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): Cur sagittas, cur tela RV637

This is another one of Vivaldi’s short solo motets intended to be performed before major choral items  in the Mass or at Vespers. Vivaldi pioneered these introduzioni during his first period of sacred vocal music composition at the Pietà and devoted considerable effort to extend their use. Like many of his sacred music compositions Cur…

Antonio Vivaldi (1678-1741): Magnificat RV610a

There are several versions of Vivaldi’s Magnificat in G minor the earliest would most likely have been written for the Pietà and dates to some time in or around 1715. Early in the 1720s Vivaldi revisited it reworking the lower voices to make them more suitable for lower voices and adding a pair oboes for…

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 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…