This single-movement setting of the Lauda, Jerusalem (RV609) dates from sometime during the 1720s. Vivaldi set it for two choirs each of which had a soprano soloist, four parts, and string accompaniment and at some point – perhaps in 1739 when he was engaged in supplying new works to the Pietà he added the names of four of the Pietà’s choirgirls to the manuscript. It’s a good example of his concertos influenced his church music as with its alternating fully scored and lightly scored sections, and inter-passage episodes based on recurrent material it follows the ritonello form very closely. The highlight of the piece for me is its doxology it’s based on an anonymous Lauda, Jerusalem which Vivaldi had in his collection and whenever I hear it I wish I knew who the composer was so that I could track down other works of his. Whoever he was, he was good. Enjoy :-).
Text & Translation: Lauda, Jerusalem RV609
Lauda, Jerusalem, Dominum:
Gloria Patri, et Filio, et Spiritui Sancto.
|Praise the Lord, O Jerusalem. |
Praise thy God, O Sion.
For he hath made fast the bars of thy gates,
and hath blessed thy children within thee. He makes peace in your borders: and fills thee
with the flour of wheat.
He sends forth his commandment upon earth, and his word runs swiftly.
He gives snow like wool,
he scatters frost like ashes.
He casts forth his ice like morsels:
who is able to abide his frost?
He sends out his word, and melts them:
his breath blows, and the waters flow.
He shows his word unto Jacob,
his statutes and laws to Israel.
He has not dealt so with any nation:
neither have the heathen knowledge of his laws.
Glory be to the Father, the Son and the Holy Spirit.
As it was in the beginning, is now, and ever shall be,
world without end. Amen.