Composer: Antonio Vivaldi
Performer: La Serenissima, Jess Dandy, Robert Howarth, Claire Booth, Renata Pokupić, Louise Strickland, Carina Drury
Conductor: Adrian Chandler
Format: FLAC (tracks)
Label: Signum
Catalogue: SIGCD699
Release: 2022
Size: 1.38 GB
Recovery: +3%
Scan: yes
Viola d’amore concerto in D minor RV394
01. I. Allegro
02. II. Largo
03. III. Allegro
Violin Concerto, RV 313
04. I. Allegro
05. II. Andante
06. III. Allegro
Cur sagittas, cur tela RV637
07. I. Aria: Allegro “Cur sagittas, cur tela, cur faces”
08. II. Recitativo accompagnato “Hostibus circumventa undique et armis”
09. III. Aria: Andante “In te beate Pater”
Concerto for Violin, Strings & Continuo in F Major (from Harmonia Mundi, Second Collection)
10. I. Allegro
11. II. Adagio
12. III. Allegro
Concerto in D minor for violin, organ & strings RV541
13. I. Allegro
14. II. Grave
15. III. Allegro
Nisi Dominus RV803
16. I. Allegro “Nisi Dominus aedificaverit domum”
17. II. Allegro “Nisi Dominus custodierit civitatem”
18. III. Allegro “Vanum est vobis ante lucem”
19. IV. Andante “Cum dederit dilectis suis”
20. V. Allegro “Sicut sagittae in manu potentis”
21. VI. Largo “Beatus vir qui implevit desiderium”
22. VII. Larghetto “Gloria Patri, et Filio, et Spritui
23. VIII. Allegro “Sicut erat in principio”
Apart from a short period (1717-1719) spent in Mantua under the patronage of Philip of Hesse-Darmstadt, Vivaldi never held a full-time post in church or at court; for a composer of Vivaldi’s talent and standing, this was most unusual. That said, he was employed for significant periods by the Ospedale della Pietài, a Venetian institution (founded c.1340) that cared for unwanted children, often illegitimate or physically disadvantagedii. The Pietà’s performers were taken from a group of women known as the figlie di coro, who sang and played the violin, violin in tromba marina, viola, viola d’amore, cello, violone, viol, double bass, theorbo, mandolin, harpsichord, organ, oboe, flute, recorder, chalumeau and clarinet. The Pietà developed a strong reputation for its musical performances, engaging the finest composers and teachers of the day. It was important to ensure that the standards were high; after all, these entertainments were most popular with Venetians and visitors alike whose donations provided a welcome extra source of revenue.
In addition to the many fine vocal works, Vivaldi also contributed many concertos that could be used to replace parts of the liturgy in church services. Amongst these are almost certainly all of his concertos for violin and obligato organ, presumably designed to show off the magnificent instrument that the Pietà had purchased in 1708.
As so much of Vivaldi’s sacred output seems to have been created whilst deputising for others, one can only imagine the riches that would have poured forth from his pen had he been given a church post. The quality of the music contained within his sacred oeuvre is breath-taking and it is a great tragedy that the evidence points to a large tranche of this repertoire having been lost over the years. It is interesting on this last point to note how few of the great composers since 1750 have been violinists. One can only hope that the time is now ripe for Vivaldi’s genius as a church composer to be fully recognised.