Harry Christophers and The Sixteen (18 this time) have chosen two of the most popular late Baroque choral works for their new disc from Collins Classics. Bach's Magnificat in D major (BWV243), and Vivaldi's Gloria in the same key (RV598) are plentifully represented in The Classical Catalogue though the third item here, a Stabat mater by their slightly older Italian contemporary, Caldara, is not. Christophers sets a lively pace in the Gloria and the quality of the singing is refined but I am puzzled by what sounds to my ears a singularly lustreless, unhelpful recorded sound both in some of the choral movements and in those involving the full orchestra. Where is the radiance and sparkle which were notable features in a recent recording of the Bach and Vivaldi pieces directed by Richard Hickox on Chandos? Individual contributions fare better with a beautifully sustained and modestly ornamented oboe solo in the ''Domine Deus'' of the Vivaldi. This and Lynda Russell's singing are effectively projected though Alison Browner's equally impressive contributions in the ''Domine Deus'', ''Agnus Dei'' and ''Qui sedes'' are less well served by the balance. In short, I wanted to hear more of her and with greater focus on the voice. Readers opposed to my point of view will probably consider the recording ''spacious'', which indeed it is; but it does require you to listen at a level which is uncomfortably high in a domestic surrounding.
The remaining works are treated thoughtfully, if conservatively, by Christophers with a pronounced emphasis on the contemplative aspect of the music. It is for this reason, perhaps that the Stabat mater with its resonant sackbuts and strong choral element comes off best. Even so, the solo vocalists suffer from an ambivalent acoustic which fails to convey what are for the most part stylish contributions that are anything but lacking in character. In this respect the bass, Michael George, fares best while the tenor, Ian Partridge, is perhaps the least fortunate. The Bach Magnificat has some effective moments with fine solo contributions throughout. I particularly enjoyed Gillian Fisher's unaffected, youthful sounding ''Et exultavit'' and the ''Et misericordia'' sung by Browner and Partridge. But with artists of this calibre the impact on the listener should have been greater than this and I am left with an uncomfortable feeling of what might have been. The last two choruses, furthermore, did not always hold together and struck me as dull. Full Latin texts with English translations are provided.'