A capacity audience is in attendance for this stunning program of late 16th and early 17th-century sacred music from Venice and Northern Germany; Sacrae Symphoniae referring to collections of vocal and instrumental works dating from this period.

Van Diemen’s Band begins proceedings with the historically recreated sounds of Giovanni Gabrieli as originally imagined for St. Mark’s Basilica in Venice. The authentic instrumental tang of this ensemble, highlighted by the employment of sackbut and cornetto in the Sonata per sonar duodecimi toni à 10 Ch 178, sets the scene for the instrumental and vocal glories to come.

Symphoniae Sacrae, St David’s Cathedral, Hobart. Photo © Peter Donnelly

The choice of items is curated to take the audience on a journey exploring the work of various composers of the period in the form of a Mass. Featured with Giovanni Gabrieli (c.1554/7-1612) are Andrea Gabrieli (c.1532-1585), Heinrich Schütz (1585-1672), Francesco Cavalli (1602-1676) and Johann Schop (c.1590-1667), culminating in the great Claudio Monteverdi (1567-1643).

The 16-member Sydney Choir of St. James King Street, directed by Thomas Wilson, provides superbly focussed and firm-toned singing along with the distinguished soloists Amy Moore, Michelle Ryan (sopranos), Hannah Fraser (mezzo-soprano), Louis Hurley and Eric Peterson (tenors), and Andrew O’Connor (bass-baritone).

Andrea Gabrieli’s Confitebor tibi Domine à 13 is a spectacular example of the “polychoral antiphony” Venetian style, filling the cathedral space and its fine acoustic with glorious vocal and instrumental splendour. Schütz’s Fili Mi Absalon SWV 269 is another highlight with Andrew O’Connor’s magnificently rich vocal.

The concluding Monteverdi items are a fitting climax, especially the wonderful Deus in adiutorium SV 206 from Vespro della beata Vergine (Venice 1610) with the fabulous VDB players, expanded here to a 13-piece ensemble, in full flight.