The discovery of the other ‘Beatus vir’ for single choir (RV 795) in the 1990s has diverted attention somewhat from the double choir setting, known since the unearthing of the Foà-Giordano manuscripts in the pre-war period. Both settings are thought to be reworkings of a lost original for single choir, probably composed in the 1713-1717 period when Vivaldi supplied much sacred music to the Pietà in the absence of Francesco Gasparini, including the two Glorias and the oratorio Juditha Triumphans. The adaptation for double choir took place after 1720, and probably well after that. Three of the movements seem to have been composed afresh: the ‘Potens in terra’ scored exclusively for basses (not for the Pietà, then), the ‘Exortum est’ expressly conceived for double choir, and the ‘Paratum cor ejus’. A word to the wise about the recording: the unusual sound in the choral passages is due to the fact that they are performed by an ‘ensemble vocal’ (or rather two) singing in falsetto, like in medieval and Renaissance music, not a choir proper. Also the very French (unstressed) articulation of the words gives it a certain naïveté which I personnally like, although for the ‘In memoria eterna’ (one of the best movements) there are arguably better versions. 0:00 I. Beatus vir 2:27 II. Potens in terra 4:28 III. Beatus vir 4:52 IV. Gloria et divitiæ 7:36 V. Beatus vir 8:01 VI. Exortum est 10:00 VII. Jucundus homo 12:16 VIII. Beatus vir 12:42 IX. In memoria æterna 16:23 X. Beatus vir 16:48 XI. Paratum cor ejus 18:38 XII. Peccator videbit 21:29 XIII. Beatus vir 21:53 XIV. Gloria Patri Original composition (lost): 1713-1717 This version for double choir: 1720-1735 Turin source: Foà 40, ff. 155-185 Collegium Orpheus, ‘Dixit Dominus’ Ensemble vocaux Finis terræ & Aquilonia Jean-Marc Labylle, direzione Disques Pierre Verany 799112
Thank you DelVivaldi! You are not just doing us a favor. You are doing justice to Vivaldi himself. One day the relative popularity between him and Bach will be restored to that of the 1700s.
@ettoreferretti8825carissimo , NON E' COSI' 😮😮 Questo apparente dilemma , l'uno o l'altro , ha una semplice e incresciosa spiegazione : Il mio AMATISSIMO ( dico sul serio ) BACH e' frutto di una subdola e disonesta operazione culturale . Bach in vita era un ottimo Organista e Cantore nel Duomo della sua citta' , ma non eccelleva nella Composizione ; PER FAVORE nominatemi le Opere che ha prodotto e PUBBLICATO in vita : una quantita' ridicola , comparata a quella del Vivaldi che veniva stampato ad Amsterdam a Londra a Parigi . E ancora , trovatemi nelle cronache del suo tempo, notizie dei suoi Trionfi Musicali : non ce ne sono ! Ma mezzo secolo dopo la sua Morte , una schiera di Musicisti Germanici ( Mendelssohn in primis ) scoprono il piu' grande GENIO MUSICALE . Da quel tempo , a Bach e' stato attribuito di tutto e di piu' , come era successo duemila anni prima a OMERO con la Letteratura Greca ; se siete dei Musicofili o anche solo dei buoni ascoltatori di Musica come me , ascoltando Bach vi accorgerete di sentire Buxtehude e Bruhns e Krebbs e Biber e molti altri fra i quali molti Italiani . Ma vi sembra ONESTO attribuire a Bach , Opere di Vivaldi o Albinoni o Marcello , solo perche' Bach le ha TRASCRITTE o ARRANGIATE per Organo o per Clavicembalo ? Gli sono state attribuire anche molte Opere di Musicisti bene ispirati ma di poca fama , cosa che succede in ogni Arte e in ogni tempo . Il Monumento al grandissimo Bach poggia su un piedistallo infido che si chiama KULTURKAMPF. Egli resta comunque il mio AMATISSIMO BACH , sia per la FAVOLOSA MUSICA che oramai porta il suo Nome , sia perche' gli trovo grandemente meritevole l'avere sinceramente ammirato Vivaldi e di averlo SONTUOSAMENTE e GLORIOSAMENTE tradotto in Musica Organistica 😇😇😇 Scusatemi 😷💥😾 ..e statemi bene .
@ettoreferretti8825, lei non spiega come mai Bach non godeva di alcuna fama presso I contemporanei ; non le viene il dubbio che sia successo qualcosa , da Mendelssohn in poi ? ..dalla KULTURKAMPF in poi ? E le sembra ONESTO attribuire a Bach le TRASCRIZIONI e gli arrangiamenti ? 😢😢😢 Good life and PEACE , to everybody .
Vivaldi is already quite popular. But popularity is not the same thing as respect. From an academic standpoint, Bach’s qualities as a composer are more easily quantifiable, because he went very far with the technical aspects of counterpoint and harmony; and modern musical analysis is centered on those aspects. Writing fugues in the manner of Bach is a basic requirement for any aspiring classical composer. But music is also a matter of aesthetics, and this is more difficult to measure, let alone study. Being a good melodist, a resourceful orchestrator, a clever musical mind, an influential artist, these are not measurable quantities. It is a less solid basis on which to build one’s claim to immortality, or genius. But in the end, the negative judgments about Vivaldi and the veneration of Bach share one important life-ingredient: popular opinion. It is now as it was then: a mix of truth, hearsay and orthodoxy. It is the sum of our imperfect knowledge. So, if it matters, the only cure is the dissemination of knowledge. And there is very little knowledge gained in pitting one composer against another. Bach’s champions often do this, and sometimes also Vivaldi’s. Both irritate me. When people say ‘Vivaldi is the best’, they mean ‘he is the best to me’, or they should. Give Vivaldi the love, but let’s keep Bach out of this. They are both stars that shine brightly and that should suffice anybody. Many other composers have not been so lucky.
I'm soooo grateful to Del Vivaldi . First reason obvious is because ALL WHAT'S HE DOING from time immemorial , not only posting so much , but searching for THE BEST PERFORMANCES , and providing the MANUSCRIPTS OR THE ORIGINAL PRISTINE PRINTING , and telling us all what's available in terms of Musical and Historical and Technical informations . Last but not least reason today , is he seems to answer directly to my comment in a very decent and educated manner , THANKS . 🌺🏵️🌺
Something is amiss with the RUclips comments. I see some comments in my Dashboard that do not show up here, and @mrJohnDesiderio says he has commented but I don't see that anywhere. So be persistent if your comments do not show up. Thank you, I always appreciate your comments.
I LOVE VIVALDI thanks for posting. !!! I made a whole costume and dressed up as him to attend Vivaldis Gloria performance 😂. Sat front row and loved every minute. Got a lot of smiles from everyone. Keep the videos coming! I always find new works from vivaldi on this channel and they get put on loop for hours. Cheers!
The discovery of the other ‘Beatus vir’ for single choir (RV 795) in the 1990s has diverted attention somewhat from the double choir setting, known since the unearthing of the Foà-Giordano manuscripts in the pre-war period. Both settings are thought to be reworkings of a lost original for single choir, probably composed in the 1713-1717 period when Vivaldi supplied much sacred music to the Pietà in the absence of Francesco Gasparini, including the two Glorias and the oratorio Juditha Triumphans. The adaptation for double choir took place after 1720, and probably well after that. Three of the movements seem to have been composed afresh: the ‘Potens in terra’ scored exclusively for basses (not for the Pietà, then), the ‘Exortum est’ expressly conceived for double choir, and the ‘Paratum cor ejus’.
A word to the wise about the recording: the unusual sound in the choral passages is due to the fact that they are performed by an ‘ensemble vocal’ (or rather two) singing in falsetto, like in medieval and Renaissance music, not a choir proper. Also the very French (unstressed) articulation of the words gives it a certain naïveté which I personnally like, although for the ‘In memoria eterna’ (one of the best movements) there are arguably better versions.
0:00 I. Beatus vir
2:27 II. Potens in terra
4:28 III. Beatus vir
4:52 IV. Gloria et divitiæ
7:36 V. Beatus vir
8:01 VI. Exortum est
10:00 VII. Jucundus homo
12:16 VIII. Beatus vir
12:42 IX. In memoria æterna
16:23 X. Beatus vir
16:48 XI. Paratum cor ejus
18:38 XII. Peccator videbit
21:29 XIII. Beatus vir
21:53 XIV. Gloria Patri
Original composition (lost): 1713-1717
This version for double choir: 1720-1735
Turin source: Foà 40, ff. 155-185
Collegium Orpheus, ‘Dixit Dominus’
Ensemble vocaux Finis terræ & Aquilonia
Jean-Marc Labylle, direzione
Disques Pierre Verany 799112
For me, this chorus is one of the most beautiful works I've heard from the signore Vivaldi...
In memoria æterna is so beautiful! I also like the background you have in the video!
Thank you!
Thank you DelVivaldi! You are not just doing us a favor. You are doing justice to Vivaldi himself. One day the relative popularity between him and Bach will be restored to that of the 1700s.
@ettoreferretti8825carissimo , NON E' COSI' 😮😮 Questo apparente dilemma , l'uno o l'altro , ha una semplice e incresciosa spiegazione : Il mio AMATISSIMO ( dico sul serio ) BACH e' frutto di una subdola e disonesta operazione culturale . Bach in vita era un ottimo Organista e Cantore nel Duomo della sua citta' , ma non eccelleva nella Composizione ; PER FAVORE nominatemi le Opere che ha prodotto e PUBBLICATO in vita : una quantita' ridicola , comparata a quella del Vivaldi che veniva stampato ad Amsterdam a Londra a Parigi . E ancora , trovatemi nelle cronache del suo tempo, notizie dei suoi Trionfi Musicali : non ce ne sono ! Ma mezzo secolo dopo la sua Morte , una schiera di Musicisti Germanici ( Mendelssohn in primis ) scoprono il piu' grande GENIO MUSICALE . Da quel tempo , a Bach e' stato attribuito di tutto e di piu' , come era successo duemila anni prima a OMERO con la Letteratura Greca ; se siete dei Musicofili o anche solo dei buoni ascoltatori di Musica come me , ascoltando Bach vi accorgerete di sentire Buxtehude e Bruhns e Krebbs e Biber e molti altri fra i quali molti Italiani . Ma vi sembra ONESTO attribuire a Bach , Opere di Vivaldi o Albinoni o Marcello , solo perche' Bach le ha TRASCRITTE o ARRANGIATE per Organo o per Clavicembalo ? Gli sono state attribuire anche molte Opere di Musicisti bene ispirati ma di poca fama , cosa che succede in ogni Arte e in ogni tempo . Il Monumento al grandissimo Bach poggia su un piedistallo infido che si chiama KULTURKAMPF. Egli resta comunque il mio AMATISSIMO BACH , sia per la FAVOLOSA MUSICA che oramai porta il suo Nome , sia perche' gli trovo grandemente meritevole l'avere sinceramente ammirato Vivaldi e di averlo SONTUOSAMENTE e GLORIOSAMENTE tradotto in Musica Organistica 😇😇😇 Scusatemi 😷💥😾 ..e statemi bene .
@ettoreferretti8825, lei non spiega come mai Bach non godeva di alcuna fama presso I contemporanei ; non le viene il dubbio che sia successo qualcosa , da Mendelssohn in poi ? ..dalla KULTURKAMPF in poi ? E le sembra ONESTO attribuire a Bach le TRASCRIZIONI e gli arrangiamenti ? 😢😢😢 Good life and PEACE , to everybody .
Vivaldi is already quite popular. But popularity is not the same thing as respect. From an academic standpoint, Bach’s qualities as a composer are more easily quantifiable, because he went very far with the technical aspects of counterpoint and harmony; and modern musical analysis is centered on those aspects. Writing fugues in the manner of Bach is a basic requirement for any aspiring classical composer. But music is also a matter of aesthetics, and this is more difficult to measure, let alone study. Being a good melodist, a resourceful orchestrator, a clever musical mind, an influential artist, these are not measurable quantities. It is a less solid basis on which to build one’s claim to immortality, or genius.
But in the end, the negative judgments about Vivaldi and the veneration of Bach share one important life-ingredient: popular opinion. It is now as it was then: a mix of truth, hearsay and orthodoxy. It is the sum of our imperfect knowledge. So, if it matters, the only cure is the dissemination of knowledge. And there is very little knowledge gained in pitting one composer against another. Bach’s champions often do this, and sometimes also Vivaldi’s. Both irritate me. When people say ‘Vivaldi is the best’, they mean ‘he is the best to me’, or they should. Give Vivaldi the love, but let’s keep Bach out of this. They are both stars that shine brightly and that should suffice anybody. Many other composers have not been so lucky.
I'm soooo grateful to Del Vivaldi . First reason obvious is because ALL WHAT'S HE DOING from time immemorial , not only posting so much , but searching for THE BEST PERFORMANCES , and providing the MANUSCRIPTS OR THE ORIGINAL PRISTINE PRINTING , and telling us all what's available in terms of Musical and Historical and Technical informations . Last but not least reason today , is he seems to answer directly to my comment in a very decent and educated manner , THANKS . 🌺🏵️🌺
@@mariapiazza-od8ib You are most welcome, and thank you for your kind words.
Masterpiece !
Something is amiss with the RUclips comments. I see some comments in my Dashboard that do not show up here, and @mrJohnDesiderio says he has commented but I don't see that anywhere. So be persistent if your comments do not show up. Thank you, I always appreciate your comments.
Thank you. Wonderful new post!
Vivaldi fue un genio para la música instrumental como para la vocal. Se deben dar a conocer más sus composiciones vocales como ésta.
I LOVE VIVALDI thanks for posting. !!! I made a whole costume and dressed up as him to attend Vivaldis Gloria performance 😂. Sat front row and loved every minute. Got a lot of smiles from everyone.
Keep the videos coming! I always find new works from vivaldi on this channel and they get put on loop for hours. Cheers!
A Lot of Thanks!😊
Gloria a Vivaldi! Are you going to publish the "Nisi Dominus"?
Yes.