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Track(s) taken from CDA66849

Ostro picta, RV642

composer
author of text

Carolyn Sampson (soprano), The King's Consort, Robert King (conductor)
Recording details: November 2003
St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom
Produced by Ben Turner
Engineered by Philip Hobbs
Release date: February 2004
Total duration: 7 minutes 24 seconds
 
1
Ostro picta  [2'51]
2
Sic transiit  [1'01]
3
Linguis favete  [3'32]

Reviews

'for King's sterling service to the Vivaldian cause, one of his most important recording and satisfying projects to date, I am thankful' (Gramophone)

'This final disc in Robert King's justly acclaimed complete edition of Vivaldi's sacred music is the project's crowning glory' (The Daily Telegraph)

'With Robert King, there is never a question about technical polish or keen musicianship. These are stunning performances … I would not hesitate to recommend the present disc to anyone looking for a recording of THE Gloria, both for the quality of this performance and because of the accompanying pieces, which surely must fascinate any listener with an interest in Vivaldi's most famous sacred work' (American Record Guide)

'The accomplished, precise and colourful orchestra is led by the ever vigourous and sensitive King, and the technically irreproachable and spot-on choir with its formidable bass section … is especially noteworthy' (Gramophone Early Music)

'So we have reached the end of a long, immensely rewarding trail. Brilliant, invigorating, uplifting, King's sacred music intégrale shines like a beacon in a dark world that has largely lost the ability to engage with spiritual celebration. More prosaically, it now becomes the core reference archive for Vivaldi's sacred music, a skilfully planned, superlatively engineered set of discs that will take an honoured place in recording history … as we know, there are many different ways of interpreting this repertoire, but Robert King seems to have one of the best grips on it yet by way of his energetic and unmannered view. The agile and responsive soloists, the alert and nimble chorus, and the disciplined and finely honed orchestra are all right on the mark, never wavering in either proficiency or commitment. This is a real winner, and a shoo-in for our Classical Hall of Fame' (Fanfare, USA)
This introduzione for soprano, strings and continuo dates from the same period as the Gloria RV589 and, to judge from thematic resemblances such as the ‘pounding’ octaves close to the beginning, may have been designed to precede it. It was certainly written for the patronal festival of the Pietà, the Visitation of the Blessed Virgin on 2 July, since its central recitative refers to Mary’s receiving a visit (‘dum hodie visitatur’).

As usual, Arcadian and Christian forms of imagery mingle. The first aria speaks cheerfully in its first semistrophe of the beauty of a rose, while its second semistrophe (that is, the ‘B’ section of the da capo structure) moves to a contrasting, dark mood as it describes how, come the evening, the rose droops and loses its fragrance. This is the cue for the recitative to explain how all worldly glory is transitory, whereas the humble mother of Jesus is permanently glorious. It remains for the second aria, dance-like in its lilt, to sing Mary’s praise and prefigure some of the liturgical text of the Gloria to follow.

from notes by Michael Talbot © 2004

Cette introduzione pour soprano, cordes et continuo date de la même période que le Gloria RV589 et, à en juger par la ressemblance thématique que présentent les octaves martelées de l’ouverture, pourrait avoir été conçue pour le précéder. Il a certainement été écrit pour la fête de la Pietà, la Visitation de la Vierge le 2 juillet, car son récitatif central fait référence à Marie recevant une visite (dum hodie visitatur).

Comme toujours, les formes d’imagerie arcadienne et chrétienne s’entremêlent. Le premier aria est une évocation joyeuse, dans sa première semistrophe, de la beauté d’une rose, tandis que la seconde semistrophe (c’est à dire la section B de la structure da capo) évolue en revanche vers une atmosphère sombre, alors qu’elle décrit comment, le soir venu, la rose baisse la tête et perd son parfum. Telle est l’introduction d’un récitatif qui explique que toute gloire n’est qu’éphémère, alors que l’humble mère de Jésus reste, elle, glorieuse jusqu’à la fin des temps. Alors, le second aria, à la cadence presque dansante, chante la gloire de Marie et préfigure une partie du texte liturgique du Gloria suivant.

extrait des notes rédigées par Michael Talbot © 2004
Français: Marie Luccheta

Diese Introduzione für Sopran, Streicher und Continuo stammt aus derselben Periode wie das Gloria RV589 und könnte, von den thematischen Ähnlichkeiten wie etwa den „pochenden Oktaven“ am Anfang her zu urteilen, als dessen Vorgänger geplant worden sein. Das Werk entstand jedenfalls anlässlich Mariä Heimsuchung am 2. Juli, das an der Pietà als Festtag begangen wurde, da sich das zentrale Rezitativ auf einen Besuch bezieht, den Maria empfängt („dum hodie visitatur“).

Wie gewöhnlich treten hier arkadische und christliche Symbole nebeneinander auf. Die erste Arie handelt in der ersten Hälfte von der Schönheit einer Rose, in der zweiten Hälfte (dem „B“-Teil der Da capo-Struktur) jedoch ist die Stimmung eher düster und es wird beschrieben, wie die Rose am Abend ihren Kopf hängen lässt und ihren Duft verliert. Dies ist der Einsatz für das Rezitativ, in dem erklärt wird, dass alle weltliche Herrlichkeit vergänglich, die bescheidene Mutter Jesu’ hingegen von einer ewigen Herrlichkeit sei. In der zweiten Arie, die einen recht tänzerischen Rhythmus hat, wird Maria dann gepriesen. Außerdem werden hier bereits mehrere liturgische Texte des darauf folgenden Gloria angekündigt.

aus dem Begleittext von Michael Talbot © 2004
Deutsch: Viola Scheffel

Other albums featuring this work

Vivaldi: The Complete Sacred Music
CDS44171/8111CDs Boxed set (at a special price)
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