VIVALDI: musica sacra

Magnificat in G minor, RV 610a by Antonio Vivaldi
Performer: Lynton Atkinson (Tenor), Lisa Milne (Soprano), Susan Gritton (Soprano),
Catherine Denley (Alto)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 13 Minutes 52 Secs.
Language: Latin
Notes: St Jude-on-the-Hill, Hampstead, London (08/07/1994 - 08/09/1994)

Lauda Jerusalem in E minor, RV 609 by Antonio Vivaldi
Performer: Susan Gritton (Soprano), Lisa Milne (Soprano)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Date of Recording: 08/07/1994
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 7 Minutes 15 Secs.
Language: Latin

Kyrie in G minor, RV 587 by Antonio Vivaldi
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 8 Minutes 45 Secs.
Language: Greek
Notes: St Jude-on-the-Hill, Hampstead, London (08/07/1994 - 08/09/1994)

Credo in E minor, RV 591 by Antonio Vivaldi
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 9 Minutes 12 Secs.
Language: Latin
Notes: St Jude-on-the-Hill, Hampstead, London (08/07/1994 - 08/09/1994)

Dixit Dominus in D major, RV 594 by Antonio Vivaldi
Performer: Lisa Milne (Soprano), Susan Gritton (Soprano), Catherine Denley (Alto),
Lynton Atkinson (Tenor), David Wilson-Johnson (Bass)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 23 Minutes 3 Secs.
Language: Latin
Notes: St Jude-on-the-Hill, Hampstead, London (08/07/1994 - 08/09/1994)

In furore giustissimae irae in C minor, RV 626 by Antonio Vivaldi
Performer: Deborah York (Soprano)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 12 Minutes 51 Secs.
Language: Latin
Notes: St Jude-on-the-Hill, Hampstead, London (02/12/1996 - 02/14/1996)

Longe mala umbrae terrores in G minor, RV 629 by Antonio Vivaldi
Performer: Catherine Denley (Alto)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 15 Minutes 21 Secs.
Language: Latin
Notes: St Jude-on-the-Hill, Hampstead, London (02/12/1996 - 02/14/1996)

Clarae stellae in F major, RV 625 by Antonio Vivaldi
Performer: James Bowman (Countertenor)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 10 Minutes 49 Secs.
Language: Latin
Notes: St Jude-on-the-Hill, Hampstead, London (02/12/1996 - 02/14/1996)

Canta in prato in A major, RV 623 by Antonio Vivaldi
Performer: Deborah York (Soprano)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 8 Minutes 21 Secs.
Language: Latin
Notes: St Jude-on-the-Hill, Hampstead, London (02/12/1996 - 02/14/1996)

10.

Filiae mestae Jerusalem in C minor, RV 638 by Antonio Vivaldi
Performer: James Bowman (Countertenor)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Italy
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 7 Minutes 37 Secs.
Language: Latin
Notes: St Jude-on-the-Hill, Hampstead, London (02/12/1996 - 02/14/1996)

11.

Nulla in mundo pax sincera in E, RV 630 by Antonio Vivaldi
Performer: Deborah York (Soprano)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 13 Minutes 31 Secs.
Language: Latin
Notes: St Jude-on-the-Hill, Hampstead, London (02/12/1996 - 02/14/1996)

12.

Dixit Dominus in D major, RV 595 by Antonio Vivaldi
Performer: Catrin Wyn-Davies (Soprano), Susan Gritton (Soprano), Catherine Denley (Alto)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 23 Minutes 5 Secs.
Language: Latin
Notes: St Jude-on-the-Hill, Hampstead, London (01/05/1997 - 01/07/1997)

13.

Domine ad adiuvandum me in G major, RV 593 by Antonio Vivaldi
Performer: Susan Gritton (Soprano)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 7 Minutes 5 Secs.
Language: Latin
Notes: St Jude-on-the-Hill, Hampstead, London (01/05/1997 - 01/07/1997)

14.

Credidi propter quod, RV 605 by Antonio Vivaldi
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 7 Minutes 4 Secs.
Language: Latin
Notes: St Jude-on-the-Hill, Hampstead, London (01/05/1997 - 01/07/1997)

15.

Beatus vir in B flat major, RV 598 by Antonio Vivaldi
Performer: Catrin Wyn-Davies (Soprano), Catherine Denley (Alto), Susan Gritton (Soprano)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 7 Minutes 11 Secs.
Language: Latin
Notes: St Jude-on-the-Hill, Hampstead, London (01/05/1997 - 01/07/1997)

16.

Beatus vir in C major, RV 597 by Antonio Vivaldi
Performer: Catrin Wyn-Davies (Soprano), Catherine Denley (Alto), Neal Davies (Bass),
Michael George (Bass), Charles Daniels (Tenor), Susan Gritton (Soprano)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 25 Minutes 21 Secs.
Language: Latin
Notes: St Jude-on-the-Hill, Hampstead, London (01/05/1997 - 01/07/1997)

17.

Juditha triumphans, RV 644 by Antonio Vivaldi
Performer: Sarah Connolly (Mezzo Soprano), Jean Rigby (Mezzo Soprano), Ann Murray (Mezzo Soprano),
Maria Cristina Kiehr (Soprano), Susan Bickley (Mezzo Soprano)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: 1716; Italy
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 148 Minutes 25 Secs.
Language: Latin
Notes: St Jude-on-the-Hill, Hampstead, London (10/08/1997 - 10/14/1997)

18.

In turbato mare in G major, RV 627 by Antonio Vivaldi
Performer: Susan Gritton (Soprano)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 15 Minutes 26 Secs.
Language: Latin
Notes: St Jude-on-the-Hill, Hampstead, London (10/08/1998 - 10/10/1998)

19.

Non in pratis, RV 641 "Miserere in F" by Antonio Vivaldi
Performer: Jean Rigby (Alto)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 12 Minutes 21 Secs.
Language: Latin
Notes: St Jude-on-the-Hill, Hampstead, London (10/08/1998 - 10/10/1998)

20.

Stabat Mater in F minor, RV 621 by Antonio Vivaldi
Performer: Robin Blaze (Countertenor)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 18 Minutes 45 Secs.
Language: Latin
Notes: St Jude-on-the-Hill, Hampstead, London (10/08/1998 - 10/10/1998)

21.

O qui coeli, RV 631 by Antonio Vivaldi
Performer: Susan Gritton (Soprano)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 13 Minutes 20 Secs.
Language: Latin
Notes: St Jude-on-the-Hill, Hampstead, London (10/08/1998 - 10/10/1998)

22.

Deus tuorum militum in C major, RV 612 by Antonio Vivaldi
Performer: Charles Daniels (Tenor), Jean Rigby (Alto)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 4 Minutes 27 Secs.
Language: Latin
Notes: St Jude-on-the-Hill, Hampstead, London (10/08/1998 - 10/10/1998)

23.

Confitebor tibi Domine in C, RV 596 by Antonio Vivaldi
Performer: Charles Daniels (Tenor), Neal Davies (Bass), Jean Rigby (Alto)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 13 Minutes 22 Secs.
Language: Latin
Notes: St Jude-on-the-Hill, Hampstead, London (10/08/1998 - 10/10/1998)

24.

Beatus Vir, RV 795 by Antonio Vivaldi
Performer: Hilary Summers (Alto), Alexandra Gibson (Alto), Nathalie Stutzmann (Alto),
Susan Gritton (Soprano)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 26 Minutes 15 Secs.
Language: Latin
Notes: St Jude-on-the-Hill, Hampstead, London (07/09/2000 - 07/14/2000)

25.

Salve Regina in F major, RV 617 by Antonio Vivaldi
Performer: Susan Gritton (Soprano)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 10 Minutes 6 Secs.
Language: Latin
Notes: St Jude-on-the-Hill, Hampstead, London (07/09/2000 - 07/14/2000)

26.

Laudate Dominum in D minor, RV 606 by Antonio Vivaldi
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 1 Minutes 52 Secs.
Language: Latin
Notes: St Jude-on-the-Hill, Hampstead, London (07/09/2000 - 07/14/2000)

27.

In exitu Israel in C major, RV 604 by Antonio Vivaldi
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 3 Minutes 29 Secs.
Language: Latin
Notes: St Jude-on-the-Hill, Hampstead, London (07/09/2000 - 07/14/2000)

28.

Nisi Dominus in G minor, RV 608 by Antonio Vivaldi
Performer: Nathalie Stutzmann (Alto)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 20 Minutes 40 Secs.
Language: Latin
Notes: St Jude-on-the-Hill, Hampstead, London (07/09/2000 - 07/14/2000)

29.

Laetatus sum, RV 607 by Antonio Vivaldi
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 3 Minutes 29 Secs.
Language: Latin
Notes: St Jude-on-the-Hill, Hampstead, London (07/09/2000 - 07/14/2000)

30.

Laudate pueri Dominum in G major, RV 601 by Antonio Vivaldi
Performer: Carolyn Sampson (Soprano)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: circa 1730; Venice, Italy
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 23 Minutes 29 Secs.
Language: Latin
Notes: St Jude-on-the-Hill, Hampstead, London (07/09/2000 - 07/14/2000)

31.

Vestro principi divino in F major, RV 633 by Antonio Vivaldi
Performer: Nathalie Stutzmann (Alto)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 8 Minutes 12 Secs.
Language: Latin
Notes: St Jude-on-the-Hill, Hampstead, London (07/09/2000 - 07/14/2000)

32.

Jubilate o amoeni chori in D major, RV 639 by Antonio Vivaldi
Performer: Nathalie Stutzmann (Alto)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 5 Minutes 13 Secs.
Language: Latin
Notes: St Jude-on-the-Hill, Hampstead, London (07/09/2000 - 07/14/2000)

33.

Gloria in D major, RV 588 by Antonio Vivaldi
Performer: Alexandra Bellamy (Oboe), Charles Daniels (Tenor), Carolyn Sampson (Soprano),
Susan Gritton (Soprano), Nathalie Stutzmann (Alto)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 28 Minutes 5 Secs.
Language: Latin
Notes: St Jude-on-the-Hill, Hampstead, London (07/09/2000 - 07/14/2000)

34.

Sum in medio tempestatum, RV 632 by Antonio Vivaldi
Performer: Tuva Semmingsen (Mezzo Soprano)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Italy
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 16 Minutes 33 Secs.
Language: Latin
Notes: St Jude-on-the-Hill, Hampstead, London (09/01/2001 - 09/05/2001)

35.

Laudate pueri Dominum in C minor, RV 600 by Antonio Vivaldi
Performer: Susan Gritton (Soprano)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 23 Minutes 10 Secs.
Language: Latin
Notes: St Jude-on-the-Hill, Hampstead, London (09/01/2001 - 09/05/2001)

36.

Cur sagittas in B flat major, RV 637 by Antonio Vivaldi
Performer: Nathalie Stutzmann (Alto)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 9 Minutes 37 Secs.
Language: Latin
Notes: St Jude-on-the-Hill, Hampstead, London (09/01/2001 - 09/05/2001)

37.

Sanctorum meritis in C major, RV 620 by Antonio Vivaldi
Performer: Susan Gritton (Soprano)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 2 Minutes 18 Secs.
Language: Latin
Notes: St Jude-on-the-Hill, Hampstead, London (09/01/2001 - 09/05/2001)

38.

Salve Regina in C minor, RV 616 by Antonio Vivaldi
Performer: Nathalie Stutzmann (Alto)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 16 Minutes 36 Secs.
Language: Latin
Notes: St Jude-on-the-Hill, Hampstead, London (09/01/2001 - 09/05/2001)

39.

Laudate pueri Dominum in A major, RV 602 by Antonio Vivaldi
Performer: Joanne Lunn (Soprano), Carolyn Sampson (Soprano)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Date of Recording: 11/2002
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 20 Minutes 13 Secs.
Language: Latin

40.

Salve Regina in G minor, RV 618 by Antonio Vivaldi
Performer: Nathalie Stutzmann (Alto)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Date of Recording: 09/2001
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 14 Minutes 45 Secs.
Language: Latin

41.

Ascende laeta, RV 635 by Antonio Vivaldi
Performer: Joyce DiDonato (Mezzo Soprano)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Date of Recording: 11/2002
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 9 Minutes 18 Secs.
Language: Latin

42.

Gaude mater ecclesia in B flat major, RV 613 by Antonio Vivaldi
Performer: Susan Gritton (Soprano)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Date of Recording: 09/2001
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 4 Minutes 26 Secs.
Language: Latin

43.

Vos aurae per montes in A major, RV 634 by Antonio Vivaldi
Performer: Carolyn Sampson (Soprano)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Date of Recording: 02/2003
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 13 Minutes 0 Secs.
Language: Latin

44.

Gloria in D major, RV 589 by Antonio Vivaldi
Performer: Joyce DiDonato (Mezzo Soprano), Joanne Lunn (Soprano), Carolyn Sampson (Soprano)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Date of Recording: 11/2002
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 29 Minutes 17 Secs.
Language: Latin

45.

Nisi Dominus in A major, RV 803 by Antonio Vivaldi
Performer: Jonathan Cohen (Cello), Simon Jones (Tromba Marina), Silas Standage (Organ),
Colin Lawson (Chalumeau), Hilary Summers (Alto), Katherine McGillivray (Viola d'amore),
Tuva Semmingsen (Mezzo Soprano), Carolyn Sampson (Soprano)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: 1739; Venice, Italy
Date of Recording: 11/2003
Venue: Henry Wood Hall, London, England
Length: 21 Minutes 52 Secs.
Language: Latin

46.

Ostro picta in D major, RV 642 by Antonio Vivaldi
Performer: Carolyn Sampson (Soprano)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: Venice, Italy
Date of Recording: 11/2002
Venue: St Jude-on-the-Hill, Hampstead, London
Length: 7 Minutes 26 Secs.
Language: Latin

47.

Gloria in D major by Giovanni Maria Ruggieri
Performer: Edward Price (Bass), Charles Pott (Bass), Robert Evans (Bass),
Daniel Auchincloss (Tenor), Cecilia Osmond (Soprano), Julie Cooper (Soprano),
Adrian Peacock (Bass), Charles Gibbs (Bass), Angharad Gruffydd Jones (Soprano),
Elizabeth Poole (Soprano), Robin Blaze (Countertenor), Robin Tyson (Alto),
Robert [Bass Voice] MacDonald (Bass), Jonathan Brown (Bass)
Conductor: Robert King
Orchestra/Ensemble: King's Consort
Period: Baroque
Written: 1708; Venice, Italy
Date of Recording: 06/2003
Venue: All Saints Church, Tooting, London, UK
Length: 17 Minutes 42 Secs.
Language: Latin

48.

Laudate pueri Dominum in A major, RV 602a: Gloria Patri by Antonio Vivaldi

Performer: Carolyn Sampson (Soprano)

Conductor: Robert King

Orchestra/Ensemble: King's Consort

Period: Baroque

Date of Recording: 02/2003

Venue: St Jude-on-the-Hill, Hampstead, London

Length: 3 Minutes 37 Secs.

Language: Latin

-----------------------

Notes and Editorial Reviews

The existence of a significant corpus of sacred music by Antonio Vivaldi first came to light in the 1920s, when a collection of manuscripts was discovered in the National Library of Turin. Over 50 of his works have survived and the existence of many others has been documented. What is unusual about this is that Vivaldi never held a position that required him to compose sacred music, and other cleric-composers turned their back on the genre altogether. Furthermore, as annotator Michael Talbot observes, “it was difficult to conceive of circumstances in which he would have been asked to provide such music in bulk.”

In 1713, Francesco Gasparini, the maestro di coro at the Ospedale della Pietà in Venice where Vivaldi was In 1713, Francesco Gasparini, the maestro di coro at the Ospedale della Pietà in Venice where Vivaldi was employed, took a leave of absence, and a permanent one at that. Six years later, the post was still vacant; Vivaldi and another of his colleagues were asked to fill Gasparini’s shoes. Their job was to provide the singers with a river of sacred repertoire (motets, psalm settings, and the like) that would persuade the moneyed populous of Venice to attend performances in the chapel of the Pietà, and perhaps encourage them to make substantial donations and requests to the institution.

Because of restrictions imposed by the administration of the Ospedale, only a trickle of the scared music composed between 1713 and 1719 found its way outside the institution. Some of it did grow legs, however, and found its way to the domain of the Hapsburgs when one Balthasar Knapp acquired several manuscripts before returning to Prague. Again quoting Michael Talbot, this collection “appears to have been the nucleus of a modest Vivaldi cult which flourished in such centres as Prague, Osek , Brno, and even Breslau.” Thanks to Bach’s Czech contemporary, Jan Dismas Zelenka, some of Vivaldi’s sacred music made its way to Dresden, the seat of the Elector of Saxony and King of Poland, Augustus the Strong.

Initially, one may be tempted to compare Vivaldi’s sacred music to that of Bach, but why? Even though both composers were deeply moved by their spirituality and wrote music on a truly inspired level, their styles and forms are different, dictated as they were by the environs and circumstances in which the two men labored, e.g., Vivaldi’s motets are for solo voice and orchestra, while Bach’s follow the North German prototype by using a chorus and continuo. Without casting aspersions upon Vivaldi’s efforts, Bach was unquestionably the better composer, but Vivaldi, too, was capable of writing deeply emotional, dramatic, and moving music, as one finds in the oratorio Juditha Triumphans, RV 644, and in the Agnus Dei of the Gloria in excelsis Deo, RV 589.

The heading for this review has been abbreviated, for if it were printed in the manner normally found in Fanfare, the text and associated superscripts would fill almost half a page, and it would also create a maze of information that would require a map for clarification, so I’ll comment only briefly on the history of the 11 recordings and list the most recognizable of the performers. Originally released between 1994 and 2003, the CDs that make up this collection include some of the most respected early-music soloists in the industry, including Susan Gritton, Catherine Denley, Nathalie Stutzman, Robin Blaze, James Bowman, and Michael George.

Robert King and his ensemble, collectively known as The King’s Consort, have recorded almost 100 CDs for Hyperion. Their catalog includes vocal, instrumental, orchestral, and choral works, including four CDs of sacred music by Bach’s contemporaries. Most recently, they have embarked upon a cycle of the sacred music of Claudio Monteverdi that promises to be as musically rewarding as their previous efforts. But let’s get back to the recordings at hand.

Sometimes in anthologies such as this that are recorded over a number of years using a variety of soloists, one can find inconsistencies, some of which are minor while others are as obvious as the nose on one’s face. However, no such problems exist in Robert King’s traversal of Vivaldi’s sacred music. In fact, there is an amazing degree of consistency from disc to disc. First, the singing by the soloists is ravishingly beautiful, displaying impeccable enunciation, wholesome tone, and deeply felt emotion. When virtuosity is required, vocal agility is on the mark, with melismatic phrases distinguished by a lightness of touch and with each note perfectly centered. The marvelous blend, ease of execution, and enviable control of the chorus combine to make it the envy of others and one of the best around. Orchestral playing is animated and exciting in places, but always evincing a keen feel for the text being supported.

In conclusion, King has given us the ultimate Vivaldi anthology, abundant in energy, rich with emotion, animation, and color, and enshrined in Hyperion’s fabled, warm, and incomparable sound.

=================================================================

D'autre part, au regard de l'impressionnant corpus d’œuvres d'Antonio Vivaldi (musique instrumentale et musique lyrique), il s'avère que le compositeur vénitien n'a pas beaucoup écrit pour l'Eglise. Nous avons en effet conservé qu'une cinquantaine de musiques sacrées du prêtre roux, des compositions essentiellement écrites pour le Pio Ospedale della Pietà, l’un des quatre orphelinats vénitiens fondés aux XIVe et XVe siècles pour accueillir les jeunes filles orphelines, qui se sont forgés une solide réputation internationale dans le domaine musical.

Parmi les œuvres sacrées les plus connues et les plus conséquentes de Vivaldi, on retrouve également son Stabat Mater, composé entre 1711 et 1712 pour l'Eglise Sante Maria della Pace des Oratoriens de Brescia, ville natale de son père. Cette oeuvre fut jouée à l'occasion de la Fête de Sept Douleurs de la Vierge.

Grâce aux efforts du chef d'orchestre britannique Robert King et à sa phalange le King's Consort, nous disposons actuellement d'un enregistrement intégrales des œuvres sacrées de Vivaldi, menée avec de bon musiciens et de bon solistes.

Musique sacrée (w.fr.)

On conserve une cinquantaine d’œuvres de musique religieuse de différents types : éléments de la messe tridentine et leur introduction sur texte libre (Kyrie, Gloria, Credo), psaumes, hymnes, antiennes, motets, dont ses Nisi Dominus, RV 608, et Filiae maestae Jerusalem RV 638, composés probablement vers 1716.
Les formules vocales sont également diverses : chant soliste (cas général des motets, qui ne sont autres que des cantates sacrées), chœur, solistes et chœur, double chœur. Elles dépendaient de l’institution pour laquelle elles furent composées, soit l’église de la Pietà, où elles étaient interprétées pour un public payant sa place comme pour un concertR 13, soit pour la basilique Saint-Marc dont les tribunes se faisant face avaient donné naissance à la tradition des compositions en double chœur, soit enfin pour des commanditaires tel le Cardinal Ottoboni.
C’est pour les besoins de la religion que Vivaldi put donner libre cours à son génie exceptionnelC 21 en matière de musique chorale, dont l’emploi à l’opéra était parcimonieux. C’est également dans ce domaine qu’il pouvait utiliser des voix autres que les voix féminines de soprano et de contralto. Ceci distingue cette musique dans sa production : ce sont des œuvres de grande qualité dans lesquelles se marient la tradition polyphonique et le caractère festif et enjoué qui lui est propre. Cependant il n’y fait pas autant figure de novateur que dans ses concertos.
Les compositions à double chœur sont au nombre de sept (Kyrie, Domine ad adjuvandum me, Dixit Dominus, Beatus vir, Lauda Jerusalem, Magnificat et Salve regina) : elles constituent, avec le Gloria RV 589 et le Stabat Mater le fonds de ce répertoire, qui jouit depuis les débuts de la « Vivaldi Renaissance » des années 1950, de la faveur des musiciens et du public.
Quant à l’oratorio Juditha Triumphans, son caractère et sa destination le rapprochent plus de l’opéra, malgré un argument tiré des livres saints. C'est le seul oratorio conservé parmi les quatre qu’aurait composés Vivaldi ; les autres avaient pour titre : La Vittoria navale, Moyses Deus Pharaonis et L'Adorazione delli tre re Magi.
-------------------------------------------------------
VIVALDI SACRÉ
De son vivant, Vivaldi n’a jamais été réputé pour sa musique religieuse, mais pour la virtuosité de son jeu, sa production instrumentale féconde et ses drames musicaux. De fait, si l’on survole l’ensemble de son œuvre, on constate qu’Antonio Vivaldi a peu composé pour l’Eglise. Sur les 701 numéros que compte son catalogue, 50 seulement concernent la musique religieuse. La particularité de ce corpus restreint tient aussi à son destinataire : l’essentiel a été composé pour le Pio Ospedale della Pietà, l’un des quatre orphelinats vénitiens fondés aux 14^ème et 15^ème siècles pour accueillir les jeunes filles orphelines, qui se sont forgés une solide réputation internationale dans le domaine musical.
Or, entre 1709 et 1711, Vivaldi prend congé de la Pietà. Il travaille en effet à l’édition de L’Estro armonico mais entreprend surtout une tournée de concerts qui l’amène à participer à diverses célébrations religieuses à l’église Santa Maria della Pace des Oratoriens. Ce sont ces derniers qui passeront commande à Antonio Vivaldi d’un Stabat mater pour la fête des Sept Douleurs de la Vierge. Cette séquence que l’on attribue tantôt à Jacopone da Todi tantôt à Innocent III est traditionnellement chantée le vendredi Saint, association qui interdit de facto toute mise en musique. En réalité, la multiplication des Stabat Mater à partir de la fin du 17^ème siècle s’explique par sa transformation en hymne pour la fête des Sept Douleurs de la Vierge. Cette tradition bien implantée en Italie est entérinée par un décret de la Congrégation des rites en 1727. Aussi est-ce bien l’hymne des Premières vêpres et non la séquence que met ici en musique Antonio Vivaldi. La forme poétique et liturgique de ce Stabat Mater en forme d’hymne impose de recourir à sa structure musicale traditionnelle : la même musique sert pour chaque strophe, alternativement chantée en plain-chant et en musique. Le réemploi d’une même musique n’est pas liée à une « facilité » d’écriture, ni à une quelconque illustration sonore du texte mais bien à une profonde conscience liturgique du texte mis en musique.
Le Nisi Dominus fut lui écrit pour l’Ospedale della Pietà entre 1713 et 1719, alors que Vivaldi supplée à l’absence du maestro di coro Gasparini. Cette œuvre est construite en respectant la structure poétique et liturgique très codifiée, avec systèmes de versets de deux ou trois stiques prévus pour être alternés. Ici, sauf exception notable des deux premiers versets unis dans un même mouvement en raison de leur proximité sémantique, Vivaldi respecte cette structure : chaque verset est traité dans un mouvement autonome. Contrairement à l’œuvre de son contemporain Jean-Sébastien Bach, ce n’est pas tant la peinture des mots ou l’exégèse du texte qui compte, que les usages d’usage dans la tradition des psaumes chantés. Ainsi, les vocalises indiquent surtout les syllabes accentuées du texte.

=================================