Vivaldi: Sacred Music Vol. 1 - Dixit Dominus, RV 595; Gloria, RV 588; Nulla in mundo pax sincera

Beautifully recorded. The playing and singing by Kevin Mallons's forces of these works by Vivaldi is unsurpassed. This is a perfect recording. This CD is the first in a series of four volumes done by Mallon of Vivaldi's sacred music and I can tell you that Mallon's performances and recordings are superior to the ones done by Robert King and The King's Consort on the Hyperion label. I own both.

This disc constitutes a very accessible way of becoming acquainted with more of Vivaldi's choral, liturgical music. It gives us a "lollipop" in the form of the celebrated "Nulla in mundo pax", which provides an interlude of otherworldly serenity in an otherwise typically energised and upbeat Vivaldi programme, between the "other" Gloria (RV 588 instead of the better known 589)and also the lovely alternative "Dixit Dominus" (RV 595, not 594).I am particularly impressed by the contribution of the soprano soloist Jane Archibald whose limpid, bell-like voice is absolutely secure in her difficult coloratura passages. The other Canadian soloists, Aradian Ensemble and Chorus are impressive without being quite as virtuosic as some competitors - though that might also have something to do with the slightly distant, over-reverberant sound of the Toronto church recording location.In more contemplative mode, Vivaldi is often reminiscent of pastoral Handel but the music here is more often characterised by a brilliant, festive mood typified by the use of trumpets in the final D major fugue of the "Cum Spirito Sancto" of the Gloria.This is a period instrument recording using Baroque pitch of 415 Hz (rather than the modern 440) and the forces are relatively small - some might prefer a larger scale account but the verve and spring of the interpretation and delivery compensate.

Prolific as Vivaldi was, he seems to be represented in most people's minds by only a few works: 'The Four Seasons,' of course, a few others of the violin concerti and among his sacred vocal works the 'Gloria' in D major, RV 589 (with its familiar opening bouncing octaves on D) and the 'Dixit Dominus,' RV 594. Presented here, however, are the other surviving 'Gloria', RV 588, also in D major, and the rarely heard other 'Dixit Dominus,' RV 595. Confusing? Well, yes. It doesn't help that the RV numbers (Ryom-Verzeichnis, named for musicologist Peter Ryom) are contiguous in each case and thus easily mistaken for each other. It is a shame, though, that these alternative settings are not better known, and it was a brilliant idea for Kevin Mallon and his Aradia* Ensemble to put them together on a CD and, further, to give them sterling performances. I expect some buyers might obtain this CD thinking they were getting the better-known versions of 'Gloria' and 'Dixit Dominus.' Naxos makes it clear in the printed matter on the back of the CD that these are not those, but frankly even if a musiclover bought these by mistake he or she wouldn't be disappointed in the music itself, because these two lesser-known settings are every bit as good as their sister works. Indeed, in my opinion the second 'Gloria' is ultimately more satisfying because it is more subtle and also because in this presentation it is linked with a lightly scored introduction containing a da capo aria for contralto, 'Jubilate, o amoeni chori' ('Rejoice, fair choirs'), a B minor recitative, and another brief aria 'Sonoro modulamine' ('In sounding music') that then lead directly in the choir's jubilant 'Gloria in excelsis.' Nonetheless, this 'Gloria' partakes of the same joy and choral felicity as its sibling. High points include the minor-key 'Et in terra pax' with its descending scale motif with close imitation in the choral voices, against throbbing chords in the now-expanded orchestra. 'Laudamus te' is a duet for sopranos in joyous roulades in thirds. 'Domine deus, rex coelestis' is a spirited tenor solo. 'Domine, Fili unigenite' is a short choral fugue, just as it is in its better-known sister, and frankly it strikes me as having more satisfying counterpoint but, darn it, it's too brief! A plaintive oboe solo opens the soprano's aria, 'Domine Deus, Agnus Dei.' Then two oboes join in in the following choral 'Qui tollis.' These two linked movements are the sublime apex of the musical arc. Tension is released in a lilting contralto aria, 'Qui sedes ad dextram patris,' which is followed by the soprano's buoyant G major 'Quoniam tu solus sanctus.' We return to our home key of D major in the choral 'Cum Sancto Spirito,' which begins solemnly but then breaks into final fugue with baroque trumpet obbligato.'Dixit Dominus,' a setting of the 109th Psalm ('The Lord said unto my Lord, Sit thou on my right hand') is scored for five vocal soloists, five part chorus, two oboes, strings and continuo. It is partly celebratory and partly minatory ('The Lord ... shall wound even kings in the day of his wrath') and Vivaldi catches both aspects of this Vespers Psalm beautifully, weaving back and forth between the joyous and the sternly remonstrative. This 20-minute work is served well by Mallon and his marvelous Aradia Ensemble, which includes both instrumentalists and chorus. His vocal soloists are largely drawn from the chorus and there is not a weak one among them. They are Michelle de Boer, soprano; Anita Krause, mezzo; Peter Mahon, countertenor; Nils Brown, tenor; and Giles Tomkins, bass.The only soloist from outside the chorus is Jane Archibald whose silvery and flexible soprano is heard not only in 'Dixit Dominus' and 'Gloria' but also in the extraordinarily beautiful (and new to me) motet for solo soprano, strings and continuo, 'Nulla in mundo pax sincera' ('In the world there is no real peace'), in which she charms with both her sweet tone and absolutely secure coloratura. It contains a gentle siciliano 'Nulla in mundo' that sounds as much like Handel as anything here; for some reason it reminds me of the opening chorus of his 'Solomon.' The text promises serenity in the world beyond. The following recitative and da capo aria warn that the blandishments of the world are false (with fiercesome fioriture) before returning to the hope of sacred peace, ending with an 'Alleluia.' This is a very fine piece and is done superbly by soloist and orchestra alike.I've increasingly come to feel that the Aradia Ensemble has become one of the better baroque music groups in the world. I look forward to each of their releases.Give yourself a present. Get this CD and learn some unfamiliar Vivaldi in marvelous performances.Scott Morrison*It's Aradia - not ArCadia. Aradia was Apollo's twin sister, daughter of Leto and Zeus, who was sent by the gods to teach humankind to transmute the music of the natural world into song.

Nobody else but Vivaldi fromthe opening notes of theDixit Dominus, to theclosing ones in the"Cum Sancto Spiritus"Vivaldi's musical styleof well specified.Choral music fromthe same great composerwho brought us "The Four Seasons".Vivaldi's choral workstoo are as highly regardedas his most famous concerti.In the Gloria we get a bonus,there is an introductory "Jubilate"that in the original is attached tothe RV 588 Gloria, that we do notget with most recordings, but thereason for this is that the"Jubilate" can be played separate.The Aradia Ensemble does a greatjob, and the soloists sing wonderfully.Mr. Mallon did a great job puttingall together...

This disc constitutes a very accessible way of becoming acquainted with more of Vivaldi's choral, liturgical music. It gives us a "lollipop" in the form of the celebrated "Nulla in mundo pax", which provides an interlude of otherworldly serenity in an otherwise typically energised and upbeat Vivaldi programme, between the "other" Gloria (RV 588 instead of the better known 589)and also the lovely alternative "Dixit Dominus" (RV 595, not 594).I am particularly impressed by the contribution of the soprano soloist Jane Archibald whose limpid, bell-like voice is absolutely secure in her difficult coloratura passages. The other Canadian soloists, Aradian Ensemble and Chorus are impressive without being quite as virtuosic as some competitors - though that might also have something to do with the slightly distant, over-reverberant sound of the Toronto church recording location.In more contemplative mode, Vivaldi is often reminiscent of pastoral Handel but the music here is more often characterised by a brilliant, festive mood typified by the use of trumpets in the final D major fugue of the "Cum Spirito Sancto" of the Gloria.This is a period instrument recording using Baroque pitch of 415 Hz (rather than the modern 440) and the forces are relatively small - some might prefer a larger scale account but the verve and spring of the interpretation and delivery compensate.

Ces interprétations par l'Ensemble Aradia et les solistes sont magnifiques,et restitués par une prise de son de très grande qualité,restituant et mettant pleinement en valeur le génie de Vivaldi,sa luxuriance et l'ensemble des états d'âme. Je note 5/5

Un disque que nous écoutons et réécoutons. Le "prêtre roux" était vraiment (au moins à ce qu'il parait pour un non spécialiste) un génie musical.

映画『シャイン』で使われていた、まことの安らぎはこの世にはなくを聴きたくて購入しました。映画で使われていたのよりはちょっとテンポがゆっくりのようです。ほかの曲も荘厳で煌びやかで、とても綺麗です。

バッハをはじめとして大好きですがヴィヴァルディはまた格別です。