The Complete Sacred Music

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The Complete Sacred Music

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dc.contributor.other Antonio Vivaldi es
dc.contributor.other Susan Gritton es
dc.contributor.other Jean Rigby es
dc.contributor.other Robin Blaze es
dc.contributor.other Charles Daniels es
dc.contributor.other Neal Davies es
dc.contributor.other The King's Consort es
dc.contributor.other Robert King es
dc.coverage.spatial London, England es
dc.date.accessioned 2013-05-28T22:49:12Z
dc.date.available 1999
dc.date.available 2013-05-28T22:49:12Z
dc.date.copyright 2005
dc.date.issued 2013-05-28
dc.identifier.uri http://hdl.handle.net/123456789/3118
dc.description.abstract The creator of hundreds of spirited, extroverted instrumental works, Italian composer Antonio Vivaldi is widely recognized as the master of the Baroque instrumental concerto, which he perfected and popularized more than any of his contemporaries. Vivaldi's kinetic rhythms, fluid melodies, bright instrumental effects, and extensions of instrumental technique make his some of the most enjoyable of Baroque music. He was highly influential among his contemporaries and successors: even as esteemed a figure as Johann Sebastian Bach adapted some of Vivaldi's music. Vivaldi's variable textures and dramatic effects initiated the shift toward what became the Classical style; a deeper understanding of his music begins with the realization that, compared with Bach and even Handel, he was Baroque music's arch progressive. Though not as familiar as his concerti, Vivaldi's stage and choral music is still of value; his sometimes bouncy, sometimes lyrical Gloria in D major (1708) has remained a perennial favorite. His operas were widely performed in his own time. Details regarding Vivaldi's early life are few. His father was a violinist in the Catherdral of Venice's orchestra and probably Antonio's first teacher. There is much speculation about other teachers, such as Corelli, but no evidence to support this. Vivaldi studied for the priesthood as a young man and was ordained in 1703. He was known for much of his career as "il prete rosso" (the red-haired priest), but soon after his ordination he declined to take on his ecclesiastical duties. Later in life he cited ill health as the reason, but other motivations have been proposed; perhaps Vivaldi simply wanted to explore new opportunties as a composer. It didn't take him long. Landing a job as a violin teacher at a girls' orphanage in Venice (where he would work in one capacity or another during several stretches of his life), he published a set of trio sonatas and another of violin sonatas. Word of his abilities spread around Europe, and in 1711 an Amsterdam publisher brought out, under the title L'estro armonico (Harmonic Inspiration), a set of Vivaldi's concertos for one or more violins with orchestra. These were best sellers (it was this group of concertos that spurred Bach's transcriptions), and Vivaldi followed them up with several more equally successful concerto sets. Perhaps the most prolific of all the great European composers, he once boasted that he could compose a concerto faster than a copyist could ready the individual parts for the players in the orchestra. He began to compose operas, worked from 1718 to 1720 in the court of the German principality of Hessen-Darmstadt, and traveled in Austria and perhaps Bohemia. Throughout his career, he had his choice of commissions from nobility and the highest members of society, the ability to use the best performers, and enough business savvy to try to control the publication of his works, although due to his popularity, many were published without his consent. Later in life Vivaldi was plagued by rumors of a sexual liaison with one of his vocal students, and he was censured by ecclesiastical authorities. His Italian career on the rocks, he headed for Vienna. He died there and was buried as a pauper in 1741, although at the height of his career his publications had earned a comfortable living. © AMG, All Music Guide es
dc.description.tableofcontents CD6-- In Turbato mare RV 627 ; Aria in Turbato mare irato, Recitativo Splende serena o lux amata, Aria Responde bella, Alleluia-- Non in pratis aut in hortis RV641 ; Recitativo non in pratis aut in hortis, Adagio Ibi spinis confixus, Aria Pro me caputspinas habet, Recitativo Quaesone facias Domine-- Sabat mater RV621 ; Largo Stabat mater dolorosa, Dagissimo Cuius animam gementem, Andante O quan tristis et afficta, Largo Quis est homo qui non fleret, Adagissimo Quis non posset contristari, Andante Pro peccatis suae gentis, Largo Eia Mater fons amoris, Lento Fac ut ardeat cormeum , Allegro Amen-- O qui caeli terraeque serenitas RV631 ; Aria O qui caeli terraeque serenitas, Recitativo Fac ut sordescat tellus, Ara Rosa Quae morihur, Alleluia-- Deus tourum militum RV612 -- Confitebor tibi Domine RV596 ; Allegro confietebor tibi Domine in toto corde meo, Allegro Memoriam fecit mirabilium suorum , Andante Sactum et terrible nomen eius, Allegro Intellectus bonus omnibus facietibus eum, Allegro Gloria Patri et Filio, Allegro Et in saecula saeculorum-- es
dc.format.extent 78:16 min. es
dc.format.medium 1 CD Rom (78 min., 16 seg) : Stereo 4 3/4 plg es
dc.language.iso en_US es
dc.rights Uninorte F.M Estéreo es
dc.subject.lcc 64769757 es
dc.subject.lcsh Sacred Music es
dc.title The Complete Sacred Music es
dc.title.alternative Vivaldi The Complete Sacred Music es
dc.title.alternative La Música Sagrada Completa es
dc.title.alternative Vivaldi La Música Sagrada Completa es
dc.language.rfc3066 eng es
dc.rights.holder Hyperion Records Ltd. es
dc.identifier.classification 034571141718 es
dc.subject.cdu Vi.19 es


Files in this item

Files Length Size Format View Description
In Turbato mare RV627.wav 15:23 155.2Mb WAV audio wav
Non in pratis aut in hortis RV641.wav 12:21 124.7Mb WAV audio wav
Sabat mater RV621.wav 18:40 188.4Mb WAV audio wav
O qui caeli terraeque serenitas RV631.wav 13:17 134.1Mb WAV audio wav
Deus tourum militum RV612.wav 4:27 44.95Mb WAV audio wav
Confitebor tibi Domine RV596.wav 13:18 134.3Mb WAV audio wav

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