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Hyperion Records

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Piazzetta and Bacino di San Marco in Venice (c1735) by Antonio Canaletto (1697-1768)
Track(s) taken from CDA66809
Recording details: July 2000
St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom
Produced by Ben Turner
Engineered by Philip Hobbs
Release date: November 2000
Total duration: 10 minutes 4 seconds

'Top marks again to King for his choice of soloists – in Stutzmann, above all, we have one of today’s best baroque voices' (Gramophone)

'The performances fully live up to the remarkably high standards that informed the previous issues. A fine addition to one of the most rewarding series currently in progress' (Fanfare, USA)

‘Richly rewarding music, wonderfully performed. I’m eager to dive into Volumes 1 to 5’ (Opera News)

‘Bravo to the King’s Consort, whose skilful performances are bringing this important repertoire to the attention of listeners as well as other performers’ (Schwann/Opus, USA)

Salve regina, RV617
composer
author of text
Antiphon to the Virgin Mary from Trinity until Advent

Introduction  EnglishFrançaisDeutsch
Vivaldi left three surviving settings of the Marian antiphon Salve regina. Two are for solo alto and instruments laid out in two cori dating from the 1720s at earliest. Unexpectedly, the third setting—RV617, a much earlier work for soprano and strings in F major—survives only in a non-autograph manuscript preserved in the Moravian Museum in Brno, Czech Republic. It may have travelled to Bohemia in 1717 together with a group of manuscripts of sacred works by Vivaldi collected by Balthasar Knapp, secretary to Count Kinsky.

A highly unusual feature of the work in Brno is the scoring of its opening movement, in which the accompaniment consists of solo violin and continuo alone. There is a universal convention in Baroque music that the outer movements of a multi-movement work should be fully scored: it is in the inner movements that the texture can be lightened or varied. Only in RV617 does one find Vivaldi departing from this principle in a sacred vocal work. If there is a hermeneutic reason underlying his choice, it may be a desire to make the solo violin stand for Mary herself, to whom the soprano addresses his or her prayer. In the second movement, ‘Ad te clamamus’, the string tutti enters. The third movement, ‘Eia ergo’, brings soloist and tutti together in a rich, concerto-like texture. The final movement, ‘Et Jesum’, is a rocking siciliana in which the tutti and the solo violin accompany by turns. Without question, this is one of Vivaldi’s most original sacred vocal compositions, and one in which his experience as a composer of concertos is most apparent.

from notes by Michael Talbot © 2000

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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