Vivaldi – Lauda Jerusalem – Alessandrini

I wrote about this setting of Psalm 147 as part of my series of postings dealing with Vivaldi’s religious music. Here’s my description from that posting: 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,…

Antonio Vivaldi (1678-1741): Nisi Dominus RV803

This recently rediscovered work was described by Michael Talbot in his notes to it as Vivaldi’s ‘swan song’ for the Pietà. It’s glorious and as Talbot’s description of it certainly can’t be bettered by me I reproduce it below. So without further ado enjoy :-). mfi

Antonio Vivaldi (1678-1741): Laudate pueri RV600

Vespers was a very important service which accounts for the many settings of the Psalms which were such an important component in its structure.  This particular setting by Vivaldi of Psalm 112  Laudate Pueri is a fairly early work. it’s in C minor and is a surprisingly dark-toned piece. It’s a lovely multi-movement work for…

Antonio Vivaldi (1678-1741): Beatus vir RV795

You’ll sometimes read people making a fuss about the fact that the Ryom Verzeichnis Number for this the third and last of Vivaldi’s surviving settings of Psalm 111 (112 in modern translations) is an inversion of RV597 another setting of the Psalm and one to which it is closely related. In fact the inversion is…

Antonio Vivaldi (1678-1741): Juditha Triumphans RV644

Vivaldi wrote Juditha Triumpans or Juditha Triumphans devicta Holofernes barbarie to give its full title in 1716 for the girls of the Ospedele della Pietà. It’s the only one of his oratorios to survive and it’s a further demonstration that Vivaldi had full confidence not only in the soloists, and the chorus, but also in…

Antonio Vivaldi (1678-1741): Gloria RV589

I wrote about Vivaldi’s better-known setting of the Gloria RV589 on August 21, 2011 in my posting dealing with the Thomanerchor’s superb performance of the piece and if you’re not familiar with that performance it’s well worth your while listening to (see: Sunday Playlist: Glorious Gloria | Saturday Chorale). Vival­di pro­bab­ly com­posed his Gloria in…

Antonio Vivaldi (1678-1741): Gloria in excelsis Deo RV588

This is the less well-known setting of the two settings of the Gloria by Vivaldi. It’s a wonderful piece of music that deserves to be far better known and I’ve often wondered why it’s so neglected as it’s packed full of musical delights such as its second choral movement ‘Et in terra pax’ whose relaxed…

Antonio Vivaldi (1678-1741): Dixit Dominus RV 595

This magnificent setting of Psalm 110 (Vulgate 109) was only rediscovered as a set of locally copied separate parts in the late 1960s in the National Library in Prague. It was almost certainly composed for the Pietà some time before 1717 and I think it very likely that it was amongst the works taken back…

Antonio Vivaldi (1678-1741): Ostro picta RV642

Vivaldi composed Ostro picta for the Pietà’s patronal festival the Visitation of the Blessed Virgin which falls on July 2nd. Based on stylistic grounds I think he must have composed it round about the same time as the Gloria RV589 and could even have composed it as its preceding companion piece. It starts very cheerfully…

Antonio Vivaldi (1678-1741): Laetatus sum RV607

Laetatus sum (I was glad) RV607 the text of which is taken from Psalm 121 in the Vulgate is a companion piece to Vivaldi’s setting of Psalm 116 about which I wrote on April 24th 2014 (See: Antonio Vivaldi (1678-1741): Laudate Dominum RV606 | Saturday Chorale). Companion pieces such as this had an important function…

Antonio Vivaldi (1678-1741): Laudate Dominum RV606

Vivaldi’s powerful and concise setting of Psalm 116 (117 in Protestant bibles) for choir and strings is one of my favourites. It dates from his ‘first’ period at the Pietà because it’s so short – there’re only two verses plus the Lesser Doxology Vivaldi had to find a way of making it musically interesting. He…

Antonio Vivaldi (1678-1741): Salve regina RV616

In some ways this setting of the Salve is very similar to Vivaldi’s G minor setting (RV618). Both settings are for an alto soloist, Vivaldi divided his strings between two cori and made use of woodwind obbligato instruments in each, and both have a a six-movement structure. So much for the similarities – the differences…

Antonio Vivaldi (1678-1741): In exitu Israel RV604

This Psalm (113 in the Vulgate and 114 combined with 115 in Protestant bibles) has alway been something of a nightmare for composers. Even if you forget all about the two verses of the doxology you’re still left with the problem of how to maintain musical momentum and interest through twenty-seven verses. Vivaldi’s setting dates…