Using Arkive Music as a categorical guide, what do you have and enjoy within this given framework of cantatas, motets, and other sacred works? I have Muti's Magnificat and Gloria, enjoy it much and would like to continue exploring more choral works from Vivaldi.
Some suggestions:
Gloria, by Stephen Preston (a beautiful Choir) (DECCA)
Stabat Mater, with Sara Mingardo and the Concerto Italiano (Musica Sacra vol. I) (OPUS 111).
Nisi Dominus, Motets, by Teresa Berganza and Ros-Marbá (ENSAYO)
Magnificat, Dixit Dominus, by Robert King, vol. I of his sacred music (HYPERION)
Juditha Triumphans, conducted by Negri, not very exciting, but with remarkable soloists: Ameling, Hamari, Finnila.
Bill, some favourites. :)
(http://www.jpc.de/image/cover/front/0/8566371.jpg) (http://www.jpc.de/image/cover/front/0/5633159.jpg)
(http://multimedia.fnac.com/multimedia//images_produits/ZoomPE/5/6/1/0709861304165.jpg) (http://www.jpc.de/image/cover/front/0/4190301.jpg)
Q
Gee, why do you like those, Mr. Q? ;D
Thanks for the bump here, toucan. I will look into this set.
If I had to choose just one recording, I would choose this 2-CD set of the Vivaldi Edition:
(http://ecx.images-amazon.com/images/I/51DHj5Ho3QL._SS500_.jpg)
Quote from: Antoine Marchand on September 01, 2010, 08:29:32 PM
If I had to choose just one recording, I would choose this 2-CD set of the Vivaldi Edition:
(http://ecx.images-amazon.com/images/I/51DHj5Ho3QL._SS500_.jpg)
Definitely.
As well as this:
(http://www.jpc.de/image/w600/front/0/0028947759805.jpg)
Quote from: Antoine Marchand on September 01, 2010, 08:29:32 PM
If I had to choose just one recording, I would choose this 2-CD set of the Vivaldi Edition:
(http://ecx.images-amazon.com/images/I/51DHj5Ho3QL._SS500_.jpg)
Me too. :)
Q
Quote from: Que on September 02, 2010, 07:36:03 AM
Me too. :)
Q
Antoine's choice was the first recording I thought of.
As a supplement, try the King's College Choir recording of the Gloria/Dixit Dominus/Magnificat on EMI.
I was not happy with the Muti recording of the Gloria/Magnificat. At least as currently remastered on GROC, it sounds as if the mikes were covered with pillows--everything is uniformly muffled.
http://losslessclassics.com/wp-content/uploads/2011/10/vivaldi_nisi_dominus_stabat_mater.jpg
Jaroussky and Lemieux with two Vivaldi works, a short disc, but one that enjoyed enough not to mind. First up is the Nisi Dominus, usually recorded by a female, here it is the countertenor and it is his singing of the slow movements that really caught my attention here. The singing is inwards and hushed. Some of the faster areas of the piece sound a bit too fast to me.
The other piece is the Stabat Mater which both singers have previously recorded. I have not heard Lemieux on her earlier version. This one is very fine, the conductor allow time for the music to breathe and the singer to express. She has quite a rich voice, the music does not sound starved and she expresses the words well.
Mike
Of course I am a fervent supporter of HIP et al, but this 1967 performance of Stabat Mater RV 621 still moves me, mainly because of the heartfelt singing by Aafje Heynis. (And probably also because of warm childhood memories.)
https://www.youtube.com/watch?v=X3a9QXnRHK4
Laudate Pueri (rv 601) Quite operatic solo soprano piece with some really beautiful moments.
In Furore
Lauda Jerusalem (for two choruses and soloists)
Robert King's versions for me. (Strangely, for works that have dozens of recordings, his never make an impression on me, but for works with only a handful of renditions, I always seem to find his the best.)
Some of this sacred works have extremely short movements which, unless they run directly into the next movement, has a negative effect on my enjoyment. But that's me.
Will provide a more complete list when I'm home.
Quote from: KevinP on July 09, 2018, 07:25:24 PM
Laudate Pueri (rv 601) Quite operatic solo soprano piece with some really beautiful moments.
In Furore
Lauda Jerusalem (for two choruses and soloists)
Robert King's versions for me. (Strangely, for works that have dozens of recordings, his never make an impression on me, but for works with only a handful of renditions, I always seem to find his the best.)
I have Robert King's boxset on Hyperion. It contains some amazing recordings. For In furore iustissimae irae, however, I definitely prefer the recording by Julia Lezhenva and Il Gardino Armonico on Decca:
https://www.youtube.com/v/MeXS8S3ftwU
The coloratura is out of this world, and there's just so much fire in the ensemble! Unbeatable. Makes King and his soprano seem tame in comparison.
.[asin]B00ABNLASC[/asin]
Thanks for the recommendation! :)
Q
Geen dank, Que! ;) I saw this young lady at the Muziekgebouw in Amsterdam last year and was thoroughly impressed.
Vivaldi's orchestral music is well known and loved by some but Vivaldi's best kept secret is his Sacred Music. His time in the Ospedale della Pieta as is his work with those, what must have been, amazingly talented female instrumentalists and vocalists have led to such wonderful compositions in this genre and he was apparently contracted to write at least two motets each month.
Motet: Vestro Principi divino RV633
It has been deduced that the motet Vestro Principi divino was composed in order to be performed at the end of Holy Week. It is a work written for a solo contralto voice. It is a relatively short work typically lasting roughly eight and a half minutes. The work is written for modest forces and it is in three movements:
Aria No. 1 [Allegro]
Recitativo
Aria No. 2 [Presto]
Alleluia [Presto]
The following are the four versions that I have in my collection sung by two different female and two different male voices.
Stutzmann/King:
(https://images-na.ssl-images-amazon.com/images/I/61-m3NDSarL._AC_SX425_.jpg)
Stutzmann's voice is strong yet light, clear and ardent. King delivers his typical direction in Vivaldi and the pacing is tight and yields up the requisite Vivaldian lilt and rhythm. Arias I and II are very engaging in their elegance and one senses the inherent devotional aspect of the music with it still being performed joyfully. I like this version of the short recitative. It has a nice balance and atmosphere. The Alleluia is assertive but the pace and tone are just right. As ever, King delivers a poised and refined version of Vivaldi's Sacred Music.
Motet: Vestro Principi divino RV633
Lesne/ Ensemble Il Seminario musicale:
(https://images-na.ssl-images-amazon.com/images/I/91Wgvi%2BqfHL._AC_SL1500_.jpg)
I particularly like this version as it has a somewhat intimate chamber feel to it due mainly to the nature of the continuo accompaniment. Lesne's voice is well known and its light sonorities make it very suitable for this music I feel. Arias I and II are charmingly and lyrically sung. They are well paced and have the requisite sense of devotion. That continuo comes into its own with a wonderful version of the Recitative. The Alleluia is well paced and vibrant. This is an elegant performance throughout.
Motet: Vestro Principi divino RV633
Polverelli/De Marchi:
(https://images-na.ssl-images-amazon.com/images/I/91J6FJZ8tUL._AC_SL1387_.jpg)
Polverelli's voice, for me, is just a bit on the heavy side. De Marchi directs a delicate but slow tempo throughout, the total duration lasting approximately an extra half minute. This removes the essentially inherent urgency and rhythmic integrity of the music. As a result, and coupled with the heavier tones of Polverelli's voice, it is a slightly cumbersome version comparatively. It certainly is not a poor or a sub standard version. For me it just lacks energy, drive and vibrancy [which is the way that I prefer Vivaldi's music to be played]. Others may really like it as it is quite devotional in tone and colour. It is well played and sung. I do not dislike it, it is just the least preferred version of those that I own.
Motet: Vestro Principi divino RV633
Scholl/Dyer:
(https://images-na.ssl-images-amazon.com/images/I/51xHx%2BO9reL._AC_SX425_.jpg)
Scholl and Dyer deliver a fine performance. Scholl's voice is well known and his delivery is light but strong and his line is very clear and distinct. He delivers a vibrant and delicate version of both Arias I and II where the tone is slightly more joyful than devotional. This by way of contrast is reversed in the Recitative. The Alleluia is probably the most celebratory version of my four versions. Dyer delivers the requisite vibrant tempi throughout. This is an elegant and poised presentation overall.
Quote from: aligreto on July 05, 2020, 01:51:52 AM
Motet: Vestro Principi divino RV633
Polverelli/De Marchi:
(https://images-na.ssl-images-amazon.com/images/I/91J6FJZ8tUL._AC_SL1387_.jpg)
Polverelli's voice, for me, is just a bit on the heavy side. De Marchi directs a delicate but slow tempo throughout, the total duration lasting approximately an extra half minute. This removes the essentially inherent urgency and rhythmic integrity of the music. As a result, and coupled with the heavier tones of Polverelli's voice, it is a slightly cumbersome version comparatively. It certainly is not a poor or a sub standard version. For me it just lacks energy, drive and vibrancy [which is the way that I prefer Vivaldi's music to be played]. Others may really like it as it is quite devotional in tone and colour. It is well played and sung. I do not dislike it, it is just the least preferred version of those that I own.
Agreed. One of the rare occasions I found a recording in this series a failure... but there it is.
Q
Quote from: Que on July 05, 2020, 02:36:10 AM
(https://images-na.ssl-images-amazon.com/images/I/91J6FJZ8tUL._AC_SL1387_.jpg)
Agreed. One of the rare occasions I found a recording in this series a failure... but there it is.
Q
Cheers, Que. It can be difficult to level any sort of criticism whatever against any CD in such a, deservedly, well respected series. They are such Sacred Cows [pardon the pun].
Quote from: aligreto on July 05, 2020, 04:30:16 AM
Cheers, Que. It can be difficult to level any sort of criticism whatever against any CD in such a, deservedly, well respected series. They are such Sacred Cows [pardon the pun].
I'm probably quite infamous in these circles for slaughtering holy cows.... 8)
Anyway, in my search for other Vivaldi motets recordings, I came across something I can recommend:
[asin]B001B6OR9W[/asin]
Astronio's energy level is not like that of a Biondi, but the conducting is very stylish and sensitive and the singing is terrific.
And here is Biondi - another great recording (might be hard to find):
(https://m.media-amazon.com/images/I/815Q16vjJ+L._SS500_.jpg)
Q
Quote from: Que on July 05, 2020, 06:01:07 AM
Anyway, in my search for other Vivaldi motets recordings, I came across something I can recommend:
[asin]B001B6OR9W[/asin]
Astronio's energy level is not like that of a Biondi, but the conducting is very stylish and sensitive and the singing is terrific.
Thank you for the recommendations. I do not have or know that one Que.
QuoteAnd here is Biondi - another great recording (might be hard to find):
(https://m.media-amazon.com/images/I/815Q16vjJ+L._SS500_.jpg)
Q
That one I do have and like very much.
Motet: Vos aurae per montes RV634
This motet was written for the feast of St. Anthony of Padua. This work tends, overall, to be more on the celebratory than the devotional side as it extols the virtues of the saint. It is written for a soprano voice and the writing is challenging. A typical performance lasts approximately thirteen minutes.
The work is in the standard four movement structure:
Aria No. 1 [Allegro]
Recitativo
Aria No. 2 [Andante molto]
Alleluia [Allegro]
The following are the three versions that I have in my collection all of which are sung by females:
Sampson/King:
(https://images-na.ssl-images-amazon.com/images/I/51VEGz0PcfL._AC_SX425_.jpg)
Sampson's voice is strong yet mellow and she is very clear in her delivery. King, again, delivers his typical direction in Vivaldi and the pacing is tight and yields up the requisite Vivaldian lilt and rhythm.
Arias I and II are delivered very well by Sampson in terms of her ornamentation which is never affectatious. She is also strong, ardent and compelling without being over assertive.
The recitative is very lyrical and it is effectively delivered with a very simple continuo.
The Alleluia is buoyant and the pace and tone are just right.
Once again, King delivers a very fine version of Vivaldi's Sacred Music which has great presence.
Zádori/Németh:
(https://images-na.ssl-images-amazon.com/images/I/71DG6ctD80L._AC_SL1432_.jpg)
Zádori's voice is lighter in tone than that of Sampson. She has a crystal clear presentation. Németh's pacing is taut but actually feels on the relaxed side. His sound, perhaps the size of his ensemble, sounds more full than that of King. Either way it sounds good.
Arias I and II are delivered very well by Zádori in a delightfully relaxed and lilting manner. Her ornamentation is also fine and it never feels forced. The tone of the two arias is celebratory.
The recitative is earnest and is accompanied by a chamber organ.
The delivery of the Alleluia is poised and energetic in a refined presentation.
This is a fine performance throughout. It is very well played, sung and paced.
LeBlanc/Stubbs:
(https://m.media-amazon.com/images/I/71TuAJRx9uL._SS500_.jpg)
LeBlanc's voice is strong, bright and light and I would place its tone akin to that of Zádori above. It is crystal clear. I am a long admirer of LeBlanc's voice. I find it to be effortless in its delivery. Stubbs delivers a very sympathetic accompaniment that is well paced using a small ensemble.
Arias I and II are both vibrant deliveries definitely in a celebratory mood. They are driven but are not over assertive. LeBlanc's ornamentation appears to be minimal in its application but it is very effective in its subtlety.
The recitative has a slightly haunting air to it due to the somewhat reverberant acoustic. It is accompanied by a simple continuo and it is a delight.
The Alleluia is joyous, celebratory, well paced [pressed but not driven] and it is delightful.
This is a very fine, chamber-like presentation.
Salve Regina: RV 616
The Salve Regina is the Marian antiphon prescribed for the period running from Trinity Sunday to the Saturday preceding the first Sunday in Advent. This antiphon has six sentences, which Vivaldi sets as six contrasting movements in RV .
Vivaldi wrote three settings for the Salve Regina. The Salve Regina RV 616 is scored for alto, most probably for a female, and double orchestra which is laid out in two choirs. This setting requires the usual strings but also two recorders and a transverse flute in the first choir. The vocal writing has a great beauty to it and it does require some ornamentation.
The Latin text is as follows:
Salve, Regina, Mater misericordiæ,
vita, dulcedo, et spes nostra, salve.
Ad te clamamus exsules filii Hevæ.
Ad te suspiramus, gementes et flentes
in hac lacrimarum valle.
Eia, ergo, advocata nostra, illos tuos
misericordes oculos ad nos converte.
Et Jesum, benedictum fructum ventris tui,
nobis post hoc exsilium ostende.
O clemens, O pia, O dulcis Virgo Maria.
The following are the six versions that I have in my collection, interestingly four male and two female vocalists. The standard performance duration is around sixteen/seventeen minutes.
Scholl/Dyer:
(https://images-na.ssl-images-amazon.com/images/I/51xHx%2BO9reL._AC_SX425_.jpg)
Scholl and Dyer deliver a fine performance. Scholl's delivery is light but strong. The overall tone is devotional but when the Vivaldian moments are required Dyer delivers the requisite spirit and sense of vibrancy when called upon.
Kowalski/Negri:
(https://images-na.ssl-images-amazon.com/images/I/51CPR-3zVPL._AC_SX425_.jpg)
Kowalski has a strong but smooth voice which lends a certain gravitas to the presentation. He is intense but never ponderous. Negri delivers up the requisite faster tempi well when appropriate. This is a robust, solemn delivery.
Lesne/Biondi:
(https://images-na.ssl-images-amazon.com/images/I/51HLWlT1gtL._AC_SX425_.jpg)
This Lesne/Biondi presentation feels "lighter" but is one that has great presence. Lesne produces a fine, vibrant display. It is a speedy version, lasting thirteen and a half minutes. It is therefore, less solemn in tone and somewhat more celebratory. I must admit that it is a particular favourite of mine.
Stutzmann/King:
(https://i.ebayimg.com/images/g/npUAAOSwL2hdieB4/s-l640.jpg)
Stutzmann's voice is strong, clear and ardent. Stutzmann and King deliver a version which is definitely on the solemn and devotional side. It is a strong delivery and presentation throughout.
Chance/Pinnock:
(https://img.discogs.com/actpp4JlDN62ukMaHZqlBtpEDfg=/fit-in/600x598/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-11977070-1547399859-4173.jpeg.jpg)
Chance's voice is somewhat deceptive in the strength of its delivery; its seems lightweight but it has a strength and clarity about it. Chance's ornamentation is overt but it is very effective. This is a fine presentation, and it delivers on the solemn side in tone.
Mingardo/Alessandrini:
(https://images-eu.ssl-images-amazon.com/images/I/51tDgHOWgGL.jpg)
Mingardo's voice is rich and robust and she delivers an eloquent and solemn prayer. The orchestral accompaniment is equally rich and robust and both Mingardo and Alessandrini deliver a typically refined and polished performance.
Vivaldi: Beatus vir
The Beatus vir is a setting by Viavadi of Psalm 111/112 [depending on your choice of Psalm numbering] to be sung on Sundays and feast days. Vivaldi apparently wrote three versions, RV597, RV598 & RV599 but the latter, it seems, has been lost. However, I do have a recording of a Beatus vir RV795 which is, apparently, an updated version, by Vivaldi himself, of RV597.
Vivaldi: Beatus vir RV597 is a setting for two choirs and is notable for the quality of its counterpoint. It is in nine movements. This is music on a deceptively large scale; it sounds quite intimate. The quality of the writing is understated but it is very fine indeed. The quality of the writing puts me in mind of some of Mozart's finest Sacred Music writing; I think it is that good, even though I inherently dislike comparing composers. I have two contrasting versions in my collection, both of which are equally appealing.
King:
(https://images-na.ssl-images-amazon.com/images/I/51bIV2IJHwL._AC_SX425_.jpg)
This is quite a refined, poised and elegant presentation. The vocals from all concerned are wonderful. The choral singing is particularly fine; it is ethereal in the Antiphonae, for me the highlight of this recording. The orchestral accompaniment is well paced, and sensitive to the vocalists in terms of balance and never dominates proceedings. In terms of tone this version is gentle, delicate and devotional despite lasting only 25:21 minutes. The recording is really very appealing and never feels in any way rushed. The presentation belies the scale of the work, in a good way and I think that King does a supreme job in his interpretation and presentation of this quality work.
Negri:
(https://img.discogs.com/YXneyB7WIPMqMKL59aAIy9-VWUs=/fit-in/600x600/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-11842430-1523301674-6208.jpeg.jpg)
The Negri version is more robust than the King version and it also has the feel of a "heavier" presentation: it has a bigger presence and sounds more "old school". It is slower paced, lasting 29:49 minutes, but never feels tardy, and the orchestral textures are more dense. This gives this presentation something of a solemn feel to it. The vocals are also more earnest and this is particularly noticeable in the Antiphonae [a massive difference from King]. However, it does not lose any of the fine balance required between the vocalists and the orchestra. It is an interesting contrast to the "lighter" King version, but is equally valid, I feel. It gives a good indication of the scale of the work. However, much as I like the Negri my preference would be for the King version.
Vivaldi: Beatus vir RV598
The Beatus vir RV598 is a setting for three soloists [SSA], choir, strings and continuo and is written in one movement. It is a smaller scale work in every respect when compared with RV597. It is, though, a deceptively complex work. It is, however, no less appealing to the ear and it is a very fine work in its own right. I have three versions in my collection.
King:
(https://images-na.ssl-images-amazon.com/images/I/51bIV2IJHwL._AC_SX425_.jpg)
This is a fast paced presentation at 7:11 minutes but it does not feel rushed. I find it well paced. Once again, I find the vocal/orchestral balance to be very fine in this version. The textures throughout are light and very appealing.
Malgoire:
(https://images-na.ssl-images-amazon.com/images/I/517IEIWcvaL._AC_SX425_.jpg)
This is a slower paced presentation than King at 7:41 minutes but it does not feel any longer or tardy in any way. The vocal/orchestral presentation sounds more full here but the textures throughout still sound on the lighter side. The vocal/orchestral balance is also very good. I prefer this combination of sopranos to that of King's.
Negri:
(https://i.ebayimg.com/images/g/auAAAOSwRg9eTf-L/s-l640.jpg)
This is an even slower paced presentation than that of Malgoire at 7:51 minutes but there is certainly no discernible feeling of any slackening in pace. The two sopranos here sound more ardent and robust and the presentation has the strongest presence of the three, but it is not necessarily the best one. It just feels different and, once again, is equally valid.
Vivaldi: Nulla in mundo pax sincera RV 630
Nulla in mundo pax sincera RV 630 is a sacred motet and is scored for solo soprano, two violins, viola and basso continuo. A typical performance would normally take around 13 minutes. The work has four sections which are not set to liturgical texts:
Aria I
Recitative
Aria II
Alleluia
I think that Nulla in mundo pax sincera is one of the jewels in Vivaldi's store of Sacred Music. Structurally, both melodically and harmonically, it is very fine musical writing. There are many demands made on the vocalist without compromising the integrity of the nature of the music.
I have five versions of Nulla in mundo pax sincera RV 630 in my collection, of which, two director/soprano combinations have been discussed before:
De Marchi/Hermann:
(https://images-na.ssl-images-amazon.com/images/I/91J6FJZ8tUL._AC_SL1387_.jpg)
This version by De Marchi/Hermann, at 13:31 minutes has a wonderfully delicate and devotional tone to it in Aria I and a contrasting celebratory tone in Aria II and the Alleluia. Unlike Polverelli, the mezzo soprano on this CD, the nature and quality of Hermann's soprano voice, despite her tendency for excessive vibrato in Aria I, is a better fit for the relevant music. De Marchi's accompaniment is sensitive. I like this version of the Alleluia.
Németh/Zádori:
(https://images-na.ssl-images-amazon.com/images/I/71DG6ctD80L._AC_SL1432_.jpg)
This version lasts for only 12:00 minutes with Németh taking a brisk pace. I like the tone and quality of Zádori's voice. She employs less ornamentation in the vocal line in Aria I than Hermann which I feel is more suitable and effective. Zádori is respectively jubilant in Aria II and the Alleluia. Once again, Németh's pacing is taut but actually feels on the relaxed side. I like his accompaniment.
Hogwood/Kirkby:
(https://i.ebayimg.com/images/g/7OkAAOSw96Zb-VZc/s-l1600.jpg)
This version of Nulla in mundo pax sincera lasts for 13:37 minutes, the slowest of those featured here, but it certainly does not feel it. For me, this work is synonymous with Kirkby; when I think of this motet I think of Kirkby and when I think of Kirkby I think of this motet. Kirkby's voice here is crystal clear and almost ethereal in places. She employs minimum vibrato in Aria one. This, given the nature and quality of her voice, gives the music a somewhat haunting sense. Clear as a bell, literally, comes to mind, particularly on those higher nore. The delivery of Aria I is wonderful, devotional and flawless. Her presentation throughout, indeed is impeccable. Her use of vocal ornamentation is appropriate and effective. I think that she is wonderfully caught on this recording. Hogwood's accompaniment feels more texturally dense and this, coupled with Kirkby's soaring soprano voice, tends to add a light gravitas to the feel of this presentation, if that makes sense.
King/York:
(https://images-na.ssl-images-amazon.com/images/I/61VzWtK2YeL.jpg)
King takes a seemingly leisurely approach to this work but this presentation lasts for a roughly average 13:31 minutes for performance time. The accompaniment sounds full but it is very sensitive. York has a strong soprano voice and is not overly ostentatious in her vocal ornamentation overall. The result of both of these factors is a suitably devotional tone, except in the Alleluia, naturally, which is more celebratory. It is not a major cause for annoyance but I do find York just a tad fastidious with regard to her efforts at perfect diction [or so it seems to me]. She does, however, still have a very fine voice and I particularly like her performance in the Alleluia.
Sándor/Kalmár:
(https://images-na.ssl-images-amazon.com/images/I/51efd2MWBlL._AC_SX466_.jpg)
For contrast, this is an "Old School" version of Nulla in mundo pax sincera which lasts 15:58 minutes. The impact of the pace is instantly noticeable at the very beginning of the work. It immediately feels very slow when compared with the more modern presentations. Kalmár has a very fine and clear soprano voice. This presentation is certainly not an HIP one but that is fine. Aria I feels very slow and Kalmár's vocal ornamentation is at a minimum level but she does employ vibrato but not excessively. The pace does increase later on and she is quite competent in delivering it. Interestingly this, to me, still does not feel very reverential or devotional, just rather slow and somewhat laboured. Her approach overall is operatic, as is the direction. The presentation is on a larger level and it is well sung and played.
Vivaldi: Regina Coeli RV615 [Negri] Vivaldi apparently only wrote one setting for the Regina Coeli. Unfortunately, even this is incomplete.
This is a Marian antiphon written for use from Easter Sunday to the first Friday after Pentecost.
The following is a quote from the CD booklet:
QuoteThe surviving remnants of the score include the last two movements with a direction for the abridged da capo repetition of the first of them.
The scoring for this one is, unusually, for a tenor voice. It also includes two trumpets to enhance the sense of the Easter celebrations.
I only have one version of this work in my collection:
(https://images-na.ssl-images-amazon.com/images/I/61d8f07oruL._AC_SX425_.jpg)
It only comprises 4:56 minutes of music. And yes, it is unusual to hear a tenor singing this type of music by Vivaldi.
Vivaldi: Stabat Mater RV621:
The Stabat Mater portrays the suffering of Mary during the crucifixion of Jesus Christ. The music, therefore, should be solemn, emotional and low key, and it is. There is some wonderful music in here.
Vivaldi's Stabat Mater RV621 is scored for solo alto and violins I, Violins II, violas and basso continuo. The work comprises nine movements:
Stabat mater dolorosa
Cujus animam gementem
O quam tristis et afflicta
Quis est homo
Quis non posset contristari
Pro peccatis suae gentis
Eia mater, fons amoris
Fac ut ardeat cor meum
Amen
Vivaldi's version does not correspond with the original 13th century verse structure. However, the relatively simple orchestral scoring, the choice of alto voicing, the choice of tempi and the keys [F minor and C minor] in which it was written all tend towards evoking sadness and solemnity. This is simple, gentle, sombre and lyrical music.
Interestingly, of all of the versions that I have in my collection, only two directors use a female voice. I have only come across one actual statement, Pinnock, who assumes that the alto soloist in the Stabat Mater was undoubtedly a man originally. It therefore appears likely to be the case as most others also prefer the male voice.
A typical performance lasts around 19:00 minutes and the following performances are remarkably consistent in terms of duration. There are two exceptions to this and, coincidently, they are also the two who employ a female voice.
I have nine different versions of the Stabat Mater RV621 in my collection. Two director/vocalist combinations have already been discussed:
Pinnock/Chance:
(https://img.discogs.com/actpp4JlDN62ukMaHZqlBtpEDfg=/fit-in/600x598/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-11977070-1547399859-4173.jpeg.jpg)
Chance's voice is strong and very clear in its delivery. Chance's vocal vibrato is at a moderate level and it is very effective in the delivery of expression. This is a fine, full sounding presentation on the orchestral side also and it delivers on the solemn side in tone. This version lasts for 18:49 minutes.
Lesne:
(https://images-na.ssl-images-amazon.com/images/I/91Wgvi%2BqfHL._AC_SL1500_.jpg)
This version has a somewhat intimate chamber feel to it with a relatively small musical ensemble employed. This, along with Lesne's voice, with its light, yet strong sonorities makes for a lyrical and delicate version. Lesne's vocal vibrato is at a minimum level. The overall presentation strikes a tone somewhere between the solemn and the contemplative in the performance. This version lasts for 18:17 minutes.
Alessandrini/Mingardo:
(https://m.media-amazon.com/images/I/71EOcXCVCkL._SS500_.jpg)
Mingardo has a big, strong voice with plenty of vocal vibrato used and can sound quite robust at times. Alessandrini's accompaniment is sensitive but it also has a big presence in the recording. The combination of these two factors lend towards an emotional and sensitive rather than a solemn tone throughout and there is also more of a sense of the dramatic infused in this presentation. This version lasts for 21:18 minutes but it does not feel ponderous in any way.
Banchini/Scholl:
(https://images-na.ssl-images-amazon.com/images/I/41Qe9bq0XdL._AC_SX425_.jpg)
Scholl's voice is light in tone yet strong in delivery and always very clear and effortless. His vocal vibrato is at a minimum level. His voice just seems to float lightly above the music. The orchestral accompaniment is chamber-like in scale but it still has a big presence in the recording. The overall tone of the presentation is one of tenderness and sorrow. This version lasts for 18:37 minutes.
Biondi/Daniels:
(https://images-na.ssl-images-amazon.com/images/I/41mWxJJNaIL._AC_SX425_.jpg)
Daniels has a heavier voice with plenty of vocal vibrato used and can sound quite robust. The presence of the organ in the continuo section [throughout the performance] lends to a heavier texture. This version lasts for 18:14 minutes but somehow it feels a little slower in some sections. These things give a solemn tone to the presentation. However, it is never ponderous; indeed it can move along nicely at times.
Hogwood/Bowman:
(https://images-na.ssl-images-amazon.com/images/I/817RFZksj-L._AC_SL1500_.jpg)
Bowman has a robust voice. It is strong but clear and pleasant on the ear. His vocal vibrato is at a minimum level. The full forces of the Academy of Ancient music are employed. The accompaniment sounds orchestral as opposed to chamber. Hogwood's accompaniment, however, is always sensitive. The tone lies somewhere between tender and solemn. This version lasts for 18:56 minutes.
King/Blaze:
(https://img.cdandlp.com/2014/07/imgL/117050923.jpg)
Blaze's voice is light in tone and texture and his vocal vibrato is at a moderate level. This lends for a lyrical and engaging delivery, vocally. King's accompaniment sounds on the chamber size side and it is quite sensitive. The tone of this presentation is meditative as opposed to solemn but it is always lyrical. King always delivers fine presentations in Vivaldi's sacred music. This version lasts for 18:45 minutes.
Malgoire/Watts:
(https://plade-klassikeren.dk/89230/scarlatti-stabat-mater-vivaldi-stabat-mater-malgoire-1-cd-sony.jpg)
Watts has a robust voice. It is strong but clear with plenty of vocal vibrato used in her delivery. I feel that it is overdone here. Malgoire's accompaniment is sensitive. Gracious and solemn is how I would describe the tone of this version. This version lasts for 21:01 minutes. The slower pace and the timbre of Watts' voice tends towards the intense with a sense of the forlorn. I do find it to be a bit ponderous. The "heavy" organ continuo does not help in this regard. This is not a favourite version.
Negri/Kowalski:
(https://cps-static.rovicorp.com/3/JPG_500/MI0001/145/MI0001145370.jpg?partner=allrovi.com)
Kowalski's voice is rich and lyrical and he employs plenty of vocal vibrato. The accompaniment is heavily orchestral as opposed to chamber sounding. However, it is always sensitive in nature. This version lasts for 18:41 minutes but it feels slower. Kowalski's voice and the nature of the orchestral accompaniment lends towards a solemn tone.
Vivaldi: In turbato mare irato RV627
In turbato mare irato RV627 is a motet whose setting is the comparison of the Virgin Mary to the stella maris who guides stricken sailors on turbulent seas safely into port. Section A of the first aria depicts the storm and section B "contemplates the star" [Talbot]. The short recitative represents the calm and safety of the port. The second aria "celebrates the beloved light" [Talbot]. Finally the Alleluia gives joyful thanks for salvation [jubilation and celebration].
The work is set for solo soprano and strings and is in four parts:
Aria I
Recitative
Aria II
Alleluia
A normal presentation lasts for about 16 minutes. I have three versions of this work in my collection.
Ciofi/Biondi:
(https://images-na.ssl-images-amazon.com/images/I/81LqxyNvh-L._AC_SL1300_.jpg)
This is the slowest version of In turbato mare irato RV627 that I have in my collection. It lasts for 17:10 minutes. Ciofi's voice is robust, rich and has plenty of vibrato. However, the pace never feels slow; it is far from ponderous even in the slower sections. The storm section is well done in AriaI. The recitative is pensive [note that organ accompaniment cadenza at the end]. Aria II is more ardent and assertive than contemplative i.e. it sounds more like a statement than a contemplation. The tone here is one of intensity Ciofi' voice is effortless here. The Alleluia is suitably celebratory with plenty of vocal ornamentation. The orchestral accompaniment supports Ciofi very well throughout and gives her a solid platform on which to work. Biondi drives the music very well.
Gritton/King:
(https://images-na.ssl-images-amazon.com/images/I/51N4hQx9rUL._AC_SX425_.jpg)
Gritton's voice is lighter in texture and tone to that of Ciofi but she does also sing with plenty of vocal vibrato. As a result the slower sections of this version of In turbato mare irato RV627 sound more deferential. The storm section in Aria I is suitably agitated. The Recitative is suitably contemplative. This version lasts for 15:26 minutes and the increased pace makes itself immediately apparent in Aria II. The pace is quite fast and those Vivaldian rhythmic patterns are prominent. The tone here is thoughtful but somewhat spirited due to the pace. The Alleluia is joyful and celebratory. The King's consort plays very well throughout and the orchestral accompaniment is always sensitive to the soprano's voice.
Kirkby/Lamon:
(https://images-na.ssl-images-amazon.com/images/I/61T85vxqlgL._AC_SX425_.jpg)
Kirkby's voice, as we know, is light in tone and texture and her minimal vibrato lends a difference to her vocal ornamentation. She frequently soars on high. This is most effective in the slower sections, sounding pure. Aria I is wonderfully sung but does not have the same gravitas as, say, Ciofi. The Recitative is accompanied by an organ. Aria II does not feel as fast as that of King [it is] but it sounds more contemplative, even devotional. This Alleluia sounds lighter but it is also joyful and celebratory. This version lasts for 15:31 minutes. Lamon's accompaniment in In turbato mare irato RV627 sounds the most chamber-like of the three [which is not necessarily a bad thing].
Vivaldi: Gloria RV589
Vivaldi apparently wrote three settings of the Gloria, RV 588, RV 589 and RV 590 which is now lost. The Gloria RV 589 is one of the brightest jewels in the crown of Vivaldi's Sacred Music. It is a wonderful piece of music. If you do not have it in your collection any one of the recordings below [except for the Naxos version] should suffice.
The Gloria RV589 was written for the all female choir and orchestra of the Ospedale della Pietà. It is scored for four-part choir, strings, oboe, trumpet and continuo. Vocal soloists are also required for certain movements, here two sopranos and an alto.
The Gloria RV589 comprises 12 movements.
Gloria in excelsis Deo (Chorus)
Et in terra pax (Chorus)
Laudamus te (Sopranos I and II)
Gratias agimus tibi (Chorus)
Propter magnam gloriam (Chorus)
Domine Deus (Soprano)
Domine, Fili unigenite (Chorus)
Domine Deus, Agnus Dei (Contralto and Chorus)
Qui tollis peccata mundi (Chorus)
Qui sedes ad dexteram Patris (Contralto)
Quoniam tu solus sanctus (Chorus)
Cum Sancto Spiritu (Chorus)
An average performance lasts around 29 minutes but performance durations range from 26:42 to 32:28 minutes. I specifically comment on the opening and penultimate movements as they are the signature themes of the work.
I have eleven versions of this work in my collection of which two CDs I have posted and discussed before. These are....
Gloria RV589: Malgoire
(https://images-na.ssl-images-amazon.com/images/I/517IEIWcvaL._AC_SX425_.jpg)
This presentation has a sense of both "weight" and gravitas. The sound of both the choir and the orchestra is full and atmospheric. The tone is very much on the devotional side with relatively slow tempi throughout. The total duration is 30:41 minutes for this performance, the slowest of any recording in my collection. This is taken to something of an extreme in the opening and penultimate movements which are both too slow and ponderous for me. Otherwise, the tempi throughout both feel and sound appropriate. The choir sings wonderfully well and sounds very full and the sopranos Burgess and Chamonin and the contralto Watkinson sing very well. The orchestral accompaniment is sensitive and well balanced. There is some very fine music making here.
Gloria RV589: Preston
(https://images-na.ssl-images-amazon.com/images/I/71b61P403DL._AC_SL1200_.jpg)
This is a very fine presentation. Preston gets the tempo and the tone just right throughout. The opening and penultimate movements are taken at a very appropriate tempo which delivers a sense of both joy and devotion which are well balanced. The sound of both the choir and orchestra are both full with well balanced intensity. There is a wonderful presence in the delivery throughout. The sopranos Nelson and Kirkby both sound wonderfully light and airy. Watkinson, the contralto, has a light but rounded vocal tone. The tone of this presentation is devotional but also somewhat on the joyful side. The choir sings wonderfully well and sounds very full and has a great presence. The orchestral accompaniment both sensitive and exuberant where appropriate. The total duration is 29:11 minutes for this performance.
The following are the only presentations that I have on vinyl....
Gloria RV589: Corboz
(https://images.fr.shopping.rakuten.com/photo/1060253737.jpg)
The pacing has a slow tempo overall with the opening and penultimate movements being moderately paced. The total duration being 32:28 minutes for this performance which makes it the slowest paced performance that I own. However, it does not feel that way except sometimes in the slower movements. The tone of this presentation is devotional. It has a sense of gravitas which is derived mainly from the choral contribution which sometimes drifts into the solemn in the slower movements but they do not sound ponderous. The choir sings well and sounds full. The orchestral accompaniment is also full sounding and does not dominate proceedings. The sopranos, Smith and Staempfli, sing well and have a light timbre. The alto, Schaer, also sings well and she has a rich tone without it being too heavy in texture.
Gloria RV589: Willcocks
(https://i.ebayimg.com/images/g/uKkAAMXQVOhRGA8z/s-l1600.jpg)
The tone of this presentation is devotional. It has a sense of gravitas from both the choral and orchestral contributions bordering on the solemn, and sometimes even ponderous, particularly in the slower movements. The pacing has a slow to medium tempo with the opening and penultimate movements also being paced more on the slow side. The total duration being 29:20 minutes for this performance. The vocal soloists are Vaughan [soprano] and Baker [contralto] and their voices are too heavy toned for me in this music with far too much vibrato on offer. This is very much an "old school" presentation. There is nothing wrong with that in itself but this does not inspire.
The rest are all CDs........
Gloria RV589: Alessandrini
(https://images-na.ssl-images-amazon.com/images/I/51bpZBI1G9L._AC_.jpg)
This is an interesting presentation in terms of its contrasts. The opening and penultimate movements are taken at break-neck speed, too fast and over exuberant for this piece I feel. The rest of the work is taken at a more appropriate tempo where the slow tempo movements are reverential and sound more appropriate and full. The performance feels just a little light and too rushed in the quicker tempo movements. The total duration is 27:37 minutes for this performance. The choral singing is very fine and York, Biccire and Mingardo are fine soloists. The orchestral accompaniment is sensitive and well balanced.
Gloria RV589: Gardiner
(https://images-na.ssl-images-amazon.com/images/I/71CTn8N50UL._AC_SL1200_.jpg)
I am a self professed fan of Gardiner. He rarely disappoints me with his presentations, and so it is here. Both the opening and penultimate movements are keenly paced but not rushed. The overall tone of this presentation is devotional. It has a sense of gravitas without being overly intense. The vocal soloists Fugue [soprano], Ballard and Cameron [mezzo-sopranos] and Carter [contralto] are all very fine performers. The one advantage that Gardiner usually has is the tour de force that is the Monteverdi Choir and they are wonderful here. They have a great presence, sounding full without being assertive. They strike a very good balance. The orchestral accompaniment is also very sensitive and supportive. The pacing is on the quick side but one is not conscious of the tempo here. The total duration is 27:52 minutes for this performance. I particularly like this performance.
Gloria RV589: Hickox
(https://images-na.ssl-images-amazon.com/images/I/71VVzMP5ybL._AC_SL1075_.jpg)
The overall tone of this presentation is devotional. It has a sense of gravitas without being overly intense. The choral singing is very fine and full sounding with the requisite gravitas where required. Kirkby and Bonner are admirable sopranos but the alto vocals are taken here by the counter-tenor Chance. This is the only time that a male voice enters the frame in any presentation in my collection. The orchestral accompaniment is sensitive and does not dominate in any way. I like the orchestral sonorities in this recording. The pacing has a medium tempo with the opening and penultimate movements being moderately paced. The total duration being 29:20 minutes for this performance. I like this version. It has a warm and gentle feel to it.
Gloria RV589: King
(https://d1iiivw74516uk.cloudfront.net/eyJidWNrZXQiOiJwcmVzdG8tY292ZXItaW1hZ2VzIiwia2V5IjoiNzkyNjE5OS4xLmpwZyIsImVkaXRzIjp7InJlc2l6ZSI6eyJ3aWR0aCI6OTAwfSwianBlZyI6eyJxdWFsaXR5Ijo2NX0sInRvRm9ybWF0IjoianBlZyJ9LCJ0aW1lc3RhbXAiOjE1NjQ3NTkxNDV9)
The tone of this presentation is also devotional with the requisite sense of gravitas. The choral singing is very fine, smooth and full sounding throughout. The sopranos, Sampson and Lunn are wonderful as is the mezzo soprano Didonato. The orchestral accompaniment is also sensitive but full sounding. What I like about this presentation is that the signature Vivaldi rhythms are conspicuous throughout. The pacing has a medium tempo with the opening and penultimate movements being moderately paced. The total duration being 29:17 minutes for this performance. I also like this version with its warm, gentle tone and rhythms and its lyricism.
Gloria RV589: Negri
(https://images-na.ssl-images-amazon.com/images/I/51VeJN-vNML._AC_.jpg)
The opening and penultimate movements are keenly paced and stimulating but do not feel rushed. They have a sense of urgency and joy without being over exuberant. The choral singing sounds very full without being ponderous and has a huge presence in the recording. The orchestral playing is also full sounding but never dominates proceedings. The pacing has a medium tempo overall with the total duration being 29:51 minutes for this performance. The tone of the presentation is quite devotional but without being over reverential. Marshall as the soprano and Murray as the mezzo-soprano sing well but sound a little on the heavy side for me in this music. This particularly relates to Finnila, the contralto. This is not a criticism, but rather a statement of preference on vocal style and the respective performances do not detract from this fine performance. Rather, they somewhat enhance it in a way. The pacing has a medium tempo with the total duration being 29:51 minutes for this performance. The up tempo movements can feel quite buoyant and free flowing. This is an enjoyable performance.
Gloria RV589: Pearlman
(https://images-na.ssl-images-amazon.com/images/I/81BuL99yCJL._AC_SL1200_.jpg)
The opening and penultimate movements are, once again, keenly paced here and are stimulating and buoyant but do not feel rushed. The choral singing sounds full and rounded with a lyrical flow to it. The orchestral playing is very fine and sensitive to the choral lead. Despite the total duration being 26:42 minutes for this performance the pacing never feels rushed or overly exuberant. The overall tone is devotional tending, in part, to the joyful. The standard Vivaldi rhythmic patterns are well displayed in this presentation. The soprano, Matthews, the mezzo-soprano Meek and the alto Philips are all fine singers but their tone is slightly on the heavy side for me, particularly and especially the alto. I like the tempo, tone and choral singing in this version.
Gloria RV589: Summerly/Ward
(https://images-na.ssl-images-amazon.com/images/I/71ogwMaz9eL._AC_SL1200_.jpg)
I bought this CD many years ago as I love both of the works on it and I had also always been very content with anything that I have heard under Summerly's direction. I have not listened to it in quite a long time as I have purchased many different versions of both works over the years. On revisiting this version of the Vivaldi Gloria RV 589, I found it to feel too slow and ponderous and pedantic in places. The pacing is medium slow, with the total duration being 30:03 minutes for this performance, and there is a singular lack of punch or drive [particularly in the opening and penultimate movements] when compared with more modern versions. It can also be too lethargic and saccharine an interpretation in many places. Having said that, the quality of the choral singing is quite fine, smooth, well balanced and lyrical. The female vocal soloists are not credited but they sing admirably and are light in tone. The orchestral accompaniment is also light in tone and, although prominent, does not intrude excessively in the recording. Although fine in places, I have to say that this version would not be a recommendation from me.
Aligreto,
This is (surprisingly) the only Gloria I have right now:
(https://i.imgur.com/CLgCChL.jpg)
It is 27:38. I would like to have a supplemental version, and reading through your reviews, the one that seems to appeal most is King (whose work I have always enjoyed). You think I would find it satisfying? Out of curiosity, have you heard The 16?
8)
Quote from: Gurn Blanston on February 23, 2021, 02:46:03 PM
Aligreto,
This is (surprisingly) the only Gloria I have right now:
(https://i.imgur.com/CLgCChL.jpg)
It is 27:38. I would like to have a supplemental version, and reading through your reviews, the one that seems to appeal most is King (whose work I have always enjoyed). You think I would find it satisfying? Out of curiosity, have you heard The 16?
8)
I have not heard The Sixteen version of the Gloria. I will check YT for that.
Like you, I have always admired King's interpretations and presentations of Vivaldi's music and this is a good one and would be a recommendation.
I am sure that you will enjoy it. Please report back if you go ahead with it.
I love Harry Christophers and The Sixteen in everything baroque and classical, I'll have to check it out.
Edit: I found what I guess is a re-print on Coro to stream but sadly it lacks the Caldara work.
Quote from: aligreto on February 23, 2021, 02:54:54 PM
I have not heard The Sixteen version of the Gloria. I will check YT for that.
Like you, I have always admired King's interpretations and presentations of Vivaldi's music and this is a good one and would be a recommendation.
I am sure that you will enjoy it. Please report back if you go ahead with it.
Ah, good, I will indeed download that from Hyperion, and look forward to giving it a listen.
Quote from: DavidW on February 23, 2021, 03:48:53 PM
I love Harry Christophers and The Sixteen in everything baroque and classical, I'll have to check it out.
Edit: I found what I guess is a re-print on Coro to stream but sadly it lacks the Caldara work.
Pity, I'm a big fan of Caldara, he was a mainstay of the first half of the 18th century in Vienna. :)
8)
I consider Caldara one of the great baroque "dark horses", i.e. potentially one of those that would rank up with the "greats" given some more historical luck and exposure.
Quote from: The new erato on February 23, 2021, 11:33:39 PM
I consider Caldara one of the great baroque "dark horses", i.e. potentially one of those that would rank up with the "greats" given some more historical luck and exposure.
I have this:
[asin]B00004U2KR[/asin]
I haven't listened to it for ages. I remember liking it, but not so much as to become a Caldara nut.
It says in the back cover of this CD:
"The Stabat Mater is a major score of the period, and in style and content stands comparison with his contemporary, Johann Sebastian Bach."No, it certainly doesn't! :-\
Without having heard it I woudn't argue with that. I mean, Bach? Let's get more eartbound for comparisons.
I have that recording too 71 dB (it was my first digital download purchase ever!). It is great.
Quote from: DavidW on February 24, 2021, 06:49:02 AM
I have that recording too 71 dB (it was my first digital download purchase ever!). It is great.
I'm glad you like it. I like it too. It's just that the comparison to J. S. Bach made my expectations go too high... :P
Quote from: Gurn Blanston on February 23, 2021, 02:46:03 PM
Aligreto,
This is (surprisingly) the only Gloria I have right now:
(https://i.imgur.com/CLgCChL.jpg)
It is 27:38. I would like to have a supplemental version, and reading through your reviews, the one that seems to appeal most is King (whose work I have always enjoyed). You think I would find it satisfying? Out of curiosity, have you heard The 16?
8)
I have tracked it down and listened to it. I liked it. Thank you for the recommendation.
Vivaldi: Gloria RV588
As mentioned above, Vivaldi apparently wrote three settings of the Gloria, RV 588, RV 589 and RV 590 which is now lost. The Gloria RV 589 is one of the brightest jewels in the crown of Vivaldi's Sacred Music. It is a wonderful piece of music. This setting, RV 588, is equally if not even more appealing than RV 589.
The Gloria RV588 was written around the same time as RV 589 for the all female choir and orchestra of the Ospedale della Pietà. It is scored for almost the same forces as RV 589 with an extra oboe and a tenor soloist. The two settings are also in the same key of D major.
The Gloria RV588 comprises 12 movements.
1. Gloria in excelsis Deo (Chorus)
2. Et in terra pax (Chorus)
3. Laudamus te (Sopranos I and II)
4. Gratias agimus tibi (Chorus)
5. Propter magnam gloriam (Chorus)
6. Domine Deus (Soprano)
7. Domine, Fili unigenite (Chorus)
8. Domine Deus, Agnus Dei (Contralto and Chorus)
9. Qui tollis peccata mundi (Chorus)
10. Qui sedes ad dexteram Patris (Mezzo Soprano)
11. Quoniam tu solus sanctus (Chorus)
12. Cum Sancto Spiritu (Chorus)
However, RV 588 is preceded by an introductory motet, Jubilate o amoeni chori [RV 639/639a], for solo contralto (or soprano) and strings, although Vivaldi makes it possible, through optional cuts indicated in the autograph manuscript in Turin, to perform the Gloria alone. What Vivaldi does is he incorporates and weaves the introductory motet into RV 588. Instead of a concluding Alleluia in the introduzione we go straight into the opening of RV 588. Incidentally, the introduzione is a fine work in its own right. The way in which the introduzione is interwoven into the Gloria is quite a masterclass in itself!
It is unclear which setting was composed first.
RV 588 has not been recorded nearly as often as RV 589. I have only three versions of this work in my collection of which two are CDs. These are....
Gloria RV588: King
(https://images-na.ssl-images-amazon.com/images/I/61-m3NDSarL._AC_SX425_.jpg)
King and his interpretations and presentations of Vivaldi's music needs no introduction here. One knows what to expect and what one will get from him and his forces. This version is no exception. However, if you are new to or unfamiliar with King's Vivaldi, what you can expect is that the orchestral accompaniment will be sensitive but full sounding. The signature Vivaldi rhythms will be conspicuous throughout and the pacing of the music will be lively but tight, and not overly fast. The tone will also be more on the devotional as opposed to the celebratory side. And so it is here.
Stutzmann's voice is robust and ardent and the choir is full sounding with a really very good presence. The quality of the choral singing is a major attraction here. Tonally, the soprano voice of Gritton is also a very suitable match here. The quality and sonority of the tenor voice of Daniels is also well suited to the overall atmosphere of this presentation.
This is a very fine version indeed. I really like it and it would be a strong recommendation for this work.
Gloria RV589: Negri
(https://images-na.ssl-images-amazon.com/images/I/51DR6kvT1QL._AC_SX425_.jpg)
Negri has a more "older school" approach and presentation in that his presentations tend to sound more robust but certainly not heavy or lethargic. His sound tends to have a bigger presence than that of King which I have always used as a comparison tool between the two in times past.
In this particular instance the approach sounds quite modern yet very full sounding. It has quite a light touch yet it also yields up quite a full presence. The orchestral accompaniment is sensitive but full sounding. The signature Vivaldi rhythms are very conspicuous throughout and the pacing of the music is lively but tight, and not overly fast.
The contralto, Finnie, has a strong and ardent voice. Both the sopranos, Marshall and Lott are fine and sympathetic to the music as is the tenor Rolfe Johnson. The choral singing here is much more full sounding than that of King and it has a big, full sounding presence. There is a keen sense of the dramatic here, but it is not the overriding factor. This is a fine version and it would also be a strong recommendation for this work. It is a quality production.
Not that it makes any real difference, but there is a chamber organ used in the continuo.
Gloria RV589: Corboz
(https://img.cdandlp.com/2020/02/imgL/119772972.jpg)
The Corboz version, which is on LP, does not contain the introductory motet, Jubilate o amoeni chori [RV 639/639a].
The orchestral forces here sound full but light and they also have a full presence. The choral singing is also very fine and well balanced. This is also a well paced version and it moves along jauntily.
Both of the sopranos, Smith and Bernardin, have strong but light toned voices which are very suitable for this music and they blend well. The same goes for the tenor, Barham.
The overall tone is a nice mix between joyful and celebratory. I like it.
If you are not familiar with this work perhaps you might like to introduce yourself to it by hearing the Negri version below....
https://www.youtube.com/watch?v=XkT2GGVW7JY
This has both the 588 and the 589, and is an improvement upon Alessandrini's 1st recording of 589 - which was at neck breaking speed...
(https://d1iiivw74516uk.cloudfront.net/eyJidWNrZXQiOiJwcmVzdG8tY292ZXItaW1hZ2VzIiwia2V5IjoiNzk4MjE4NS4xLmpwZyIsImVkaXRzIjp7InJlc2l6ZSI6eyJ3aWR0aCI6OTAwfSwianBlZyI6eyJxdWFsaXR5Ijo2NX0sInRvRm9ybWF0IjoianBlZyJ9LCJ0aW1lc3RhbXAiOjE0MDE5ODI1NTd9)
Quote from: Que on February 28, 2021, 05:31:29 AM
This has both the 588 and the 589, and is an improvement upon Alessandrini's 1st recording of 589 - which was at neck braking speed...
(https://d1iiivw74516uk.cloudfront.net/eyJidWNrZXQiOiJwcmVzdG8tY292ZXItaW1hZ2VzIiwia2V5IjoiNzk4MjE4NS4xLmpwZyIsImVkaXRzIjp7InJlc2l6ZSI6eyJ3aWR0aCI6OTAwfSwianBlZyI6eyJxdWFsaXR5Ijo2NX0sInRvRm9ybWF0IjoianBlZyJ9LCJ0aW1lc3RhbXAiOjE0MDE5ODI1NTd9)
Thank you. I was aware of that CD but I do not own it. I suppose that I should, really.
Incidentally, have you seen this really good film with Alessandrini with Mingardo?
https://www.youtube.com/watch?v=mEcSThti5hM
Quote from: aligreto on February 28, 2021, 05:44:54 AM
Incidentally, have you seen this really good film with Alessandrini with Mingardo?
https://www.youtube.com/watch?v=mEcSThti5hM
Nice. :)
And these Alessandrini performances fit my tastes perfectly.
Q
Quote from: Que on March 01, 2021, 03:35:43 AM
Nice. :)
And these Alessandrini performances fit my tastes perfectly.
Q
I am pleased that you found it of interest.
Two individual CDs that I have not mentioned so far are one each by King and Negri.
(https://images-na.ssl-images-amazon.com/images/I/61w9ZqNDMXL._AC_SX425_.jpg) (https://images-na.ssl-images-amazon.com/images/I/51EAG3RNDBL._SX425_.jpg)
I have, of course, mentioned both of these directors on numerous occasions in the course of these discussions. However, I would like to use these two particular CDs [neither of which I have previously individually singled out for their specific content] to indicate the wonderful and contrasting approaches both of the requisite series contribute to the interpretation and presentation of the Sacred Music of Vivaldi.
Both of these series founded and solidified my love for this music and duly inspired me to further explore this very rewarding repertoire. Yes, in time, along came many others into my collection but both King and Negri have always remained the solid foundation for me by which I have measured the others. I still, even after all this time spent listening to them, enjoy and appreciate them immensely.
As I have previously indicated, if one is not familiar with these two series, one could do worse than begin to explore them. They have stood the test of time well, I feel, particularly the series by King.
Working towards the conclusion of my contributions to this thread I want to make two final posts of relevant CDs in my collection.
The first is under the direction of the director Francesco Fanna:
(https://images-na.ssl-images-amazon.com/images/I/61dYRa4ELqL._AC_.jpg)
This CD contains two somewhat contrasting versions of the Salve Regina, RV 617 and RV 618 [both are equally valid and interesting as a by the way] and this version of the Dixit Dominus RV 595 is very fine indeed. It is a relatively early CD recorded in 1991 and it is a really very fine one in my opinion.
I like Fanna's approach. He has excellent pacing and directs sensitive orchestral accompaniments that are full sounding which are still light of touch and lilt along with the requisite rhythms. The tone tends towards the devotional, not in a ponderous way but in a robust way. This is a good recording and presentation with clear and ardent voices, both solo and choral, throughout which are well balanced with the orchestral ensemble.
The final CD [in this genre] in my collection is this one...
(https://m.media-amazon.com/images/I/71uJQS6lfTL._SS500_.jpg)
It has the advantage of featuring the wonderful voice of Piau coupled with the exciting direction of Dantone, both of which are known to many here.
This is a performance of sacred music the like of which one does not hear too often. The performance levels throughout are superlative from all concerned, vocalists and instrumentalists. The singing from Piau is superlative and the playing from the Accademia Bizantina is exemplary.
The music itself is wonderful in terms of content, textures, tension and drama.
The ensemble, under the direction of Ottavio Dantone, is uncompromising in its approach to the music yet they are very sympathetic to it. Although the presentation can be of a heightened state of tension and drama, the tone is still suitably devotional where required.
I cannot recommend this presentation highly enough. It is a joy and a pleasure to listen to.
A superb disc. And one that proves that Vivaldi best music is vocal, and belong with the greatest.
Quote from: The new erato on March 07, 2021, 12:28:55 AM
A superb disc. And one that proves that Vivaldi best music is vocal, and belong with the greatest.
Yes indeed, and it is such a pity that it is still a well kept secret.
Quote from: The new erato on March 07, 2021, 12:28:55 AM
Vivaldi best music is vocal, and belong with the greatest.
Quote from: aligreto on March 08, 2021, 02:30:49 AM
Yes indeed, and it is such a pity that it is still a well kept secret.
Amen!
Quote from: aligreto on February 28, 2021, 05:44:54 AM
Incidentally, have you seen this really good film with Alessandrini with Mingardo?
https://www.youtube.com/watch?v=mEcSThti5hM
Lovely, thanks!
Quote from: Que on March 01, 2021, 03:35:43 AM
Nice. :)
And these Alessandrini performances fit my tastes perfectly.
Q
+1
Quote from: Iota on March 09, 2021, 12:08:53 PM
Lovely, thanks!
I am pleased that you also enjoyed it. It is a fine film.
Regarding the Gloria, there's a massive, romantically coloured, almost Verdi-like one from Muti/EMI, coupled with an equally attractive Magnificat. I wouldn't be without that Vivaldi disc, also owning a good deal of King (good), Corboz, Negri, some Brilliant Classics (mostly rather disappointing), etc.
Quote from: MusicTurner on March 11, 2021, 11:54:17 AM
Regarding the Gloria, there's a massive, romantically coloured, almost Verdi-like one from Muti/EMI, coupled with an equally attractive Magnificat. I wouldn't be without that Vivaldi disc, also owning a good deal of King (good), Corboz, Negri, some Brilliant Classics (mostly rather disappointing), etc.
Is this the one?
(https://images-na.ssl-images-amazon.com/images/I/51T2ZAG43PL._AC_.jpg)
I will see if I can get a listen to it on line somewhere.
Yes, that's the one. The Magnificat as said is also great there.
Quote from: MusicTurner on March 11, 2021, 11:54:17 AM
Regarding the Gloria, there's a massive, romantically coloured, almost Verdi-like one from Muti/EMI, coupled with an equally attractive Magnificat....
Quote from: aligreto on March 12, 2021, 04:48:37 AM
(https://images-na.ssl-images-amazon.com/images/I/51T2ZAG43PL._AC_.jpg)
I got to listen to the opening movement of the Gloria on YouTube. It was big and bold and I liked it. I might just track down that recording. Thank you for posting the comment.
Nice that you liked it.
Quote from: aligreto on March 12, 2021, 07:42:31 AM
I got to listen to the opening movement of the Gloria on YouTube. It was big and bold and I liked it. I might just track down that recording. Thank you for posting the comment.
Fergus,
you can listen to it in full on Idagio's free desktop version (creation of account and password, no bank details needed).
https://app.idagio.com/albums/vivaldi-gloria-and-magnificat-847FAE2E-DE8B-4379-B5A3-5F3FF655EF55 (https://app.idagio.com/albums/vivaldi-gloria-and-magnificat-847FAE2E-DE8B-4379-B5A3-5F3FF655EF55)
(https://images-na.ssl-images-amazon.com/images/I/51T2ZAG43PL._AC_.jpg)
Quote from: MusicTurner on March 12, 2021, 05:32:51 AM
Yes, that's the one. The Magnificat as said is also great there.
Quote from: Papy Oli on March 12, 2021, 08:04:06 AM
Fergus,
you can listen to it in full on Idagio's free desktop version (creation of account and password, no bank details needed).
https://app.idagio.com/albums/vivaldi-gloria-and-magnificat-847FAE2E-DE8B-4379-B5A3-5F3FF655EF55 (https://app.idagio.com/albums/vivaldi-gloria-and-magnificat-847FAE2E-DE8B-4379-B5A3-5F3FF655EF55)
I think that this Muti version of the Gloria RV589 is a very fine interpretation. It has a great presence, in particular, the choral singing. It is full on. This version may not appeal to everyone but I cannot see why not; it is powerful, devotional and will take but a short time to acclimatise to if you are a Period Instrument kind of person. I think that it would be a very worthwhile addition to any collection and it is definitely a credit to this particular thread.
And yes, the Magnificat is also good.
Thank you both for bringing this to my attention; well done guys!
Quote from: aligreto on March 14, 2021, 04:02:03 AM
(https://images-na.ssl-images-amazon.com/images/I/51T2ZAG43PL._AC_.jpg)
I think that this Muti version of the Gloria RV589 is a very fine interpretation. It has a great presence, in particular, the choral singing. It is full on. This version may not appeal to everyone but I cannot see why not; it is powerful, devotional and will take but a short time to acclimatise to if you are a Period Instrument kind of person. I think that it would be a very worthwhile addition to any collection and it is definitely a credit to this particular thread.
And yes, the Magnificat is also good.
Thank you both for bringing this to my attention; well done guys!
Do you know if it's been remastered? I remember that recording as having bad sonics, as if the microphones had been covered in felt or something: very compressed and muffled.
The copy I had was from EMI's GROC series.
I remember the LP as more naturally spacious as regards the sound. Out of convenience, I tend to play the CD though.
Quote from: JBS on March 14, 2021, 12:55:46 PM
(https://images-na.ssl-images-amazon.com/images/I/51T2ZAG43PL._AC_.jpg)
Do you know if it's been remastered?
I have no idea; sorry.
I have just finished listening to this Naxos release under Mallon and I find it to be a particularly fine one in many ways. It is well worth investigating:
(https://is5-ssl.mzstatic.com/image/thumb/Music/a2/4e/3c/mzi.yasmctxc.jpg/1200x1200bf-60.jpg)
Laudate pueri Dominum RV 600:
I like Mallon as a conductor and I was not disappointed with him in Vivaldi here. He balances the sense of both the devotional and the dramatic elements of this music very well. He also has a keen sense of pace for this music. The soprano, Bessette, performs admirably as do the orchestral forces. The recording sounds a little lean but a nudge on the volume knob adequately resolves this minor issue.
Stabat Mater RV 621:
As I progress through this CD I am finding Mallon to be quite good in his interpretations of Vivaldi's Sacred music. The presentation of this work is particularly fine from every perspective. Mallon gets both the tone and the pace quite correct for this music. He has quite a good feel for the music. The contralto, Newman, performs more than admirably and she delivers the music very sensitively. Her voice is smooth and well rounded. The orchestral accompaniment is also very sensitive to the vocal element and well balanced. I find this to be a particularly fine presentation of this work. "Eia Mater, Fons Amoris" and "Fac, Ut Ardeat" are particularly fine pieces of musical writing and they are very well presented here.
Canta in prato, ride in monte, RV 623:
This presentation has a wonderfully light touch. The pacing is also excellent. The soprano Bessette produces a very fine delivery. The performance is filled with great charm and poise.
Clarae stellae, scintillate, RV 625:
As in the other presentations on this CD Mallon strikes a wonderful balance between a devotional and a celebratory tone. The atmosphere created by the contralto's singing [Newman] here is wonderful.
RV 601. This is one of favourite works of Vivaldi's, but one I think is underappreciated and under-recorded.
The slow movement is particularly noteworthy.
https://www.youtube.com/watch?v=ViX5KkTMqSs
Quote from: KevinP on August 25, 2022, 02:31:51 PM
RV 601. This is one of favourite works of Vivaldi's, but one I think is underappreciated and under-recorded.
The slow movement is particularly noteworthy.
https://www.youtube.com/watch?v=ViX5KkTMqSs
Yes, Laudate pueri is a very fine work and is always worth a listen.
It is a great pity that the poster of the video did not credit the vocalist, the orchestra or the director.
I have four versions of RV601 in my collection:
Piau/Accademia Bizantina/Dantone on Naive
Sampson/King's Consort/King on Hyperion
Marshall/Concertgebouw Chamber Orch./Negri on Philips
Leblanc/Teatro Lirico/Stubbs on Challenge
Vivaldi: Gloria [Alessandrini]
(https://m.media-amazon.com/images/I/41VHlHqJK+L.jpg)
Ostro picta, armata spina RV642
This is delightful music that is well played and sung here. Two lively and animated outer movements bookend a slow movement. The tone of the outer movements are celebratory while the tone in the central movement is more contemplative and devotional. The work is short but it is a joy to listen to.
Gloria RV589
This is not the fastest version of this work that I own but it is not far off it. This aspect of this particular presentation sometimes, but not always, causes me a little conflict. This time my particular mood appreciated the tempo more than it does at other times. Either way, it is always a wonderful performance from all of the forces present here.
Gloria RV 588
This version of the Gloria RV 588 is preceded by the Motet "Jubilate o amoeni chori" which is always good to have. It is performed admirably here.
The tempi here are lively but tight, and on the slightly brisk side in the appropriate places. The inherent, signature driving rhythms in Vivaldi's music are very conspicuous throughout and they are well maintained here by Alessandrini in tightly controlled but free flowing pacing even in the slower tempi movements. The orchestral accompaniment is sensitive but full sounding. The tone is, overall, very much towards the devotional. The recorded sound is both excellent and full.
Mingardo's voice is robust and ardent with a rich sonority. The well balanced choir is full sounding and has a fine presence.
This is a very fine presentation from the orchestral and vocal contributors and there is a great sensitivity in the direction of the music.
Vivaldi Sacred Music: Nisi Dominus/Stabat Mater [Spinosi]
(https://m.media-amazon.com/images/W/IMAGERENDERING_521856-T1/images/I/61wDuwJfYxL._SL1200_.jpg)
Nisi Dominus RV 608 [Spinosi/Jaroussky]
This is, for me, a particularly fine, exciting and often thrilling presentation of this work. The vocal element from Jaroussky is exceptionally expressive and unique for me. It is both, paradoxically,
understated and powerful. The orchestral element is very well delivered and very sensitive, crisp and clean here under the very capable direction of Spinosi. Everything is very well delivered here.
Credo in G major, RV 592- Crucifixus etiam pro nobis [Spinosi]
This wonderful piece of music lasts less than three minutes but it certainly packs a punch in terms of music quality, vocal and instrumental presentation and emotional impact.
Stabat Mater RV 621 [Spinosi/Lemieux]
This presentation lasts for just under nineteen minutes and is therefore in the medium paced category for this work. It is suitably low key yet very atmospheric in tone. Lemieux's voice is both warm and full and also packs a powerful punch in this music; her voice is quite understatedly robust yet delivers the music very sensitively. The orchestral accompaniment is also very sensitive, yet lively, to the vocal element. The overall tone is solemn, but not oppressively so. This is a very strong performance under the very capable baton of Spinosi who is, I find in my limited exposure to him, very strong in Vivaldi.