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Hyperion Records

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Venice: The Basin of San Marco on Ascension Day by Antonio Canaletto (1697-1768)
Reproduced by permission of The Trustees, The National Gallery, London
Track(s) taken from CDA66789
Recording details: January 1997
St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom
Produced by Ben Turner
Engineered by Philip Hobbs
Release date: May 1997
Total duration: 7 minutes 5 seconds

'A rewarding issue, well documented and spaciously recorded' (Gramophone)

'Performances and recording quality are exemplary' (BBC Music Magazine)

'Robert King's revelatory series cannot fail to enhance the status of Vivaldi's choral music. His sparkling attack and consistently fine choice of soloists have revealed unexpected masterpieces' (Classic CD)

'The superlatives flow just as easily as reviews on the previous two discs have done' (Organists' Review)

'Outstanding performances that have vitality and fervour without sacrificing clarity' (Goldberg)

'Robert King réalise dans chaque pièce une belle progression dynamique, sans aggressivité, avec une pression jubilatoire qui n'oubli jamais le contenu spirituel des textes' (Répertoire, France)

'Interpretaciónes magnificas' (Ritmo, Spain)

Domine ad adiuvandum, RV593
author of text
Psalm 69 (70):1b

Introduction  EnglishFrançaisDeutsch
If any sacred work by Vivaldi deserves to be described as his ‘most perfect’, it is Domine ad adjuvandum RV593. Its short text—half a verse from Psalm 69 (70) plus the Doxology—is a response (or ‘respond’) to the versicle ‘Deus in adjutorium meum intende’, with which Vespers open. RV593 belongs to the group of large-scale works in due cori dating from the 1720s. The words from the Psalm, occupying the opening movement in G major, are dispatched in choral writing of great panache—nowhere does Vivaldi exploit the antiphonal potential of a double choir and orchestra to greater effect. The urgency conveyed by the word ‘festina’ (‘make haste’) is admirably captured in the phrases tossed from choir to choir. In contrast, the ‘Gloria Patri’ is an ecstatic solo in E minor for a soprano threading her (originally, no doubt, ‘his’) way between the two continuously dialoguing instrumental ensembles. The final part of the Doxology is an introduction and fugue for united cori. Its two sections are knit together by the presence of continuous quavers in the instrumental bass. Initially at walking speed, these break into a canter for the fugue, which demonstrates almost ostentatiously Vivaldi’s ability to create a number of invertible counter-subjects, each of which can suitably act as a bass to the others.

from notes by Michael Talbot © 1997

Other albums featuring this work
'Vivaldi: The Complete Sacred Music' (CDS44171/81)
Vivaldi: The Complete Sacred Music
MP3 £35.00FLAC £35.00ALAC £35.00Buy by post £40.00 CDS44171/81  11CDs Boxed set (at a special price)  
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