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  • Vivaldi: Gloria, Ostro picta / Bach: Magnificat
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Vivaldi: Gloria, Ostro picta / Bach: Magnificat CD

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Vivaldi: Gloria, Ostro picta / Bach: Magnificat + Handel: Messiah
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Product details

  • Audio CD (18 Sept. 2000)
  • Number of Discs: 1
  • Format: CD
  • Label: Chaconne
  • ASIN: B000000A4M
  • Other Editions: MP3 Download
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Bestsellers Rank: 148,289 in Music (See Top 100 in Music)

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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Song Title Time Price
Listen  1. Ostro picta, armata spina, RV 642: Aria: Ostro picta, armata spina 3:13£0.59  Buy MP3 
Listen  2. Ostro picta, armata spina, RV 642: Recitative: Sic transit vana et brevis gloria mundi0:50£0.59  Buy MP3 
Listen  3. Ostro picta, armata spina, RV 642: Aria: Linguis favete 3:25£0.59  Buy MP3 
Listen  4. Gloria in excelsis Deo (Chorus) 2:14£0.59  Buy MP3 
Listen  5. Gloria in D Major, RV 589: Et in terra pax hominibus (Chorus) 5:12£0.59  Buy MP3 
Listen  6. Gloria in D Major, RV 589: Duet: Laudamus te (Soprano 1, Soprano 2) 2:03£0.59  Buy MP3 
Listen  7. Gloria in D Major, RV 589: Gratias agimus tibi (Chorus)0:25£0.59  Buy MP3 
Listen  8. Gloria in D Major, RV 589: Propter magnam gloriam (Chorus)0:58£0.59  Buy MP3 
Listen  9. Gloria in D Major, RV 589: Aria: Domine Deus (Soprano) 4:19£0.59  Buy MP3 
Listen10. Gloria in D Major, RV 589: Domine Fili unigenite (Chorus) 2:19£0.59  Buy MP3 
Listen11. Gloria in D Major, RV 589: Aria and Chorus: Domine Deus, Agnus Dei (Counter-Tenor, Chorus) 4:59£0.59  Buy MP3 
Listen12. Gloria in D Major, RV 589: Qui tollis peccata mundi (Chorus) 1:01£0.59  Buy MP3 
Listen13. Gloria in D Major, RV 589: Aria: Qui sedes ad dexteram (Counter-Tenor) 2:19£0.59  Buy MP3 
Listen14. Gloria in D Major, RV 589: Quoniam tu solus Sanctus (Chorus)0:45£0.59  Buy MP3 
Listen15. Gloria in D Major, RV 589: Cum Sancto Spiritu (Chorus) 2:47£0.59  Buy MP3 
Listen16. Magnificat (Chorus) 2:55£0.59  Buy MP3 
Listen17. Magnificat in D Major, BWV 243: Aria: Et exsultavit spiritus meus (Soprano) 2:13£0.59  Buy MP3 
Listen18. Magnificat in D Major, BWV 243: Aria: Quia respexit humilitatem (Soprano) 2:30£0.59  Buy MP3 
Listen19. Magnificat in D Major, BWV 243: Omnes generationes (Chorus) 1:20£0.59  Buy MP3 
Listen20. Magnificat in D Major, BWV 243: Aria: Quia fecit mihi magna (Bass) 1:50£0.59  Buy MP3 
Listen21. Magnificat in D Major, BWV 243: Duet: Et misericordia (Counter-Tenor, Tenor) 3:54£0.59  Buy MP3 
Listen22. Magnificat in D Major, BWV 243: Fecit potentiam (Chorus) 1:51£0.59  Buy MP3 
Listen23. Magnificat in D Major, BWV 243: Aria: Deposuit potentes (Tenor) 2:00£0.59  Buy MP3 
Listen24. Magnificat in D Major, BWV 243: Aria: Esurientes implevit bonis (Counter-Tenor) 2:57£0.59  Buy MP3 
Listen25. Magnificat in D Major, BWV 243: Trio: Suscepit Israel (Soprano 1, Soprano 2, Counter-Tenor) 2:03£0.59  Buy MP3 
Listen26. Magnificat in D Major, BWV 243: Sicut locutus est (Chorus) 1:28£0.59  Buy MP3 
Listen27. Magnificat in D Major, BWV 243: Gloria Patri (Chorus) 2:07£0.59  Buy MP3 

Product Description

Product Description

I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.


If you like your Vivaldi a little less frenetic than Rinaldo. Alessandrini patently does (in his recording of the Gloria. for the Opus 111 label) but still want the bite and clarity of period. instruments, then Richard Hickox's approach might be just the thing.. This was actually the first recording--and an impressive one at. that--made by the now-established Collegium Musicum 90 under the. watchful eye of Hickox. Emma Kirkby is their secret weapon, her. plangent, instantly recognisable voice, her innate musicality, her pure. sense of pitching all a delight to the ear. And if Sara Mingardo's. richness of timbre for Alessandrini seems too calorific, then. countertenor Michael Chance offers a leaner alternative. The programme. is different too, Hickox choosing the brief Ostro picta (again. captivatingly sung by Kirkby) as an apt introduction and finishing with. Bach's Magnificat, here done with due pomp and ceremony--Kirkby. delivering a compelling "Quia respexit humilitatem", Chance and Ainsley. moving in one of Bach's most beautiful duets, "Et misericordia", and the. whole work framed with two brilliants choruses. A fittingly uplifting. end to an uplifting disc. --Harriet Smith

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1 of 1 people found the following review helpful By Mr. Nicholas V. Edwards on 11 Feb. 2009
Format: Audio CD
I bought this recording for a friend as I already own the highly rated Decca recording. I much prefer this recording - Hickox's control of the choir and the character in the performance are fantastic and I can't rate it highly enough.
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By M. Joyce TOP 500 REVIEWERVINE VOICE on 15 Jan. 2014
Format: Audio CD
I've had this disc for a number of years, but gave it a recent airing/hearing as my choir here in Cairo was about to perform Bach's Magnificat, one of the two major works featured on this disc, and I was to undertake the bass solo. This was actually the first time I'd sung the piece since I was at school over 40 years ago and although I have more than one recording of the work, I'd almost forgotten what a great piece it is.

The other substantial work on the CD is Vivaldi's famous Gloria, but the disc actually begins with a short, lesser known work by the same composer, "Ostro picta, armata spina", beautifully performed by the incomparable Emma Kirkby. Such pieces were known by the term "introduzione" and were intended to introduce regular liturgical items.

The Gloria receives a splendid performance here, with Emma Kirkby joined by fellow soprano Tessa Bonner and the counter-tenor Michael Chance, then at the height of his powers. Equally fine are the musicians and singers of Collegium 90, founded by the violinist Simon Standage and the conductor Richard Hickox; the latter was an extraordinarily versatile musician and his untimely death was a great loss to the world of music.

The same artists perform with equal distinction in the Bach and are joined by the tenor John Mark Ainsley, matchless in this music, and the baritone Stephen Varcoe, who makes a better job of "Quia fecit mihi magna" than I did!

There are a number of good Magnificats out there, but the combination of works makes this one (recorded in 1991) a particularly competitive contender.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 7 reviews
4 of 5 people found the following review helpful
A real favorite of mine! 24 April 2002
By J. C Clark - Published on Amazon.com
Format: Audio CD
I love this recording. Emma Kirkby's voice compensates for all other (slight) deficiencies. She is truly a great singer: vivacious, lively, energetic and lovely. Her tone is sweet and pure; it is as if this music was written for her. The other vocalists, with the exception of the Michael Chance (his voice is just not to my taste), shine almost as brightly. The instrumental soloists are delightful.
Hickox is not a favorite conductor of mine, but on this one he hits it. And the recording is great. The violins are clear; often on recordings like this the instruments are buried or muddy. Here they are strong without overwhelming. Good balance, good sound, good material, and an extraordinary soloist surrounded by excellent ones. A delight from beginning to end. Don't miss it.
3 of 4 people found the following review helpful
Magical Surefootedness and Intelligence 28 Dec. 2008
By Leslie Richford - Published on Amazon.com
Format: Audio CD
Antonio Vivaldi (1678 - 1741): Ostro picta, armata spina RV 642 (Introduction to "Gloria"); Gloria for Soli, Choir and Orchestra, RV 589; Johann Sebastian Bach (1685 - 1750): Magnificat for Soli, Choir and Orchester, BWV 243. Performers: Emma Kirkby (soprano I); Tessa Bonner (soprano II); Michael Chance (altus); John Mark Ainsley (tenor); Stephen Varcoe (baritone); Collegium Musicum 90 (leader: Simon Standage), dir. Richard Hickox. Recorded at St. Jude's Church, Central Square, London from 26th to 28th November 1990. Published in 1991 as Chandos Chaconne 0518. Total playing time: 64'08".

The early music movement has produced numerous recordings of Vivaldi's "Gloria" and Bach's "Magnificat", several of which had already taken their place on my CD shelf, so I hesitated quite some time before ordering this version by the late Richard Hickox and starring well-known British soloists. A session in front of the loudspeakers, however, was able to banish all doubts - this at once became my favourite version. The seven-minute long introductory cantata "Ostro picta" (with Emma Kirkby in fantastic form) is just the start of an hour of glorious musicianship. Vivaldi's "Gloria" is played with zest and transparency, both the choir and the three soloists (Emma Kirkby, Tessa Bonner and Michael Chance) are able to impress with voices which are silken, ideally suiting the text and perfectly recorded. And these are complemented by instrumental playing of magical surefootedness and intelligence. Both here and in Bach's "Magnificat" one can hear Michael Chance singing as one seldom hears an English countertenor: there can be but few female altos who are able to sing these passages so smoothly, so sensitively and so beautifully. Tessa Bonner, too, with her girl-like timbre, sounds uncommonly good - to say nothing of the absolutely impeccable performance by Dame Emma Kirkby. The "Magnificat" is sung with a full choir (6 sopranos and four each of alto, tenor and bass), the tempi are quite fast but never rushed, and I felt that the excellently captured orchestral accompaniment (natural trumpets!) was "just right" - my compliments to Collegium Musicum 90 which was here recording its first ever vocal disc. I have also been listening recently to Andrew Parrott's recording of the "Magnificat" (together with the Ascension Oratorio) for EMI, but I have come to the conclusion that Hickox is just that little bit better, this being mainly due to his more convincing choice of tempi, but also to his better soloists; apart from this, the Chandos engineering is more natural and more radiant than Parrott's studio recording (also made in 1990). All in all, I found Hickox also to be more pleasing than the almost over-cultivated Philips recording by John Eliot Gardiner's Monteverdi Choir and the Harmonia Mundi version with the Collegium Vocale directed by Philippe Herrweghe (which has a superb choral performance but somehow remains without enough contours). Of course, all the recordings mentioned are excellent, but for me the Hickox version on Chandos is the new reference. Precious indeed!
3 of 4 people found the following review helpful
a voice teacher and early music fan 14 July 2007
By George Peabody - Published on Amazon.com
Format: Audio CD

Antonio Vivaldi (1675-174l) was both priest and musician composing both
sacred music and music for the Theatre, which definitely is reflected in his 'Gloria'. Vivaldi's sacred music may be divided into works with a liturgical text, and occasional, non-liturgical pieces, like 'Ostro picta, armata spina'(Dyed with crimson, armed with thorns) which belongs to a genre known as the 'introduzione'. Such works were essentially solo motets on freely-invented Latin texts and were intended to introduce a liturgical item. 'Ostro picta' consists simply of two da capo arias for soprano and strings separated by a brief recitative, and performed brilliantly on this disc by Emma Kirkby. Since 'Ostro picta' shares the same key and several thematic and textual links with the 'Gloria' RV589, they may well have been written to be performed together on certain festive occasions.

The 'Gloria' is cast in 12 movements, the choruses alternating with solos for two sopranos and an alto. It is filled with brilliance and energy from the beginning opening chorus to the meditative alto solo close to the end "Qui Sedes ad Dexteram". To avoid too loose a structure Vivaldi re-uses music from the opening movement in the chorus 'Quoniam tu solus sanctus', and provides a splendid climax to the work with an exhilarating choral fugue, 'Cum Sancto Spiritu', which is actually a re-working of a fugue by one of his contemporaries.

Like Vivaldi's 'Gloria', Bach (1685-1750) divides his setting of the 'Magnificat' into 12 contrasting movements each treating a short section of the text. It is scored for a 5 part choir; 5 soloists (SSATB), as well as flutes, oboes, trumpets in 3 parts, drums, strings and continuo. The opening section of the 'Magnificat' sets the stage for all that follows. The festive tone is set immediately by the opening chorus which is animated, but not rushed. Each of the five soloists (SSATB)has an individual aria, introduced and articulated by instrumental ritornelli. One of the most beautiful duets in this work is :"Et Misericordia" sung with incredible beauty by Michael Chance (counter-tenor) and John Mark Ainsley (tenor). Interspersed with the solo movements there are three fine fugal choruses. The work ends with a traditional musical pun as Bach returns to the brilliant music of the opening chorus at the words 'sicut erat in principio'- 'as it was in the beginning'.

When I purchased this disc it was for the sole purpose of hearing Michael Chance's voice as it sounded in this rendition from 1990 as opposed to Cleobury's 2001 recording in which he also sang the same line-up as in 1990. I am happy to say that he sounds every bit as excellent as he did then.

But, in addition to answering that question, I discovered a wonderful performance of both the 'Gloria' and the 'Magnificat.' And even though I do like Cleobury's recording of both works, this is just another interpretation every bit as excellent, but certainly with a different flavor.

The Hickox goes slightly faster in the 'fast' and slower in the 'slow' parts. Therefore, the soloists seem to have a bit more freedom in their renditions. While both discs have great soloists, I have always personally preferred Emma Kirkby; she seems so 'baroque' in her approach. As for the tenors, both discs are equal; how can one say that John Mark Ainsley is better than James Gilchrist or vice versa. I have to give the edge to Steven Varcoe, bass (great resonance).

The orchestra performed well, especially noted was the performance of the oboe and cello who had several solo passages. Overall Hickox seemed to prefer a more romantic approach than Cleobury, but I'll listen to both (not at the same time, of course). Richard Hickox directs his forces with great acumen, and is always in control. The Collegium Musicum 90, vocal and instrumental forces capture the prize for technical accuracy and musical passion, sometimes lacking in period performances.

Hickox passed away several weeks ago and whenever I listen to this wonderful rendition and many others that he conducted, I am reminded about how much he will be missed in the world of music!
1 of 2 people found the following review helpful
Fine Clarity and Precision 27 Sept. 2008
By B. R. Merrick - Published on Amazon.com
Format: Audio CD Verified Purchase
There is a presence and vitality that exists throughout both Baroque masterpieces showcased here. Separating the "Ostro picta" from the rest of the Gloria was a good decision, so that those who would rather dispense with the "introduction" to the Gloria may do so. (They may or may not have been written to be performed together. On the Virtuosi Saxionae recording, they are performed continuously.)

Emma Kirkby as the soprano soloist does indeed deserve to be singled out as exceptional. Her solos soar over the top of a finely tuned and well-prepared ensemble. The chorus and other vocal solosists are also wonderful. Hickox takes a few dares with the tempos, all to marvelous effect, leading the listener to believe that these may very well be the tempos that Vivaldi and Bach had in mind. Even if they didn't, on this CD you will hear exactly why this music is so beautiful.
2 of 4 people found the following review helpful
Good chorus, excellent soloists 22 Jan. 2002
By Jeremy D Vosburgh - Published on Amazon.com
Format: Audio CD Verified Purchase
The only way I know how to describe this recording is "quite good." Nothing was done wrong and the enunciation and tone was general good to excellent (although not exceptional, which is what you desire from professionals). The strong point was definitely the soloists which if the cd had only been them I might have given it 5 stars.
Which is to say that this recording did have some great moments. There were a few songs which reminded me that the money I paid had been worth it. 1. Aria: Ostro Picta, Armata Spina - sung by the soprano Emma Kirkby was exceptional. as was her duet with Tessa Bonner in Gloria RV 589: 3. Duetto: Laudamus Te, which was done at a wonderfully brisk and bright pace and much emotion without too much virbrata.
I had originally wanted the cd because it was a relatively early recording for Michael Chance (former choral scholar countertenor at King's College) and John Mark Ainsley. Both were close to flawless and Bach's et misericordia (duet) was where they shined in this cd.
The Vivaldi choruses were unexciting for me (someone who has heard many recordings of them) as they were not of spectacular quality (although not bad by any means). They seemed to excite my fiancee, though, as this cd was the first she'd ever heard the glorias. Check out Philip Ledger's King's College recording of RV 589 if you desire to hear clear intonations and bright sound from the choruses. This cd, though, is one I listen to often because of the wonderful soloists and musicians and my four star rating means I would recommend it.
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