Hyperion Records

Cur sagittas, cur tela, RV637
composer
author of text

Recordings
'Vivaldi: Sacred Music, Vol. 8' (CDA66829)
Vivaldi: Sacred Music, Vol. 8
MP3 £7.99FLAC £7.99ALAC £7.99Buy by post £13.99 (ARCHIVE SERVICE) CDA66829  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: Cur sagittas, cur tela
Track 15 on CDA66829 [3'29] Archive Service; also available on CDS44171/81
Track 15 on CDS44171/81 CD9 [3'29] 11CDs Boxed set (at a special price)
Movement 2: Hostibus circumventa
Track 16 on CDA66829 [1'47] Archive Service; also available on CDS44171/81
Track 16 on CDS44171/81 CD9 [1'47] 11CDs Boxed set (at a special price)
Movement 3: In te, beate Pater
Track 17 on CDA66829 [4'21] Archive Service; also available on CDS44171/81
Track 17 on CDS44171/81 CD9 [4'21] 11CDs Boxed set (at a special price)

Cur sagittas, cur tela, RV637
EnglishFrançaisDeutsch
In his first period of sacred vocal music composition at the Pietà, Vivaldi pioneered the practice of inserting short solo motets (introduzioni) before major choral items such as the Gloria in the Mass or the Dixit Dominus at Vespers. The present introduzione, which belongs to a large group of Vivaldian compositions with a connection to the feast of St Lawrence Martyr, was in all probability composed in the 1720s or early 1730s for an institution other than the Pietà, and shows that Vivaldi was keen to extend the use of this newly invented genre. Since its key is B flat major, it is highly unlikely that it was designed to introduce one of the extant Vivaldi settings of the Gloria (RV588 and RV589), both of which are in D major. Perhaps it was linked to a setting, presumably by Vivaldi himself, in B flat major that was a partner to the surviving Kyrie in G minor, RV587. Although RV637 is not itself laid out for two cori, a reference to ‘organi’ (in the plural) in the autograph score implies that it was intended for performance in circumstances where the ensemble was divided.

From a close examination of the manuscript, it appears that the work originally consisted of two movements: an aria and a recitative. The first describes the soul’s combat with the powers of darkness, armed with faith, while the second calls on the aid of St Lawrence in the struggle. The word ‘Gloriam’ (accusative of ‘Gloria’) appears in the last line of the recitative as a ‘pre-echo’ of the first word of the main work. At a later stage, however, Vivaldi decided to lengthen RV637 by adding a prayer to the saint in the form of a slow aria. This caused him to replace ‘Gloriam’ (now made redundant) by ‘laeta’. The gentle lyricism of the added aria provides an effective contrast to the blood and thunder of the opening one.

from notes by Michael Talbot © 2002

Track-specific metadata
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Details for CDA66829 track 17
In te, beate Pater
Artists
ISRC
GB-AJY-02-82917
Duration
4'21
Recording date
5 September 2001
Recording venue
St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom
Recording producer
Ben Turner
Recording engineer
Philip Hobbs
Hyperion usage
  1. Vivaldi: Sacred Music, Vol. 8 (CDA66829)
    Disc 1 Track 17
    Release date: August 2002
    Deletion date: January 2011
    Archive Service; also available on CDS44171/81
  2. Vivaldi: The Complete Sacred Music (CDS44171/81)
    Disc 9 Track 17
    Release date: October 2005
    11CDs Boxed set (at a special price)
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