Vivaldi’s Women: Instrumental and Vocal Sacred Music
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Label: Signum
Cat No: SIGCD699
Format: CD
Number of Discs: 1
Release Date: 26th August 2022
Contents
Works
Concerto for violin, organ and strings in D minor, RV541Concerto for violin in tromba marina, strings and continuo in G major, RV313
Cur sagittas, cur tela, cur faces (Introduction to Gloria) in B flat major, RV637
Nisi Dominus, RV803
Viola d'amore Concerto in D minor, RV394
Violin Concerto in F major (from 'Harmonia Mundi The 2nd Collection')
Artists
Adrian Chandler (violin)Claire Booth (soprano)
Renata Pokupic (mezzo-soprano)
Jess Dandy (contralto)
Robert Howarth (organ)
La Serenissima
Conductor
Adrian ChandlerWorks
Concerto for violin, organ and strings in D minor, RV541Concerto for violin in tromba marina, strings and continuo in G major, RV313
Cur sagittas, cur tela, cur faces (Introduction to Gloria) in B flat major, RV637
Nisi Dominus, RV803
Viola d'amore Concerto in D minor, RV394
Violin Concerto in F major (from 'Harmonia Mundi The 2nd Collection')
Artists
Adrian Chandler (violin)Claire Booth (soprano)
Renata Pokupic (mezzo-soprano)
Jess Dandy (contralto)
Robert Howarth (organ)
La Serenissima
Conductor
Adrian ChandlerAbout
That said, he was employed for significant periods by the Ospedale della Pietà, a Venetian institution (founded c.1340) that cared for unwanted children, often illegitimate or physically disadvantaged. The Pietà’s performers were taken from a group of women known as the figlie di coro, who sang and played the violin, violin in tromba marina, viola, viola d’amore, cello, violone, viol, double bass, theorbo, mandolin, harpsichord, organ, oboe, flute, recorder, chalumeau and clarinet. The Pietà developed a strong reputation for its musical performances, engaging the finest composers and teachers of the day. It was important to ensure that the standards were high; after all, these entertainments were most popular with Venetians and visitors alike whose donations provided a welcome extra source of revenue.
In addition to the many fine vocal works, Vivaldi also contributed many concertos that could be used to replace parts of the liturgy in church services. Amongst these are almost certainly all of his concertos for violin and obligato organ, presumably designed to show off the magnificent instrument that the Pietà had purchased in 1708.
We are extremely grateful to the Vivaldi scholar Michael Talbot for sharing his findings. As so much of Vivaldi’s sacred output seems to have been created whilst deputising for others, one can only imagine the riches that would have poured forth from his pen had he been given a church post. The quality of the music contained within his sacred oeuvre is breath-taking and it is a great tragedy that the evidence points to a large tranche of this repertoire having been lost over the years. It is interesting on this last point to note how few of the great composers since 1750 have been violinists. One can only hope that the time is now ripe for Vivaldi’s genius as a church composer to be fully recognised.
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