Bach and Vivaldi Program Notes . For many music lovers, his music is the quintessential Venetian music, evoking vividly the pageantry and theatricality of that special place. There were four of these homes in Venice during that period, and they all had elaborate musical programs. Print and download Gloria sheet music composed by Antonio Vivaldi arranged for Piano. Instrumental Solo in D Major. The Ospedale where Vivaldi worked was connected to the church of Santa Maria della Piet. The interior was specifically designed to enhance musical acoustics and has an interesting oval shape. It can still be visited today on the Riva degli Schiavoni, at the basin of the Grand Canal. And the passageway where the young girls walked from the Ospedale to the church is also still there, one story above ground (so they could walk straight to the balcony of the church, protected from public view). Because of his red hair he was nicknamed Il Prete Rosso, ! He lived in Vienna at the end of his life, where he died in 1. The conception of the beginning is quite innovative. Instead of starting with the usual expected opening choral movement, here Vivaldi begins with a virtuoso aria for coloratura alto . It is followed by a recitative, also more at home in an opera than a Gloria. A series of wonderful solo and choral movements continue, providing a procession of dramatic contrasts. Astute listeners will recognize the theme of the final movement, because it is the same theme used in his later and more famous Gloria. Ruggieri. Bach Magnificat in DBach. Program Notes Gloria, Vivaldi Venice, in the early eighteenth century, was a remarkably enlightened city-state and its governors saw fit to provide well for its poor, its sick, and its abandoned. The Ospedale della Piet We invite you to click below to learn more about the works being performed at our 2015/16 concerts. Fantastic Beethoven Sunday, May 15, 4:00 p.m. Program Notes Vivaldi Gloria Sunday, February 21, 4:00 p.m. Composing this piece for his first Christmas in Leipzig, Bach obviously was excited with his new post, and lavished on the work all the brilliance, large choral and orchestra forces, and elevated ceremonial style he could offer. Because of its extraordinary musical inspiration, it stands alongside his other supreme choral masterpieces, for example, the Mass in B Minor - the one enormous difference being: length. Whereas in the two- hour long B Minor Mass, for example, Bach developed each movement. However, in his 3. Magnificat, Bach laid out each movement. Each movement uses but a fragment of the text, never more than one verse. Immediately, Bach puts us into a world of ecstatic, spiritual joy. The text Mary utters is . Here the text of the second half of the verse (. The text is in two sections: . Bach depicts the humble, lowly servant in an exceptionally tender, poignant way. When that section is over, he connects it to the second section with an oboe interlude of sublime, quiet, peaceful beauty. Suddenly, but subtly, the mood changes with the word . Just as it seems it will swirl away, it settles on a bold, low C# pedal point, comes to a startling halt, and finally concludes with solemnity and strength in F# Minor. The might of the Lord is shown here, not with force, but with depth (scoring it for bass solo and bass instruments only) and steadfastness (the melody played in the bass instruments is repeated in ostinato fashion, the tune passed back and forth between the bass and the bass instruments). The sonorities of the alto and tenor are combined almost into a single unit. And they are cloaked with a rich, subdued orchestration: violins and violas playing with mutes, and flutes doubling the violin parts. All these elements are kicked around from part to part, and build up and up until, suddenly, they literally fall apart at the words . After an amazing halt, the full ensemble comes back in with outrageous boldness. Vivaldi: Summer, from The Four Seasons, Opus 8, No.2 Summer. We are privileged to continue publishing his program notes. VIVALDI - MAGNIFICAT RV610: Soprano: Voice with metronome, organ: Emphasised. Et misericordia eius: Fecit potentiam: Deposuit: Suscepit Israel: Sicut locutus est: Gloria Patri: Alto: Voice with metronome, organ. Program Notes: Scarlatti, La Gloria di Primavera. Philharmonia Baroque Orchestra audiences are among the first to hear the wonders of La Gloria di Primavera in nearly 300 years. The chords are slow and extremely solid. The harmonies are incredibly intense. Even when the piece finally ends in D Major, it does not feel resolved. Here, with just tenor, violins and bass instruments, Bach paints a vivid picture of . Scored for alto, two flutes, and pizzicato (plucked) bass instruments, the aria shows . In a hypnotic, slow 3/4 meter, the intertwining rising and falling of the women. Bach overlays two obes in unison, playing slow notes - one note at a time - a portion of the ancient Gregorian chant melody of the Magnificat - to create a timeless, universial quality. But, naturally, Bach does not leave it there. For, even though there is . And it is interesting to note that the texture of the movement, which sounds perfectly full and satisfying, includes an orchestral accompaniment of merely bass instruments and organ. The triple Gloria (Father, Son, and Holy Spirit) begins each time with block chords followed by cascading triplets in the choral voices. First, Glory to the Father; then Glory to the Son; then Glory to the Holy Spirit. The third time it comes together in one of the most inspired and glorious moments in all of music.
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