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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: 3 minutes 29 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)

In exitu Israel, RV604
author of text
Psalm 113 (114-115)

Introduction  EnglishFrançaisDeutsch
With its twenty-seven verses (not including the two comprising the Lesser Doxology), Psalm 113 In exitu Israel (Psalms 114 and 115 combined in Protestant bibles) has always proved a handful for composers. In opting to set it for choir alone in a single, continuously running movement, Vivaldi took a very rational decision, even if, in his haste to complete the movement, he managed to confuse verse 4 with verse 6, thereby accidentally skipping a couple of verses.

RV604 belongs to the group of psalms Vivaldi wrote for Easter Sunday at the Pietà in 1739. It survives not only in Turin but also in the fragments of the Pietà’s repertory today preserved at the Conservatorio di Musica ‘Benedetto Marcello’ in Venice. It is amusing to see, from the parts copied out for their own use by the Pietà’s musicians, that they had just as much difficulty as we sometimes have today in deciphering Vivaldi’s intentions.

The composer does his best to keep the musical interest alive in this 97-bar movement. He varies the accompanimental patterns on the violins, changes key in effective and sometimes surprising ways, and utilizes different kinds of vocal texture (albeit without ever foregoing a pervasive homophony). Imitating the structure of the Psalm’s verses, he sometimes adopts a responsorial style in which the solo sopranos alone are answered by the full choir. Word-painting is rarely encountered. Because of its deliberate simplicity, this setting shows few differences from the comparable pieno settings from the ‘first’ period, RV606 and 607, which were composed over twenty years earlier.

from notes by ©

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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