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Track Listings
| 1. Aria In Furore Iustissimae Irae: Allegro | |||
| 2. Recitativo | |||
| 3. Aria Tunc Meus Fletus: Largo | |||
| 4. Alleluia: Allegro | |||
| 5. Adagio Molto | |||
| 6. Allegro Ma Poco | |||
| 7. Laudate Pueri: Allegro Non Molto | |||
| 8. Sit Nomen Domini: Allegro | |||
| 9. A Solis Ortu: Andante | |||
| 10. Excelsus Super Omnes: Larghetto | |||
| 11. Suscitans A Terra: Allegro Molto | |||
| 12. Ut Collocet Eum: Allegro | |||
| 13. Gloria Patri Et Filio: Larghetto | |||
| 14. Sicut Erat: Allegro | |||
| 15. Amen: Allegro | |||
| 16. Allegro | |||
| 17. Grave | |||
| 18. Allegro Molto | |||
| 19. Largo Molto E Spiccato-Andante Molto | |||
| 20. Largo | |||
See all 21 tracks on this disc
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Customer Reviews
Most Helpful Customer Reviews
3 of 3 people found the following review helpful
Format:MP3 Download
This superb 2006 recording reminds me strongly of Naïve's New Discoveries CD released in the summer. In both, the quality of recording, performance and composition are all exemplary, while the varied programme mix shows Vivaldi's talents in both vocal and instrumental spheres. Crucially, however, this current CD draws upon that part of the repertoire that is indisputably authentic, coming from the vast National Collection housed in Turin. If this music isn't definitive Vivaldi, then what is?
As with New Discoveries, the CD opens with a dramatic curtain-raiser, 'In furore', for soprano and orchestra. As so often, the minor key seems to bring the best out of Vivaldi: intense, rather sinister colours and strong, urgent rhythms alternating with gentle lyricism.
Not that a minor tonality explains the success of Laudate pueri, RV601. It is the major work on this CD in more senses than one (it's in G, unlike the better-known version in c, RV600). Its melodic charms and contrasting passages for orchestra and soloists (the recorder has a starring role in Track 13, Gloria et patri) make the work deserving of wider acclaim.
The unifying 'theme' of the music in this collection is its sacred character. Two of the concerti were written for ecclesiastical ceremonies, while the third, the wonderful Concerto for violin and organ in d RV541, has a certain churchiness about it - probably a result of the richly resonating organ. Mercifully, the slow movement is played without the disatrous tremolo that ruined the only other recording I've heard of this piece - by Musica ad Rhenum. (A Grave mistake, indeed.) That recording was more suggestive of the Blackpool fun-fair than the misty lagoon.
Two features of this recording deserve special mention, perhaps. First, the rather eerie Sinfonia RV169, 'Al Santo Sepolcro' - made extremely sepulchral by the deathly slow pace at which the opening measures of the Adagio molto are played, senza vibrato. Without labels to guide you, you might initially be mistaken for thinking that this is the beginning of a modern, experimental composition. Then, in the concluding work, dollops of liquid sound from the organ considerably enliven the Largo molto. All in all, a recording that is every bit as definitive as the music itself.
As with New Discoveries, the CD opens with a dramatic curtain-raiser, 'In furore', for soprano and orchestra. As so often, the minor key seems to bring the best out of Vivaldi: intense, rather sinister colours and strong, urgent rhythms alternating with gentle lyricism.
Not that a minor tonality explains the success of Laudate pueri, RV601. It is the major work on this CD in more senses than one (it's in G, unlike the better-known version in c, RV600). Its melodic charms and contrasting passages for orchestra and soloists (the recorder has a starring role in Track 13, Gloria et patri) make the work deserving of wider acclaim.
The unifying 'theme' of the music in this collection is its sacred character. Two of the concerti were written for ecclesiastical ceremonies, while the third, the wonderful Concerto for violin and organ in d RV541, has a certain churchiness about it - probably a result of the richly resonating organ. Mercifully, the slow movement is played without the disatrous tremolo that ruined the only other recording I've heard of this piece - by Musica ad Rhenum. (A Grave mistake, indeed.) That recording was more suggestive of the Blackpool fun-fair than the misty lagoon.
Two features of this recording deserve special mention, perhaps. First, the rather eerie Sinfonia RV169, 'Al Santo Sepolcro' - made extremely sepulchral by the deathly slow pace at which the opening measures of the Adagio molto are played, senza vibrato. Without labels to guide you, you might initially be mistaken for thinking that this is the beginning of a modern, experimental composition. Then, in the concluding work, dollops of liquid sound from the organ considerably enliven the Largo molto. All in all, a recording that is every bit as definitive as the music itself.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
4.5 out of 5 stars
2 reviews
25 of 27 people found the following review helpful
4.0 out of 5 stars
The sacred music of Vivaldi performed with grace and gusto
19 July 2007
By M. Ramos
- Published on Amazon.com
Format:Audio CD
The Vivaldi Edition have brought to music lovers an impressive array of sacred and secular compositions by Antonio Vivaldi, showing the composer's mastery for composing for both the human voice as well as other musical instruments. This CD, presenting vocal and instrumental sacred works,showcases music that have a great range of emotions and expressive devices. The performers on this recording could not be better. The exquisite French soprano Sandrine Piau shows her beautiful voice, wondrous technique and musicality in the motets 'In furore' and 'Laudate Pueri'. The first one, a dramatic reflection on the power and mercy of God, has her sailing through the very difficult passages with effortless grace, ornamenting in a truly virtuosic manner, respecting at the same time the style of the composition. 'Laudate pueri' on the other hand, is a joyous and more serene setting of psalm 112, full of vocal challenges, including two high D's. Piau is just ethereal on these high passages; especially stunning is track 9, A solis ortu, where the ascending intervals are managed with almost superhuman ease. During all her performance she demonstrates the brilliancy of her staccato singing and her magnificent high register. Piau is masterly partnered by the Accademia Bizantina, directed by Ottavio Dantone, who also performs a marvelous organ solo in the Concerto per violino e organo in re minore. Stefano Montanari is the splendid violin soloist on this concerto, as well as the Concerto 'per la Solemnita di San Lorenzo'. The orchestra offers great support in these concertos as well as establishing the mournful atmosphere of the Sinfonia 'Al Santo Sepoclro'. The reason for giving four stars to this CD is because I think that there was a need for having another piece for Piau and the orchestra for a grand finale, something like 'Nulla in mundo pax sincera', for example. However, this does not take away from the superlative performances presented in this recording. Highly recommended.
7 of 8 people found the following review helpful
5.0 out of 5 stars
Soaring Soprano, Exquisite Ensemble
10 Jun 2008
By Giordano Bruno
- Published on Amazon.com
Format:Audio CD|Amazon Verified Purchase
Literally thousands of viewers have watched Sandrine Piau on uTube, and raved about her performance of In Furore, the first track on this amazing CD. Opera fans also are well acquainted with Piau, based on her marvelous comic performances in performances of Rameau and other French Baroque composers, available on DVD. Join the throng, friends! Sandrine Paiu is the new reigning goddess of Early Music.
In Furore, as its title suggests, is all about fireworks, with Piau racing through arpeggios of fury and indignation, soaring without any loss of vocal color into a range normally cordoned off for coloraturas.
Laudate Puer, the other vocal showpiece, is a kinder, gentler cantilena of joyful praise, almost inevitably reminiscent of Monteverdi. Two such spectacular show-stoppers shouldn't be crowded, and on this CD they are buffered by well-crafted chamber concerti performed with Vivaldian verve by the Accademia Bizantina.
However much you may have enjoyed the Red Priest's effervescent violin concerti, you'll soon discover that Vivaldi was a far finer composer of vocal music, with dozens of cantatas and forty-plus operas to his credit. It would seem, from the number of new CDs and DVDs that appear every month, that Vivaldi's sun has finally risen. I'll offer the uTube link in a comment below.
In Furore, as its title suggests, is all about fireworks, with Piau racing through arpeggios of fury and indignation, soaring without any loss of vocal color into a range normally cordoned off for coloraturas.
Laudate Puer, the other vocal showpiece, is a kinder, gentler cantilena of joyful praise, almost inevitably reminiscent of Monteverdi. Two such spectacular show-stoppers shouldn't be crowded, and on this CD they are buffered by well-crafted chamber concerti performed with Vivaldian verve by the Accademia Bizantina.
However much you may have enjoyed the Red Priest's effervescent violin concerti, you'll soon discover that Vivaldi was a far finer composer of vocal music, with dozens of cantatas and forty-plus operas to his credit. It would seem, from the number of new CDs and DVDs that appear every month, that Vivaldi's sun has finally risen. I'll offer the uTube link in a comment below.
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4.5 out of 5 stars
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