 | Vivaldi, Antonio - "Lauda Jerusalem" for Winds & Strings RV 609 Vents & Orchestre Cordes |
VoirPDF : "Lauda Jerusalem" (RV 609) for Winds & Strings (41 pages - 1.22 Mo)45x⬇ VoirPDF : Violoncelles (113.94 Ko) VoirPDF : Altos (121.68 Ko) VoirPDF : Violons 1 (153.5 Ko) VoirPDF : Violons 2 (144.18 Ko) VoirPDF : Bassons (90.19 Ko) VoirPDF : Flûtes (122.99 Ko) VoirPDF : French Cors (93.83 Ko) VoirPDF : Hautboiss (102.34 Ko) VoirPDF : Conducteur complet (718.03 Ko) MP3 : "Lauda Jerusalem" (RV 609) for Winds & Strings 13x⬇ 34x
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| Compositeur : | Vivaldi, Antonio (1678 - 1741) | ||
| Instrumentation : | Vents & Orchestre Cordes | ||
| Genre : | Baroque | ||
| Tonalité : | Mi mineur | ||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Droit d'auteur : | Public Domain | ||
| Ajoutée par magataganm, 11 Avr 2023 Antonio Lucio Vivaldi (1678 - 1741) was an Italian composer and violinist, considered among the greatest exponents of Baroque music. A priest, although unable to celebrate mass for health reasons, he was called "the Red Priest" due to the color of his hair. He was one of the most virtuosic violinists of his time and one of the greatest composers of Baroque music. Considered the most important, influential and original Italian musician of his era, Vivaldi contributed significantly to the development of the concerto, especially solo (a genre initiated by Giuseppe Torelli), and of violin technique and orchestration. Furthermore, he did not neglect opera in music and his vast compositional work also includes numerous concerts, sonatas and pieces of sacred music. His works influenced numerous composers of his time including the greatest Baroque genius Johann Sebastian Bach, but also Pisendel, Heinichen, Zelenka, Boismortier, Corrette, De Fesch, Quantz. His best-known compositions are the four violin concertos known as The Four Seasons, a famous example of subject music. As with many Baroque composers, his name and music fell into oblivion after his death. Only thanks to the research of some 20th century musicologists, such as Arnold Schering, Marc Pincherle, Alberto Gentili, Alfredo Casella and Gian Francesco Malipiero, his name and his works became famous again, becoming one of the best known and most performed composers. Around the 1720s Vivaldi composed a single-movement setting of the Lauda, Jerusalem for two cori, each with a solo soprano, a four-part choir and strings. The psalm is proper for Sundays, including Easter Sunday. At some later stage – perhaps in 1739 when he was commissioned to supply new works to the Pietà – he penned on the manuscript the names of its four choirgirls, two to a part, but it is uncertain whether he carried through the plan to submit it. The Lauda, Jerusalem reveals the enormous influence which Vivaldi’s concertos had on his church music since it observes the principles of ritornello form quite strictly, alternating fully scored and lightly scored sections, and inserting freely conceived episodes between passages based on recurrent material (ritornellos). Vivaldi is at his most compelling when he arrives at the Doxology, whose subject is based on that of another Lauda, Jerusalem, by an unknown composer, in his collection. Vivaldi's setting in E minor of the Psalm Lauda Jerusalem, which was probably written towards the end of his life, was one of the number of works that he supplied to the Ospedale della Pietà in 1739. It resembles the Beatus vir RV 598 in being conceived as a single, extremely long movement, but differs from it in employing a double choir and orchestra. The Lauda Jerusalem is a muscular, memorable work that shows Vivaldi's invention at the end of his career to be undimmed. Source: Wikipedia (https://en.wikipedia.org/wiki/Gloria_(Vivaldi)). Although originally written for 2 Mixed Chorus (SATB/SATB), Strings & Continuo, I created this Interpretation of the "Lauda Jerusalem" from Psalm 147 in E Minor (RV 609) for Winds (Flutes, Oboes, French Horns & Bassoons) & Strings (Violins, Violas & Cellos). | |||
