to the English throne, suffered most keenly from imbalance, particularly in the opening choral entrance where the vocal forces were significantly muted. However, Chanticleer asserted itself strongly at points with reduced instrumental accompaniment, infusing textual utterances of "joy and gladness" with the requisite energy to bring the words to life.

Later works on the program played to Chanticleer's strengths. "Now that the sun has veiled his light," built upon a passacaglia, is a contemplative spiritual song comparing the end of the poet's life to the day's end. Singing entirely in unison along with continuo and organ, the group produced an achingly beautiful sound; its serene projection of the melancholy text, straightforward and noble, could hardly be improved upon. Similarly effective was the anthem "Hear my prayer, O Lord," whose chromatic word paintings and flowing imitative lines were presented with considerable zeal.

A rousing finale, "Praise the Lord, O my soul and all that is within me," incorporated many features of the program's earlier works. The piece is marked by numerous character shifts, with orchestral interludes interspersed among choral writing that ranges from somber to stentorian. A jaunty, chromatic opening instrumental section, performed with Capriccio Stravagante's typical polish, gave way to a series of antiphonal choral passages in various combinations of solos, duets, trios and ensemble. Two standout solo passages included tenor Matthew Oltman's sweetly beseeching expression of the Lord's virtues and baritone Sullivan's heroically operatic declamation of Heaven's superiority over all the earth. The ensembles pulled out the stops for the closing "Praise thou the Lord," combining for an energetic climax that achieved a truly harmonious mix of these unlike substances.