Feature: Antonio Vivaldi (1678-1741): Stabat mater RV621 — Soloist: Francisco Javier Rodríguez Braojos, Escolanía del Escorial

Vivaldi’s setting of Stabat Mater for Alto and strings is one of his earliest religious works and may even be the earliest.It commissioned by Santa Maria della Pace in Brescia in 1711 for their patronal festival and received its first performance on March 18th 1712 during the Feast of the Seven Sorrows of the Blessed…

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): 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): Beatus vir RV598

Beatus vir RV598 is the second of Vivaldi’s two settings of Psalm 111 (112) based upon a now lost original that have survived (I wrote about the other one last week see: Antonio Vivaldi (1678-1741): Beatus vir RV597 | Saturday Chorale). It’s a setting in B flat major and it’s something of an oddity because…

Antonio Vivaldi (1678-1741): Beatus vir RV597

Vivaldi composed three settings of Beatus vir (Psalm 111 in the Vulgate, 112 in protestant bibles) the first – the original, dates to sometime before 1719. That setting is now lost and what we have instead are two reworkings of it. This version RV597 is the better-known of the two and was composed sometime around…

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…