Vivaldi: Les Orphelines de Venise Les Cris de Paris & Geoffroy Jourdain

• 1 I. Kyrie eleison 04:14
• 2 II. Christe Eleison 02:23
• 3 III. Kyrie eleison 02:30
• 4 I. Gloria in excelsis Deo 02:11
• 5 II. Et in terra pax 04:33
• 6 III. Laudamus te 02:12
• 7 IV. Gratias agimus tibi - V. Propter magnam gloriam tuam 01:11
• 8 VI. Domine Deus 03:33
• 9 VII. Domine Fili unigenite 02:03
• 10 VIII. Domine Deus, agnus Dei 03:30
• 11 IX. Qui tollis peccata mundi 00:56
• 12 X. Qui sedes ad dexteram Patris 02:14
• 13 XI. Quoniam Tu solus Sanctus 00:42
• 14 XII. Cum Sancto Spiritu 02:53
• 15 Sinfonia al Santo Sepolcro in D Minor, RV 169 03:22
• 16 I. Credo in unum Deum 02:04
• 17 II. Et incarnatus est 01:27
• 18 III. Crucifixus 02:48
• 19 IV. Et resurrexit 02:53
• 20 I. Adagio - Allegro 02:23
• 21 II. Adagio - Allegro ma non troppo 01:52
• 22 I. Magnificat anima mea Dominum 00:53
• 23 II. Et exultavit spiritus meus 02:06
• 24 III. Et misericordia eius 02:54
• 25 IV. Fecit Potentiam- Deposuit potentes 01:18
• 26 V. Esurientes implevit bonis 01:23
• 27 VI. Suscepit Israel 00:49
• 28 VII. Sicut Locutus est 01:36
• 29 VIII. Gloria Patri - Sicut erat in principio 01:56
• Total Runtime 01:04:49

Info zu Vivaldi: Les Orphelines de Venise

The Venetian ospedali – celebrated in the seventeenth and eighteenth centuries for the high standard of the concerts given by the orphan girls they had taken in – were originally care institutions for the poor, pilgrims, elderly people and foundlings. This last category was particularly numerous in a city where Carnival disrupted social relations virtually six months of the year – and the majority of such abandoned infants were female, for we know that in this period an illegitimate child was considered even more of a burden if it was a girl.

These establishments were initially funded by charity, and later, as their fame grew, by public concerts. By the early eighteenth century, they were on a footing of some opulence. The considerable nancial resources available to the ospedali enabled them to command the services of the most prestigious musicians and composers from throughout Italy over a period of two centuries. They employed their skills to teach these cloistered girls, who might perform at up to four church services open to the public each week. Numerous contemporary sources tell us of the busy musical activity in the ospedali, which made a particularly strong impression on foreign visitors.

For all the fascination these institutions have aroused, the repertory that was composed and regularly performed there is still relatively little diffused (with the exception of a few ‘hits’) and the questions of interpretation it raises are far from being elucidated. Foremost among these is the mysterious presence of lines for male voices in the chorus parts of numerous scores that originated in the ospedali.

This is the case, notably, in Antonio Vivaldi’s celebrated Gloria in D major RV589, so frequently given in concert and recorded so many times. It has been surmised that it was first performed when the composer took over the functions of maestro di coro, on Sunday 2 July 1713 in the Sala dei Filarmonici of the Ospedale della Pietà; the forty or so musicians (choir, soloists drawn from the choir, and orchestra) were all girls. Yet this work, which has since been heard all over the world, is scored for four-part chorus comprising sopranos, altos, tenors and basses.

Anna Reinhold, mezzo-soprano
Les Cris de Paris
Geoffroy Jourdain, direction

Keine Biografie vorhanden.

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