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Track(s) taken from CDA66769

Lauda, Jerusalem, RV609

author of text
Psalm 147

Susan Gritton (soprano), Lisa Milne (soprano), King's Consort Choir, The King's Consort, Robert King (conductor)
Recording details: August 1994
St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom
Produced by Ben Turner
Engineered by Philip Hobbs
Release date: April 1995
Total duration: 7 minutes 15 seconds


‘Very special indeed … the ebullient notes come bouncing off the page and just when it seems that everyone is giving their stupendous all, Robert King manages to squeeze a little extra. A Dixit Dominus to sweep you off your feet. Volume 1 is going to be a hard act to follow’ (Classic CD)

‘The production values on this disc could hardly be bettered. I don't know what Hyperion is feeding their recording equipment but these are some contented cows and they produce pure Devonshire cream. This is deep sound, the kind the listener practically feels he can reach out and touch. There is scarcely a church or concert hall anywhere in the world with an ambience this sensual … One of the finest discs to have come my way this year. Look for this one on my year-end Want list. But don't wait till December, buy it now’ (Fanfare, USA)

‘Lustrous, immaculate performances’ (The New Yorker, USA)
Around the 1720s Vivaldi composed a single-movement setting of the Lauda, Jerusalem for two cori, each with a solo soprano, a four-part choir and strings. The psalm is proper for Sundays, including Easter Sunday. At some later stage – perhaps in 1739 when he was commissioned to supply new works to the Pietà – he penned on the manuscript the names of its four choirgirls, two to a part, but it is uncertain whether he carried through the plan to submit it. The Lauda, Jerusalem reveals the enormous influence which Vivaldi’s concertos had on his church music since it observes the principles of ritornello form quite strictly, alternating fully scored and lightly scored sections, and inserting freely conceived episodes between passages based on recurrent material (ritornellos). Vivaldi is at his most compelling when he arrives at the Doxology, whose subject is based on that of another Lauda, Jerusalem, by an unknown composer, in his collection.

from notes by Michael Talbot © 1994

Other albums featuring this work

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