Booklet contains liner notes and full sung texts (Latin). Excellent performances in Historical Practice style by the elite group from Germany, the Virtuosi Saxoniae, led by trumpet virtuoso Ludwig Güttler. The darker Magnificat in G minor is a superb, mature work, expressing Maria’s feeling of wonder and devotion in concertante solo movements to string accompaniment. Its jubilant mood, beautiful arias and festive orchestral accompinament fully justify its fame. Vivaldi’s Gloria (RV589) is one of the most popular choral works ever written and performed, by both professionals and amateurs alike. This release contains two of Vivaldi’s most famous sacred works, the Gloria and the Magnificat. Recorded in 1989 and with soloists such as Andrea Ihle and Elisabeth Wilke and string accompaniment from specialist early music ensemble Virtuosi Saxoniae, this disc is a must-have for fans of Vivaldi’s sacred music. Both the Gloria and the Magnificat would have been performed by girls and women, who are said, somewhat surprisingly, also to have covered the lower vocal parts. It originally appeared in several different versions the one performed here is final version – arranged for a performance at the Pietà in 1739 – which contained five newly-composed concertante solo movements with string accompaniment, intended for the very best young musicians in the school. The Magnificat in G minor is another of Vivaldi’s masterpieces. The work ends with a resplendent fugue: ‘Cum Sancto Spiritu’. The bright opening ‘Gloria’ is well known among choral singers and instrumentalists alike, with much of the vocal writing exploring the very limits of the tonality that was common at the time. The Gloria in D is Vivaldi’s most popular choral work and one of his most extensive settings of a liturgical text. If we take it that Vivaldi kept to these conditions throughout the time he was engaged to compose for the Pietà, we can assume that the composer wrote much more sacred music than has come down to us the magnificent works on this recording provide just a snapshot of Vivaldi’s brilliance in this genre. In addition to these pieces, it has since been discovered that there was a contractual requirement for the choir master to compose two new settings of the Mass and Vespers for Easter and the Feast of Visitation. It was during this time that Vivaldi composed the works recorded on this disc. The choir master, Francesco Gasparini, retired in 1713 and his successor was not deemed to have been successful enough as a composer Vivaldi was selected to provide all compositions required for the chapel. Westermann, originally published by Edwin F. Skye Donald VOCAL SCORE PREFACE This edition of Antonio Vivaldi’s Gloria(RV 589) was prepared from a vocal score edited by Clayton J. Naïve's sound is wonderfully clear and crisp, but with plenty of warmth.In 1701 Antonio Vivaldi was appointed violin teacher at the Ospedale della Pietà – an orphanage that specialised in musical training for young girls. Gloria RV 589 ANTONIO VIVALDI Transcribed by S. ( Vivaldi curiously appropriated and reworked a setting by Giovanni Maria Ruggieri for the final chorus, "Cum sancto spiritu," for both his versions.) Alessandrini also includes the pieces Vivaldi wrote as introductions to the Glorias, Ostro picta, armata spina for soprano solo for RV 589, and Jubilate o ameni Chori for contralto solo for RV 588. Vivaldi Gloria May 4 - Overview Program Performers Extras Overview Experience the uplifting power of Antonio Vivaldi’s joyous Gloria, with its gleaming vocal fireworks and richly embroidered orchestral passages. It's intriguing to hear the "famous" Gloria, RV 589, along with the more obscure but no less attractive RV 588. Mingardo brings a warm, grounded, true contralto sound to her solos, as well as a seamlessly smooth legato and refinement of phrasing. The members of the chorus who step into solo roles, sopranos Anna Simboli, Alena Dantcheva, Lia Serafini, and Monica Piccinini, and tenor Luca Dordolo, are all terrific. The 13-member chorus can sound full as well as intimate, and the youthful blend is especially appealing. Alessandrini's mastery in this repertoire is evident in the supple elegance of the performances, his keen sense of pacing, and particularly in the nuanced balance of the choral parts. This Naïve release, part of its Vivaldi Edition, features the singers and players of Concerto Italiano, led by its founder Rinaldo Alessandrini, and contralto Sara Mingardo. Vivaldi's two settings of the Gloria, both in D major and both from 1715, are no exceptions to that trend, and offer a spectacular showcase for soloists. Venetian liturgical music of the early 18th century tended to be indistinguishable from opera except that the texts were sacred rather than theatrical, allowing congregations to hear the same kinds of displays of flamboyant virtuosity they could expect in the opera house (and often with the same singers).
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