Salmi a quattro chori

In Viadana's polychoral Vespers, the Salmi a quattro chori of 1612, the choro favorito (Choir I) comprises five soloists and the capella (Choir II) is the main SATB group. These two choirs carry the real musical dialogue of the work, while the choro acuto (high Choir III) and choro grave (low Choir IV), both in four parts, are treated as ripieno groups that can be dispensed with if necessary. This was a totally new idea that only became general practice around 1630. Rich cities with cathedral status could therefore perform the Salmi with the full complement of four choirs (or even seven if Choirs II, III, and IV were doubled) while smaller communities could make do with the basic complement of Choirs I and II. Viadana discussed these performance possibilities in his famous preface, “Modo di concertare,” which is provided in the original Italian and in English translation. What is most remarkable musically about this work is Viadana's treatment of the five-part solo chorus: in everchanging vocal combinations he brilliantly exploits the possibilities of the concertato style by setting the choro favorito against the other choirs with lively dialogue marked by rhythmical links and syncopations. The edition includes a detailed discussion of performance practice as it relates to forces, instrumental doublings of the choirs, placement of the choirs, and the basso continuo.