remarquable cette interprétation du magnificat de Vivaldi , voix et instruments en harmonie sous la conduite d'Alessandrini et en plus la contralto Sara Mingardo ...quelle bonheur!!
This reworking of the Magnificat was bought from Vivaldi by the Pietà in 1739. Five new movements bear the names of the women for whom they were written: Apollonia, Bolognese (Maria Fortunata aka Maria Bolognese), Chiaretta (or Chiara), Ambrosina, and Albetta (aka Alba). For the earlier version of this work, see: ua-cam.com/video/PyW3306Yf64/v-deo.html 0:00 I. Magnificat 1:32 II. Et exultavit (1739) 3:37 III. Quia respexit (1739) 5:40 IV. Quia fecit (1739) 7:42 V. Et misericordia 10:59 VI. Fecit potentiam 11:24 VII. Deposuit potentes 12:13 VIII. Esurientes implevit bonis (1739) 14:21 IX. Suscepit Israel 15:13 X. Sicut locutus est (1739) 17:52 XI. Gloria Patri 18:29 XII. Sicut erat in principio 18:45 XIII. Et in secula seculorum Composed: c.1713-1719 This manuscript: c.1720-1735 and 1739 Turin source: Giordano 35, ff. 89-96, 99-107, 109-112 Related mvt 1 = ua-cam.com/video/8Hy2Y4WlZLE/v-deo.html mvt 1 Concerto Italiano - Akademia Vocal Ensemble, ‘Gloria | Magnificat’ Rinaldo Alessandrini, direzione Opus 111 OPS 30-195
Thanks so much for posting. Just wanted to ask your opinion. I tend to find that I enjoy Vivaldi's earlier compositions the most. Do you ever feel the same way?
@@Ed_UKation I guess it depends on what you mean by "early". Late Vivaldi is more easily defined, as from 1730 onwards. It took some time for me to appreciate the later violin concertos (when they became known, most weren't even played before this century, with a few exceptions such as the 1740 concerti). As I grew accustomed to the later style, I found myself visiting the earlier works less often, as they had become too familiar. I do like both, with a preference for individual works rather then a whole period. However these periods do exist (and there are more than two) and many feel the same way as you do, for different reasons. Maybe you could explain why you feel this way. Opus 3 is still regarded as perhaps the highest point in Vivaldi's production, but this is more like conventional wisdom rather than a truly informed opinion.
@@DelVivaldi Thank you for the detailed reply. By early I didn't mean very early (although I did like the very early/earliest Vivaldi Concerto you posted a lot), I meant Opus 3 and 4. I loved Opus 3, but I've really heard it too much now! Opus 4 has a lot of excellent work. Some of the later works have rather more 'improvised' sounding solos, which aren't as instantly likeable. The ritornello(i?) don't seem to have the same spirit somehow. What do you think? Vivaldi had developed his own style, which had become very unique and further from other composers, but it feels a bit like he wasn't sure how to develop it further. Opus 12 No 1 is lovely, although perhaps not particularly late?
@@Ed_UKation He just changed styles. The opus 4 concertos are earlier than 1716 (their publication date), by that time Vivaldi had begun composing operas (not counting the ones he ghostwrote). He had begun as a violin player beside his father (who played at St. Mark’s), as a young priest who said masses to pay rent, a teacher at a religious institution, and an occasional composer. After he lost his post at the Pietà (1709) he seems to have plied his trade at other churches outside Venice both as composer (Stabat Mater Brescia 1712) and instrumentist (RV 212 Padua same year), before he was reinstated. But in the meantime, he had become famous. His ties with the Church may have lessened (more opportunities, more independance) and he gravitated towards theaters. This change of social status already accounts for a lot. I think some of the concertos around his time with Pisendel (1716), and those of Opus 6, do sound a little rough-edged and hasty like you say (the solos), but by 1720 and his return from Mantua, his style had really matured into something else. I think he had really come into his own style where he could do a lot with very little. It is true that the architectonic ritornellos of past concertos, the kind of spirit or ‘noble’ quality or lyricism that they had, sturdier-sounding but also more traditional in construction, kind of disappeared never to return. Yet I do not think it was because of lack of inspiration, simply due to a change of taste, perhaps on the part of audiences too, and his forward-looking attitude. It continued to change. Somewhere in the late middle period (1725-1729) Vivaldi gets more sentimental sometimes, he likes graceful or precious melodies. His Opus 9 is called ‘The Lyre’, and it is, certainly, pleasantly beautiful. Perhaps he is in love or something. Opus 12 no. 1 may date from around that time also, I suppose. Then there is a last turn around 1730, toward the late style, and there the solo writing is certainly more polished than anything he ever wrote, although you may not like the style.
Maybe...His Gloria - Cum Sacto Spiritu last track melody is almost copied from the same piece from Giovanni Maria Ruggieri (fl c1690-1720) Gloria RVnh.23 recorded wisely on Hyperion. Interesting and beautifull track.
What do you by Vivaldi loved that chored so much ? As far as I know he only used it(or a similar progression) in his Kyrie. Its an incredibly impressive first movement anyway. And to me it sounds almost Romantic in some ways.(like in late 19th century symphonies)
remarquable cette interprétation du magnificat de Vivaldi , voix et instruments en harmonie sous la conduite d'Alessandrini et en plus la contralto Sara Mingardo ...quelle bonheur!!
This reworking of the Magnificat was bought from Vivaldi by the Pietà in 1739. Five new movements bear the names of the women for whom they were written: Apollonia, Bolognese (Maria Fortunata aka Maria Bolognese), Chiaretta (or Chiara), Ambrosina, and Albetta (aka Alba).
For the earlier version of this work, see: ua-cam.com/video/PyW3306Yf64/v-deo.html
0:00 I. Magnificat
1:32 II. Et exultavit (1739)
3:37 III. Quia respexit (1739)
5:40 IV. Quia fecit (1739)
7:42 V. Et misericordia
10:59 VI. Fecit potentiam
11:24 VII. Deposuit potentes
12:13 VIII. Esurientes implevit bonis (1739)
14:21 IX. Suscepit Israel
15:13 X. Sicut locutus est (1739)
17:52 XI. Gloria Patri
18:29 XII. Sicut erat in principio
18:45 XIII. Et in secula seculorum
Composed: c.1713-1719
This manuscript: c.1720-1735 and 1739
Turin source: Giordano 35, ff. 89-96, 99-107, 109-112
Related mvt 1 = ua-cam.com/video/8Hy2Y4WlZLE/v-deo.html mvt 1
Concerto Italiano - Akademia Vocal Ensemble, ‘Gloria | Magnificat’
Rinaldo Alessandrini, direzione
Opus 111 OPS 30-195
Thanks so much for posting. Just wanted to ask your opinion.
I tend to find that I enjoy Vivaldi's earlier compositions the most. Do you ever feel the same way?
@@Ed_UKation I guess it depends on what you mean by "early". Late Vivaldi is more easily defined, as from 1730 onwards. It took some time for me to appreciate the later violin concertos (when they became known, most weren't even played before this century, with a few exceptions such as the 1740 concerti). As I grew accustomed to the later style, I found myself visiting the earlier works less often, as they had become too familiar. I do like both, with a preference for individual works rather then a whole period. However these periods do exist (and there are more than two) and many feel the same way as you do, for different reasons. Maybe you could explain why you feel this way. Opus 3 is still regarded as perhaps the highest point in Vivaldi's production, but this is more like conventional wisdom rather than a truly informed opinion.
@@DelVivaldi Thank you for the detailed reply. By early I didn't mean very early (although I did like the very early/earliest Vivaldi Concerto you posted a lot), I meant Opus 3 and 4. I loved Opus 3, but I've really heard it too much now! Opus 4 has a lot of excellent work.
Some of the later works have rather more 'improvised' sounding solos, which aren't as instantly likeable. The ritornello(i?) don't seem to have the same spirit somehow. What do you think? Vivaldi had developed his own style, which had become very unique and further from other composers, but it feels a bit like he wasn't sure how to develop it further.
Opus 12 No 1 is lovely, although perhaps not particularly late?
Not sure whether you saw the post above, but, what would you personally give as a good example of a late Vivaldi Concerto? @del vivaldi
@@Ed_UKation He just changed styles. The opus 4 concertos are earlier than 1716 (their publication date), by that time Vivaldi had begun composing operas (not counting the ones he ghostwrote). He had begun as a violin player beside his father (who played at St. Mark’s), as a young priest who said masses to pay rent, a teacher at a religious institution, and an occasional composer. After he lost his post at the Pietà (1709) he seems to have plied his trade at other churches outside Venice both as composer (Stabat Mater Brescia 1712) and instrumentist (RV 212 Padua same year), before he was reinstated. But in the meantime, he had become famous. His ties with the Church may have lessened (more opportunities, more independance) and he gravitated towards theaters. This change of social status already accounts for a lot. I think some of the concertos around his time with Pisendel (1716), and those of Opus 6, do sound a little rough-edged and hasty like you say (the solos), but by 1720 and his return from Mantua, his style had really matured into something else. I think he had really come into his own style where he could do a lot with very little. It is true that the architectonic ritornellos of past concertos, the kind of spirit or ‘noble’ quality or lyricism that they had, sturdier-sounding but also more traditional in construction, kind of disappeared never to return. Yet I do not think it was because of lack of inspiration, simply due to a change of taste, perhaps on the part of audiences too, and his forward-looking attitude. It continued to change. Somewhere in the late middle period (1725-1729) Vivaldi gets more sentimental sometimes, he likes graceful or precious melodies. His Opus 9 is called ‘The Lyre’, and it is, certainly, pleasantly beautiful. Perhaps he is in love or something. Opus 12 no. 1 may date from around that time also, I suppose. Then there is a last turn around 1730, toward the late style, and there the solo writing is certainly more polished than anything he ever wrote, although you may not like the style.
It's a Magnificent piece...top
Wonderful, thanks for sharing.
19:37 what's the name of the latest note and why is it square
A breve, lasting a full eight beats. Hence the traditional name of the whole note, semibreve.
Thanks for sharing
Divine Mingardo
Vivaldi loved that initial sequence of chords so much. It sounds rather ancient. I wonder what inspired it? Perhaps something by an earlier composer.
Maybe...His Gloria - Cum Sacto Spiritu last track melody is almost copied from the same piece from Giovanni Maria Ruggieri (fl c1690-1720) Gloria RVnh.23 recorded wisely on Hyperion. Interesting and beautifull track.
@@capezyo yes it is! I wondered whether the chord sequence, which he did really love, was something he heard. Or perhaps it is entirely Vivaldi.
You mean in the first movement ?
Vivaldi the OG remixer! haha
What do you by Vivaldi loved that chored so much ? As far as I know he only used it(or a similar progression) in his Kyrie.
Its an incredibly impressive first movement anyway. And to me it sounds almost Romantic in some ways.(like in late 19th century symphonies)
❤ ANTONIO LUCIO VIVALDI❤