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Hyperion Records

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Track(s) taken from CDA66819
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: August 2001
Total duration: 8 minutes 12 seconds

'A superb release of little-heard Vivaldi … Volume 6 of this series was a Gramophone Award nominee this year and I see no possible reason why this one shouldn't be too: it contains some very fine and largely unfamiliar music in splendid performances' (Gramophone)

'Quite frankly, this is the kind of disc that wins awards. Yet again, it’s congratulations to Hyperion. If you haven’t yet sampled this series, start here' (Early Music Review)

'One of the most rewarding discs in this splendid series to date' (International Record Review)

'Get this new volume at once, work your way backwards and acquire the earlier volumes, and pray that this series continues for many years' (Goldberg)

'Vivid, vigorous and immaculate accounts. Stutzmann’s unique voice quite fabulous in the Vestro Principi … superb choral singing, all perfectly balanced by the engineers' (Yorkshire Post)

Vestro Principi divino, RV633
author of text
Psalm 23 (24)

Introduction  EnglishFrançaisDeutsch
This solo motet, whose text paraphrases part of Psalm 23 (24 in Protestant bibles) and quotes part of the rite of the Paschal Vigil (the praise of Easter at the blessing of the Paschal Candle expressed in the words ‘O felix culpa quae talem meruit habere Redemptorem’), must have been composed for the conclusion of Holy Week. Bibliographical factors suggest a date around 1715.

Unusually, the autograph manuscript leaves out the composer’s name. It likewise fails to identify the singer for whom it was composed, although that is less unexpected. In fact, the character of the contralto part and its accompaniment make it very likely that the singer was Geltruda (1684-1752), one of the Pietà’s leading musicians in the 1710s. Typically for a figlia di coro, Geltruda was active in more than a single capacity, being also a theorboist and a viola player. As a singer, she had a very narrow compass (the vocal part in RV633 stretches from Middle C only as far as the D a ninth above it) and a rather weak voice; a composer had to take care, as Vivaldi does, not to allow it to be drowned by the instruments. It is for this reason that when the contralto sings she is either accompanied by continuo alone or her part is doubled by violins.

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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