Movement 1: Longe mala, umbrae, terrores
Movement 2: Recedite, nubes et fulgura
Movement 3: Descende, o caeli vox
Movement 4: Alleluia
It is not known for what occasion or institution this exceptionally brilliant and vocally taxing motet was written. One thing is virtually certain: it was not composed for the Pietà. While this might suggest that the intended singer was more probably a male castrato, it is important not to view high vocal parts of the time as gender-specific. Vivaldi did indeed tend to customize his motets, but always tailored them to an individual singer, not to a gender (over the choice of which composers and audiences tended to be very pragmatic).
from notes by Michael Talbot © 1996