Vivaldi's introduzioni

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An introduzione is a motet for solo voice intended to be sung before certain choral settings of liturgical texts. Eight introduzioni by Antonio Vivaldi survive, each in three or four movements. The texts of introduzioni are non-liturgical, but sometimes paraphrases of liturgical texts. In the Ryom Verzeichnis, Vivaldi's introduzioni are numbered from RV 635–642.

In western music, a motet is a mainly vocal musical composition, of highly diverse form and style, from the late medieval era to the present. The motet was one of the pre-eminent polyphonic forms of Renaissance music. According to Margaret Bent, "a piece of music in several parts with words" is as precise a definition of the motet as will serve from the 13th to the late 16th century and beyond. The late 13th-century theorist Johannes de Grocheo believed that the motet was "not to be celebrated in the presence of common people, because they do not notice its subtlety, nor are they delighted in hearing it, but in the presence of the educated and of those who are seeking out subtleties in the arts".

Antonio Vivaldi Italian baroque period composer, virtuoso violinist and teacher

Antonio Lucio Vivaldi was an Italian Baroque musical composer, virtuoso violinist, teacher, and priest. Born in Venice, the capital of the Venetian Republic, he is regarded as one of the greatest Baroque composers, and his influence during his lifetime was widespread across Europe. He composed many instrumental concertos, for the violin and a variety of other instruments, as well as sacred choral works and more than forty operas. His best-known work is a series of violin concertos known as the Four Seasons.

Contents

Structure

Vivaldi's introduzioni are written for a solo singer, either alto or soprano, accompanied by instruments. The musical structure seems to derive from the text: four of the eight (RV 635, 636, 637, and 642) consist of two arias in da capo form surrounding a central recitative. One (RV 638) has a central aria flanked by two recitatives; another (RV 640) has just two movements – recitative then aria – and a third (RV 641) has four movements (two recitatives, aria, recitative). The remaining one (RV 639) has the structure 'aria-recitative-aria' but Vivaldi interwove the second aria into the first movement of the liturgical work which followed it - the Gloria (RV 588).

Da capo is an Italian musical term that means "from the beginning". It is often abbreviated as D.C. The term is a directive to repeat the previous part of music, often used to save space, and thus is an easier way of saying to repeat the music from the beginning.

Antonio Vivaldi wrote at least three settings of the hymn Gloria in excelsis Deo, whose words date probably from the 4th Century and which is an integral part of the Ordinary of the Mass. Two survive: RV 588 and RV 589. A third, RV 590, is mentioned only in the Kreuzherren catalogue and presumed lost. The RV 589 Gloria is a familiar and popular piece among sacred works by Vivaldi. It was probably written at about the same time as the RV 588, possibly in 1715.

List of Introduzioni

All of Vivaldi's introduzioni are ordered here by numeric order according to RV number.

Ascende Laeta, RV 635

Ascende Laeta, written for soprano, was intended to precede a setting of the Dixit Dominus in D Major for orchestra and five-part choir (RV 595). It was composed around 1715 and therefore written for the Pio Ospedale della Pietà. It consists of two arias surrounding a central recitative. The text of RV 635 suggests it may have been written for the celebration of the Assumption of the Blessed Virgin Mary (August 15). The text addresses the Virgin Mary's ascent into heaven, along with celebration from local peasants using musical imagery of reeds and pipe organs. [1]

Antonio Vivaldi composed several settings of the Dixit Dominus, the Latin version of Psalm 110. They include a setting in ten movements for five soloists, double choir and orchestra, RV 594, another setting in eleven movements for five voices, five-part choir and orchestra, RV 595, and a recently discovered setting in eleven movements for five soloists, choir and orchestra, RV 807, which had been attributed to Baldassare Galuppi. It is said to be one of his "most significant sacred works."

Canta in Prato, RV 636

Canta in Prato, Ride in Fonte, written for soprano, was intended to precede the Dixit Dominus for double orchestra and double choir (RV 594). It consists of two arias surrounding a central recitative, and has a similar text to an earlier motet, Canta in Prato, Ride in Monte (RV 623). The present work speaks of the nightingale Philomela and her joyous singing.

Philomela legendary princess of Athens

Philomela or Philomel is a minor figure in Greek mythology and is frequently invoked as a direct and figurative symbol in literary, artistic, and musical works in the Western canon.

Cur Sagittas, RV 637

The piece which should follow Cur Sagittas is lost. Vivaldi scholar Michael Talbot has conjectured that it might precede either the Kyrie RV 587 or a lost setting of the Gloria. [2] The form is again two arias surrounding a central recitative. The first aria speaks of mythical creatures in conflict with a man of faith. The second aria then describes the person's strong faith in the Lord.

Filiae Maestae Jerusalem, RV 638

Original Latin text

Filiae Maestae Jerusalem is the first of two introduzioni written to come before a setting of the Miserere (the second is RV 641). The Miserere itself is presumed lost. RV 638 consists of two recitatives around a single aria. This text concerns sad daughters of the Jerusalem after the death of Jesus Christ and the mourning of nature itself. [3]

Psalm 51 Book of Psalms, chapter 51

Psalm 51 is the 51st psalm of the Book of Psalms, generally known in English by its first verse, in the King James Version, "Have mercy upon me, O God". In the Greek Septuagint version of the bible, and in its Latin translation Vulgate, this psalm is Psalm 50 in a slightly different numbering system. In Latin, it is known as "Miserere mei, Deus", for which it is traditionally known as the Miserere, especially in musical settings. Psalm 51 is one of the Penitential Psalms. It was composed by David as a confession to God after he sinned with Bathsheba.

Jerusalem City in the Middle East

Jerusalem is a city in the Middle East, located on a plateau in the Judaean Mountains between the Mediterranean and the Dead Sea. It is one of the oldest cities in the world, and is considered holy to the three major Abrahamic religions—Judaism, Christianity, and Islam. Both Israel and the Palestinian Authority claim Jerusalem as their capital, as Israel maintains its primary governmental institutions there and the State of Palestine ultimately foresees it as its seat of power; however, neither claim is widely recognized internationally.

Jubilate, o amoeni cori, RV 639

Jubilate is the only introduzione to come before Gloria (RV 588), in the form of Aria-Recitative-Aria. It speaks of choirs joying over the celebration of Christ. The last movement of this motet is interwoven with the first movement of the preceding piece (RV 588). Vivaldi cunningly combines both texts into one, the soloist from the introduzione singing the text from the motet. The present motet is essentially a call for all others to rejoice with musical instruments.

Longe Mala, Umbrae, Terrores, RV 640

Longe Mala is the first of two introduzioni for RV 589, and is related to a motet based on similar text, RV 623, composed several years later in Vivaldi's visit to Rome. Unusually, the form for this motet is Aria-Recitative. The motet speaks of the terrors of the world and asks for the Lord to appear with his glory.

Non in Pratis, RV 641

Non in Pratis is the second of two introduzioni to come before the lost Miserere. It consists of two recitatives, an aria, and a final recitative. The text, unlike the more universal message of RV 638, considers the personal pain and lament at the death of Jesus. [4]

Ostro Picta, RV 642

Ostro Picta was written to precede the Gloria (RV 589). It has the form aria-recitative-aria. The text contrasts the ephemeral glory of the world with the everlasting glory of the Virgin Mary. [5]

Related Research Articles

<i>Gott soll allein mein Herze haben</i>, BWV 169 church cantata by Johann Sebastian Bach for solo alto

Johann Sebastian Bach composed the church cantata Gott soll allein mein Herze haben, BWV 169, a solo cantata for an alto soloist, in Leipzig for the 18th Sunday after Trinity, and first performed it on 20 October 1726.

<i>Ach Gott, vom Himmel sieh darein</i>, BWV 2

Ach Gott, vom Himmel sieh darein, BWV 2 is a chorale cantata composed by Johann Sebastian Bach for the second Sunday after Trinity in 1724. First performed on 18 June in Leipzig, it is the second cantata of his chorale cantata cycle. The church cantata is based on Martin Luther's 1524 hymn "Ach Gott, vom Himmel sieh darein", a paraphrase of Psalm 12.

Nulla in mundo pax sincera, RV 630, is a sacred motet composed by Antonio Vivaldi in 1735 to an anonymous Latin text, the title of which may be translated as "In this world there is no honest peace" or "There is no true peace in this world without bitterness". Written in the key of E major and in the typical lyrical Italian Baroque style, it is scored for solo soprano, two violins, viola and basso continuo, this would normally be a cello and keyboard instrument, in Vivaldi's case often the organ. The text dwells on the imperfections of a world full of evil and sin, and praises Jesus for the salvation he offers from it. It is considered to be one of Vivaldi's most beautiful solo motets.

<i>Herr Gott, dich loben wir</i>, BWV 16 church cantata by Johann Sebastian Bach

Herr Gott, dich loben wir, BWV 16, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for New Year's Day and first performed it on 1 January 1726 as part of his third cantata cycle. The beginning of the text is based on "Herr Gott, dich loben wir", Luther's German Te Deum,

<i>Ich hatte viel Bekümmernis</i>, BWV 21 church cantata by Johann Sebastian Bach

Johann Sebastian Bach composed the church cantata Ich hatte viel Bekümmernis, BWV 21 in Weimar, possibly in 1713, partly even earlier. He used it in 1714 and later for the third Sunday after Trinity of the liturgical year. The work marks a transition between motet style on biblical and hymn text to operatic recitatives and arias on contemporary poetry. Bach catalogued the work as e per ogni tempo, indicating that due to its general theme, the cantata is suited for any occasion.

Gottlob! nun geht das Jahr zu Ende, BWV 28, is a church cantata by Johann Sebastian Bach for the Sunday after Christmas. He first performed it on 30 December 1725.

<i>Aus tiefer Not schrei ich zu dir</i>, BWV 38 church cantata by Johann Sebastian Bach

Aus tiefer Not schrei ich zu dir, BWV 38, is a church cantata by Johann Sebastian Bach. He composed the chorale cantata in Leipzig in 1724 for the 21st Sunday after Trinity and first performed it on 29 October 1724.

<i>Nun komm, der Heiden Heiland</i>, BWV 62 church cantata by Johann Sebastian Bach composed for the first Sunday in Advent

Johann Sebastian Bach composed the church cantata Nun komm, der Heiden Heiland, BWV 62, in Leipzig for the first Sunday in Advent and first performed it on 3 December 1724. The chorale cantata is based on Martin Luther's Advent hymn "Nun komm, der Heiden Heiland". It is part of his chorale cantata cycle.

<i>Gott, wie dein Name, so ist auch dein Ruhm</i>, BWV 171 church cantata by Johann Sebastian Bach for New Years Day

Gott, wie dein Name, so ist auch dein Ruhm, BWV 171, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for New Year's Day and probably first performed it on 1 January 1729.

<i>Ärgre dich, o Seele, nicht</i>, BWV 186 church cantata by Johann Sebastian Bach

Ärgre dich, o Seele, nicht, BWV 186 is a church cantata by Johann Sebastian Bach. He composed it originally in Weimar in 1716 for Advent, BWV 186a, and expanded it in Leipzig in 1723 for the seventh Sunday after Trinity, where he first performed it on 11 July 1723.

<i>Warum betrübst du dich, mein Herz</i>, BWV 138 church cantata by Johann Sebastian Bach

Johann Sebastian Bach composed the church cantata Warum betrübst du dich, mein Herz, BWV 138, in Leipzig for the 15th Sunday after Trinity and first performed it on 5 September 1723. The text by an unknown author includes three stanzas from the hymn of the same name. Its text and melody were formerly attributed to Hans Sachs, but were written by an unknown hymn writer. The cantata has seven movements and is scored for SATB soloists and choir, two oboes d'amore, two violins, viola and basso continuo. The cantata has features of a chorale cantata although it was written a year before Bach's annual cycle of chorale cantatas. Bach used an aria as the base of the Gratias of his Missa in G major.

<i>Ich armer Mensch, ich Sündenknecht</i>, BWV 55 church cantata by Johann Sebastian Bach for solo tenor

Johann Sebastian Bach composed the church cantata Ich armer Mensch, ich Sündenknecht, BWV 55, in Leipzig for the 22nd Sunday after Trinity and first performed it on 17 November 1726.

<i>Wachet! betet! betet! wachet!</i> BWV 70 church cantata by Johann Sebastian Bach

Wachet! betet! betet! wachet! is the title of two church cantatas by Johann Sebastian Bach. He composed a first version, BWV 70a, in Weimar for the second Sunday in Advent of 1716 and expanded it in 1723 in Leipzig to BWV 70, a cantata in two parts for the 26th Sunday after Trinity.

<i>Mein liebster Jesus ist verloren</i>, BWV 154 church cantata by Johann Sebastian Bach

Mein liebster Jesus ist verloren, BWV 154, is a church cantata by Johann Sebastian Bach. He composed it for the first Sunday after Epiphany and first performed it in Leipzig on 9 January 1724.

<i>Ach Herr, mich armen Sünder</i>, BWV 135 chorale cantata by Johann Sebastian Bach

Johann Sebastian Bach composed the church cantata Ach Herr, mich armen Sünder, BWV 135 in Leipzig for the third Sunday after Trinity and first performed it on 25 June 1724. It is the fourth chorale cantata from his second annual cycle, and is based on the hymn by Cyriakus Schneegass.

<i>Christum wir sollen loben schon</i>, BWV 121 chorale cantate by Johann Sebastian Bach composed for the second day of Christmas

Christum wir sollen loben schon, BWV 121, is a church cantata by Johann Sebastian Bach. He composed this Christmas cantata in Leipzig in 1724 for the second day of Christmas and first performed it on 26 December 1724. The chorale cantata is based on the hymn by Martin Luther "Christum wir sollen loben schon".

<i>Nimm von uns, Herr, du treuer Gott</i>, BWV 101 chorale cantata by Johann Sebastian Bach

Johann Sebastian Bach composed the church cantata Nimm von uns, Herr, du treuer Gott, BWV 101 in Leipzig for the tenth Sunday after Trinity and first performed it on 13 August 1724. The chorale cantata is based on the hymn by Martin Moller (1584).

References

  1. ↑ "Sleeve Notes - Vivaldi Sacred Music, Vol. 9" Michael Talbot. 2003. Hyperion Records. 28 May 2007 <http://www.hyperion-records.co.uk/notes/66839-N.asp>
  2. ↑ "Sleeve Notes - Vivaldi Sacred Music, Vol. 8" Michael Talbot. 2002. Hyperion Records. 28 May 2007 <http://www.hyperion-records.co.uk/notes/66829-N.asp>.
  3. ↑ "Sleeve Notes - Vivaldi Sacred Music, Vol. 2" Michael Talbot. 1996. Hyperion Records. 28 May 2007 <http://www.hyperion-records.co.uk/notes/66779-N.asp>
  4. ↑ "Sleeve Notes - Vivaldi Sacred Music, Vol. 5" Michael Talbot. 1999. Hyperion Records. 28 May 2007 <http://www.hyperion-records.co.uk/notes/66799-N.asp>
  5. ↑ "Sleeve Notes - Vivaldi Sacred Music, Vol. 10" Michael Talbot. 2004. Hyperion Records. 14 April 2007 <http://www.hyperion-records.co.uk/notes/66849-N.asp>.
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