A. Vivaldi: Psalm 121 | Lætatus sum | RV 607 | 1713-17 скачать в хорошем качестве

A. Vivaldi: Psalm 121 | Lætatus sum | RV 607 | 1713-17

Catalogue Name: Laetatus Sum in F major, for choir, strings and basso continuo, RV 607 Date of Composition: 1713-17 ca. Language: Latin Lyrics: Psalms 121 (Vulgate) in combination with Gloria Patri (Doxologia Minor) Period: From Vivaldi’s first great period of Sacred Music. In 1715, Vivaldi was paid for extra compositions: a Mass, a Vesper, an Oratorio, and more than thirty motets, as well as other works. This was a time of plenty for Vivaldi and the Figlie, but as he had to produce music for Holy Week, his Sinfonie di Santo Sepolcro points to this period, and we know that he composed the two Glorias at this time, as well as: RV 591 Credo RV 595 Dixit Dominus RV 602 Laudate pueri RV 606 Laudate Dominum RV 607 Lætatus sum (THIS VIDEO) RV 608 Nisi Dominus RV 610b Magnificat (version for 1 coro without oboes) RV 624 Carae rosae, respirate RV 625 Clarae stellae, scintillate RV 628 Invicti, bellate RV 630 Nulla in mundo pax sincera RV 633 Vestro Principi divino RV 638 Filiae maestae Jerusalem (Miserere) RV 639 Jubilate, o amoeni chori RV 639a Jubilate, o amoeni chori RV 641 Non in pratis aut in hortis RV 642 Ostro picta, armata spina RV 644 Juditha triumphans2 The music at the Pietà was performed in three ways: first and most important, for the Church, “Per la Gloria del Signor Iddio,” second, as the Concerts for the visitors, that is nobles, who came from all parts of Italy and Europe. The Elector of Saxony came, first in 1713, and later in 1740, and it is interesting to note that among the other visitors were Cardinal Ottoboni, Maria Spinola Borghese, and Marchese Bentivoglio, all of whom Vivaldi had dealings with at some time in his life. He was very shrewd, and perhaps this is marketing Vivaldi-style. Third, there were concerts on Sunday afternoons in the church. The Church music, however, dominated, and what follows is a document of the Liturgical Year from 1781. The feasts of the Church do not change, and would have been exactly the same as Vivaldi knew. In 1714, one of the Maestre di Choro was Marcolina dal Violin. Marcolina was 65, and she also played the Violone, which tells us that she was probably rather tall. In 1718, Andrea Scippione made a Violone for her. One of the duties of Vivaldi, when he started in 1703, was to buy instruments for the Figlie when necessary, and in 1708, he bought a violin for her, as she had been one of his pupils from the beginning. She died at the age of 81 from Mal di Petto, chest disease, in March 1730. These women of the Pietà deserve as much stardom as their Maestro, for it was for them that a great part of his music was written, and by whom it was first performed, and I am sure that Vivaldi, himself would be the first to support this view. Cover art: ● Detail from "Apparition of the Virgin to St. Bernard", completed around 1485–1487. ● Artist: Filippino Lippi (April 1457 – Florence, 18 April 1504). The picture was commissioned for the chapel of Francesco del Pugliese by the latter's son Piero, who is portrayed in the lower right corner in the traditional praying posture of the donor portrait (not visible in this detail). It is one of the most admired Lippi's works, due to its powerful, Flemish-inspired romanticism and attention to details, which contribute in turning the mystical apparition of the Virgin to St. Bernard into an everyday life scene. Some scholars have identified in the faces of the Virgin (not visible in this detail) and the angels on the top left the portraits of the donor's wife and sons. Painting is housed in the Badia Fiorentina, a church in Florence. Performed by: The King's Consort, a British period music orchestra founded in 1980 by the English conductor and harpsichordist Robert King. #VivaldiRecordare #RecordareDomine