Hyperion Records

Vestro Principi divino, RV633
composer
c1715
author of text
Psalm 23 (24)

Recordings
'Vivaldi: Sacred Music, Vol. 7' (CDA66819)
Vivaldi: Sacred Music, Vol. 7
MP3 £7.99FLAC £7.99ALAC £7.99Buy by post £13.99 (ARCHIVE SERVICE) CDA66819  Archive Service; also available on CDS44171/81  
'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)  
Details
Movement 1: Vestro Principi divino
Track 11 on CDA66819 [3'59] Archive Service; also available on CDS44171/81
Track 11 on CDS44171/81 CD8 [3'59] 11CDs Boxed set (at a special price)
Movement 2: O felix culpa
Track 12 on CDA66819 [0'38] Archive Service; also available on CDS44171/81
Track 12 on CDS44171/81 CD8 [0'38] 11CDs Boxed set (at a special price)
Movement 3: Quid loqueris ad cor
Track 13 on CDA66819 [2'14] Archive Service; also available on CDS44171/81
Track 13 on CDS44171/81 CD8 [2'14] 11CDs Boxed set (at a special price)
Movement 4: Alleluia
Track 14 on CDA66819 [1'21] Archive Service; also available on CDS44171/81
Track 14 on CDS44171/81 CD8 [1'21] 11CDs Boxed set (at a special price)

Vestro Principi divino, RV633
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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 ©

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