BIBER Vesperae a 32. Laetatus sum
Sankt Florianer Sängerknaben & Ars Antiqua Austria. Gunar Letzbor
ACCENT
Compared to Italian counterparts, this rich seam of seventeenth-century Salzburg polychoral works feels oddly under-recorded. Beyond Ton Koopman’s pioneering account of Vesperae a 32 (917252 Erato 1994), and Reinhard Goebel & Paul McCreesh's colossal Missa Salisburgensis (12/02) listeners have too few opportunities to hear Biber’s spectacular ceremonial style. This new release therefore arrives to fill a genuine gap, and whilst focusing on the Vesperæ a 32 alongside Laetatus sum it also includes a Mass - Benedikt Anton Aufschnaiter’s Missa Laetamur in ea – offering a window onto the wider Salzburg tradition.
This is the brainchild of violinist Gunar Letzbor who also conducts, a project which bears fingerprints of his longstanding interest in reconstructing Salzburg ceremonial practice at every stage. Like Biber himself, he leads as violinist, but he is also conductor, editor of the performing materials, producer and author of the booklet essay. The result feels like a genuine labour of love and joy, particularly considering much thought has gone into questions of scoring, placement and historical performance.
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That said, it is the quasi-operatic bass duet Laetatus sum which quite steals the show; the joyful, buffa exuberance of Alexandre Baldo and Gerd Kenda conjures, at moments, Leporello duetting with his shadow-self since both singers are well-matched and clearly relish every phrase. Once or twice such expansive delivery occasionally tips into indulgence. Meatier and more demonstrative than even Nahuel di Pierro and Christopher Purves with Ensemble Diderot, (Audax Records 2018) I just feel a notch faster would have sharpened the communication still further, but it remains an irresistible performance on a joyful album.
To read the full text of this review please visit Gramophone.co.uk (October 2026)
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