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Antonio Lucio Vivaldi (March 4, 1678 – July 28, 1741), nicknamed il Prete Rosso ("The Red Priest"), was a Baroque music composer and Venetian priest, as well as a famous virtuoso violinist, born and raised in the Republic of Venice. The Four Seasons, a series of four violin concerti, is his best-known work and a highly popular Baroque piece.
Biography
Childhood
Antonio Lucio Vivaldi was born in Venice, the capital of the Republic of Venice.
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Quotations
Se questa non piace,non voglio piu scrivere di musica.
If you don't like this, I'll stop writing music., An ironic note written upon an aria score of his opera Orlando Furioso, 1727.
Encyclopedia
Antonio Lucio Vivaldi (March 4, 1678 – July 28, 1741), nicknamed il Prete Rosso ("The Red Priest"), was a Baroque music composer and Venetian priest, as well as a famous virtuoso violinist, born and raised in the Republic of Venice. The Four Seasons, a series of four violin concerti, is his best-known work and a highly popular Baroque piece.
Biography
Childhood
Antonio Lucio Vivaldi was born in Venice, the capital of the Republic of Venice. He was baptized immediately after his birth at his home by the midwife. It is not known how the life of the infant was in danger, but the immediate baptism was most likely due to his poor health or to an earthquake that shook the city that day. Vivaldi's official church baptism (at least, the rites that remained other than the actual baptism itself) did not take place until two months later. His father, Giovanni Battista, a barber before becoming a professional violinist, taught him to play violin and then toured Venice playing a violin with his young son. Giovanni Battista was one of the founders of the Sovvegno dei musicisti di Santa Cecilia, a sort of trade union for musicians and composers. The president of the association was Giovanni Legrenzi, the maestro di cappella at St. Mark's Basilica and noted early Baroque composer. It is possible that the young Antonio's first lessons in composition were imparted by him. The Luxembourg scholar Walter Kolneder sees in the early liturgical work Laetatus sum (RV Anh 31, written in 1691 at the age of 13) the influence of Legrenzi's style. His father may have been a composer himself: in 1688, an opera titled La Fedeltà sfortunata was composed by a Giovanni Battista Rossi, and this was the name under which Vivaldi's father had joined the Sovvegno di Santa Cecilia ("Rossi" for "Red", because of the colour of his hair, a family trait).
Vivaldi had a health problem, probably a form of asthma, which did not prevent him from learning to play the violin, compose or take part in many musical activities. It did however stop him from playing wind instruments because of shortness of breath.
At the age of 15 in the year of 1693, he began studying to become a priest. In 1703, at the age of 25, Vivaldi was ordained a priest and was soon nicknamed il Prete Rosso, "The Red Priest", probably because of his red hair.
Not long after his ordination, in 1704, he was given a reprieve from celebrating the Holy Mass because of his ill health. From that point onward, he appears to have withdrawn from active practice, but did remain a priest.
At the Conservatorio dell'Ospedale della Pietà
In September 1703, Vivaldi became maestro di violino (master of violin) at an orphanage called the Pio Ospedale della Pietà (Devout Hospital of Mercy) in Venice. There were four such institutions in Venice; their purpose was to give shelter and education to children who were abandoned, orphaned, or whose families could not support them. They were financed by funds provided by the Republic. The boys learned a trade and had to leave at age 15. The girls received a musical education, and the most talented stayed and became members of the Ospedale's renowned orchestra and choir.
Shortly after his appointment, the orphans began to gain appreciation and esteem abroad, too; Vivaldi wrote most of his concertos, cantatas, and sacred music for them. In 1704, the position of teacher of viola all'inglese was added to his duties as violin instructor.
His relationship with the board of directors of the Ospedale was often strained. The board had to take a vote every year on whether to keep a teacher. The vote on Vivaldi was seldom unanimous, and in 1709, he lost his job after a 7 against 6 vote. After a year as a freelance musician, he was recalled by the Ospedale with a unanimous vote in 1711; clearly the board had realized the importance of his role by then. In 1713, he became responsible for the musical activity of the institution. Vivaldi was promoted to maestro di' concerti (music director) in 1716.
It was during these years that Vivaldi wrote much of his music, including many operas and concerti. In 1705, the first collection (Connor Cassara) of his works was published: his Opus 1 is a collection of 12 sonatas for two violins and basso continuo, still in a conventional style. In 1709, a second collection of 12 sonatas for violin & basso continuo appeared (Opus 2). The real breakthrough came with his first collection of 12 concerti for one, two, and four violins with strings, L'estro armonico (Opus 3), which was published in Amsterdam in 1711 by Estienne Roger. This was a resounding success all over Europe, and was followed in 1714 by La stravaganza (Opus 4), a collection of concerti for solo violin and strings.
In February 1711, Vivaldi and his father went to Brescia, where his setting of the Stabat Mater (RV 621) was played as part of a religious festival. The work seems to have been written in haste: the string parts are simple, the music of the first three movements is repeated in the next three, and not all the text is set. However, and in part as a consequence of the forced essentiality of the music, the work reveals musical and emotional depth and is one of his early masterpieces.
In 1718, Vivaldi began to travel. Despite his frequent travels, the Pietà paid him to write two concerti a month for the orchestra and to rehearse with them at least five times when in Venice. The Pietà's records show that he was paid for 140 concerti between 1723 and 1733.
Opera impresario
In the Venice of the early 18th century, opera was the most popular musical entertainment and the most profitable for the composer. There were several theaters competing for the public attention. Vivaldi started his career as opera writer in undertone: his first opera, Ottone in villa (RV 729) was performed not in Venice, but at the Garzerie theater in Vicenza in 1713. The following year, Vivaldi made the jump to Venice and became the impresario of the theater Sant'Angelo in Venice, where his opera Orlando finto pazzo (RV 727) was performed. However, the work did not meet the public's taste, and Vivaldi had to close it after a couple of weeks and replace it with a rerun of a different work already given the previous year. In 1715, he presented Nerone fatto Cesare (RV 724, lost), with music by seven different composers, of which he was the leader, with eleven arias. This time it was a success, and in the late season, Vivaldi planned to give an opera completely of his own hand, Arsilda regina di Ponto (RV 700). However, the state censor blocked the performance, objecting to the plot: the main character, Arsilda, falls in love with another woman, Lisea, who is pretending to be a man. Vivaldi managed to get the opera through censorship the following year, and it was eventually performed to a resounding success.
In this same period of time, the Pietà commissioned several liturgical works. The most important were two oratorios. The first, Moyses Deus Pharaonis, (RV 643) is lost. The second, Juditha triumphans (RV 644), composed in 1716, is one of his sacred masterpieces. It was commissioned to celebrate the victory of the Republic of Venice against the Turks and the recapture of the island of Corfù. All eleven singing parts were performed by girls of the Pietà, both for the female and male characters. Many of the arias included parts by solo instruments—recorders, oboes, clarinets, violas d'amore, and mandolins—that showcased the range of talents of the girls.
In the same year, 1716, Vivaldi wrote and produced two more operas, L'incoronazione di Dario (RV 719) and La costanza trionfante degli amori e degli odi (RV 706). The latter was so popular that it was re-edited and represented two years later with the title Artabano re dei Parti (RV 701, lost) and was eventually performed in Prague in 1732. In the following years, Vivaldi wrote several operas that were performed all over Italy.
His modern operatic style caused him some trouble with other more conservative musicians, like Benedetto Marcello, a magistrate and amateur musician who wrote a pamphlet denouncing him and the modern style of opera. The pamphlet is called Il teatro alla moda, and its cover has a caricature of Vivaldi playing the violin. The Marcello family was the rightful owner of the Sant'Angelo theater, and a long legal battle had been fought with the management for its restitution, without success. The booklet attacks Vivaldi without mentioning him directly. The cover drawing shows a boat (the Sant'Angelo), on the left end of which stands a little angel wearing a priest's hat and playing the violin. It is a caricature of Vivaldi. The obscure writing under the picture mentions nonexistent places and names. In particular, ALDIVIVA is an anagram of A. Vivaldi.
His middle years
In 1717 or 1718, Vivaldi was offered a new prestigious position as Maestro di Cappella of the court of the prince Phillip of Hesse-Darmstadt, governor of Mantua. He moved there for three years and produced several operas, among which was Tito Manlio (RV 738). In 1721, he was in Milan, presenting the pastoral drama La Silvia (RV 734, lost) and again the next year with the oratorio L'adorazione delli tre re magi al bambino Gesù (RV 645, also lost). The next big step was a move to Rome in 1722, where his operas introduced the new style and where the new pope Benedict XIII invited Vivaldi to play for him. In 1725, he returned to Venice, where he produced four operas in the same year.
It is also in this period that he wrote the Four Seasons, four violin concertos depicting natural scenes in music. While three of the concerti are of original conception, the first, "Spring", borrows motifs from a Sinfonia in the first act of his opera "Il Giustino", composed at the same time as The Four Seasons. The inspiration for them was probably the countryside around Mantua. They were a revolution in musical conception: in them Vivaldi represented flowing creeks, singing birds (of different species, each specifically characterized), barking dogs, buzzing mosquitoes, crying shepherds, storms, drunken dancers, silent nights, hunting parties (both from the hunter's and the prey's point of view), frozen landscapes, children ice-skating, and burning fires. Each concerto was associated with a sonnet of Vivaldi's hand, describing the scenes depicted in the music. They were published as the first four of a collection of twelve, Il cimento dell'armonia e dell'inventione, his Opus 8, published in Amsterdam by Le Cène in 1725.
During his time in Mantua Vivaldi became acquainted with an aspiring young singer, Anna Tessieri Giro, who was to become his student, protégée, and favorite prima donna. Anna, along with her older half-sister Paolina, became part of Vivaldi's entourage and regularly accompanied him on his many travels. There was speculation about the nature of Vivaldi's and Giro's relationship, but no evidence to indicate anything beyond friendship and professional collaboration.
Late life and death
During the height of his career, Vivaldi received commissions from European nobles and royalty. The wedding cantata Gloria e Imeneo (RV 687) was written for the marriage of Louis XV. Opus 9, La Cetra, was dedicated to Emperor Charles VI. In 1728, Vivaldi had the chance to meet the Emperor in person when he came to Trieste to oversee the construction of a new port. Charles admired the music of the Red Priest so much that he is said to have spoken more with the composer in that occasion than with his ministers in two years. He gave him the title of knight, a gold medal, and an invitation to come to Vienna. On his part, Vivaldi gave Charles a manuscript copy of La Cetra; this is a set of concerti almost completely different from the one published with the same title as Opus 9. Probably the printing had been delayed and Vivaldi was forced to gather an improvised collection.
In 1730, accompanied by his father, he traveled to Vienna and Prague, where his opera Farnace (RV 711) was presented. Some late operas marked the collaboration with two of Italy's major writers of the time. L'Olimpiade and Catone in Utica were written by Pietro Metastasio, the major representative of the Arcadian movement and court poet in Vienna. La Griselda was rewritten by the young Carlo Goldoni from an earlier libretto by Apostolo Zeno.
Vivaldi's life, like those of many composers of the time, ended in financial difficulties. His compositions no longer held the high esteem they once did in Venice; changing musical tastes quickly made them outmoded, and Vivaldi, in response, chose to sell off sizeable numbers of his manuscripts at paltry prices to finance a migration to Vienna. The reasons for Vivaldi's departure from Venice are unclear, but it seems likely that he wished to meet Charles VI, who appreciated his compositions (Vivaldi dedicated La Cetra to Charles in 1727), and take up the position of a composer in the Imperial Court. It is ever more likely that Vivaldi went to Vienna to stage operas, especially as his place of residence was near the Kärntnertortheater. However, shortly after Vivaldi's arrival at Vienna, Charles died. This tragic stroke of bad luck left the composer without royal protection and a source of income. Vivaldi eventually died not long after, on the night between 27 and July 28, 1741
, of internal infection in a house owned by the widow of a Viennese saddlemaker. On July 28 he was buried in a simple grave at the Hospital Burial Ground in Vienna. Vivaldi's funeral took place at St. Stephen's Cathedral, where the young Joseph Haydn was then a choir boy. The cost of his funeral included a Kleinglaut, or pauper's peal of bells. Both contemporary reports and current scholarship support the assertion that Vivaldi died a pauper. His burial spot is next to the Karlskirche in Vienna, at the site of the Technical Institute. The house he lived in while in Vienna was torn down. In part of its place there is now the Hotel Sacher. Memorial plaques have been placed at both locations, as well as a Vivaldi star in the Viennese Musikmeile and a monument at the Rooseveltplatz.
Style and influence
Many of Vivaldi's compositions reflect a flamboyant, almost playful, exuberance. Most of Vivaldi's repertoire was rediscovered only in the first half of the 20th century in Turin and Genoa and was published in the second half. Vivaldi's music is innovative, breaking a consolidated tradition in schemes; he gave brightness to the formal and the rhythmic structure of the concerto, repeatedly looking for harmonic contrasts and innovative melodies and themes. Moreover, Vivaldi was able to compose nonacademic music, particularly meant to be appreciated by the wide public and not only by an intellectual minority. The joyful appearance of his music reveals in this regard a transmissible joy of composing; these are among the causes of the vast popularity of his music. This popularity soon made him famous in other countries such as France which was, at the time, very independent concerning its musical taste.
Vivaldi is considered one of the composers who brought Baroque music (with its typical contrast among heavy sonorities) to evolve into a classical style. Johann Sebastian Bach was deeply influenced by Vivaldi's concertos and arias (recalled in his Johannes Passion, Matthäuspassion, and cantatas). Bach transcribed a number of Vivaldi's concerti for solo keyboard, along with a number for orchestra, including the famous Concerto for Four Violins and Violoncello, Strings and Continuo (RV 580) as BWV 1065.
Posthumous reputation
Vivaldi remained unknown for his published concerti, and largely ignored, even after the resurgence of interest in Bach, pioneered by Mendelssohn. Even his most famous work, The Four Seasons, was unknown in its original edition. In the early 20th century, Fritz Kreisler's concerto in the style of Vivaldi, which he passed off as an original Vivaldi work, helped revive Vivaldi's reputation. This impelled the French scholar Marc Pincherle to begin academic work on Vivaldi's oeuvre. The discovery of many Vivaldi manuscripts and their acquisition by the National University of Turin Library (with the generous sponsorship of Roberto Foa and Filippo Giordano, in memory of their sons, respectively, Mauro and Renzo) led to renewed interest in Vivaldi. People such as Marc Pincherle, Mario Rinaldi, Alfredo Casella, Ezra Pound, Olga Rudge, Arturo Toscanini, Arnold Schering, and Louis Kaufman were instrumental in the Vivaldi revival of the 20th century. The resurrection of Vivaldi's unpublished works in the 20th century is mostly thanks to the efforts of Alfredo Casella, who in 1939 organised the now historic Vivaldi Week, in which the rediscovered Gloria (RV 589) and l'Olimpiade were first heard again. Since World War II, Vivaldi's compositions have enjoyed almost universal success, and the advent of historically informed performances has only increased his fame. In 1947, the Venetian businessman Antonio Fanna founded the Istituto Italiano Antonio Vivaldi, with the composer Gian Francesco Malipiero as its artistic director, having the purpose of promoting Vivaldi's music and publishing new editions of his works.
A movie titled Vivaldi, a Prince in Venice was completed in 2005 as an Italian-French coproduction under the direction of Jean-Louis Guillermou, featuring Stefano Dionisi in the title role and Michel Serrault as the bishop of Venice. Another film inspired by the life of the composer was in a preproduction state for several years and has the working title . Filming was scheduled to begin in 2007, but was canceled and tentatively rescheduled for 2009.
Vivaldi's music, together with that of Mozart, Tchaikovsky, and Corelli, has been included in the theories of Alfred Tomatis on the effects of music on human behaviour and used in music therapy.
1926 and 1930 discoveries
As one biography describes it:
Recent discoveries
Recently, four sacred vocal works by Vivaldi have been discovered in the Saxon State Library in Dresden. These compositions were improperly attributed to Baldassare Galuppi, a Venetian composer of the early classical period, mostly famous for his choral works.
In the 1750s or 1760s, the Saxon court asked for some sacred works by Galuppi from the Venetian copyist Don Giuseppe Baldan. Baldan included, among authentic works by Galuppi, the four compositions by Vivaldi, passing them off as Galuppi's. He probably obtained the originals from two of Vivaldi's nephews, (Carlo Vivaldi and Daniele Mauro), who worked under him as copyists.
The recognition of Vivaldi's authorship could be made by analyzing style and instrumentation and by recognizing arias from Vivaldi's operas.
The two most recent among these discoveries are two psalm settings of Nisi Dominus (RV 803, in eight movements) and Dixit Dominus (RV 807, in eleven movements), identified in 2003 and 2005, respectively, by the Australian scholar Janice Stockigt.
RV 803 was recorded for the first time in 2005 by the King's Consort under the direction of Robert King.
The world premiere of any part of RV 807 took place on August 9, 2005, at Melba Hall, University of Melbourne . It was recorded in full for the first time in 2006 by the Dresdner Instrumental-Concert under the direction of Peter Kopp. Vivaldi scholar Michael Talbot called it "arguably the best nonoperatic work from Vivaldi's pen to come to light since... the 1920s".
Argippo
Vivaldi's opera Argippo (RV 697) premiered in the Palace of Count Spork, Prague in 1730. The libretto was preserved but the music was presumed to have been lost until portions of it (over two thirds) was discovered in the private archive of the Thurn und Taxis house in Regensburg, in 2006 by harpsichordist and conductor . He stated: "I found out that in 1733, three years after the premiere, the Italian music ensemble appeared in Regensburg. They'd been invited there after the theatre in Prague burnt down." Macek used other arias from Vivaldi and said: "I used music from operas he wrote at the time, shortly before and after the date of the premiere, and sometimes they [the arias] fit really perfectly." Ondrej Macek and his Hofmusici orchestra chose Prague Castle (seat of the Czech presidency) the 16th-century Spanish, and was performed by 13 singers and 24 musicians on May 3, 2008, the first performance since 1730. The opera is set in an Indian royal court and centers around a young princess smitten by a dishonest suitor. It has three acts and lasts over two hours.
Works
- Main articles: List of compositions by Antonio Vivaldi and List of operas by Vivaldi.
See also: :Category:Compositions by Antonio Vivaldi
His compositions include:
- Over 500 concerti; approximately 350 of these are for solo instrument and strings, and of these about 230 are for violin; the others are for bassoon, cello, oboe, flute, viola d'amore, recorder, lute, and mandolin. Approximately 40 concerti are for two instruments and strings, and approximately 30 are for three or more instruments and strings.
- 46 operas
- sinfonias
- 73 sonatas
- chamber music (even if some sonatas for flute, as Il Pastor Fido, have been erroneously attributed to him, but were composed by Chédeville).
- sacred music
- His most famous work is 1723's Le Quattro Stagioni (The Four Seasons). In essence, it resembled an early example of a tone poem, where he attempted to capture all the moods of the four seasons.
Operas
See List of operas by Vivaldi
Concerti
Vivaldi wrote hundreds of concerti for various instruments. Below is a list of notable concerti:
Cello:
- Cello concerto in C minor, RV 401
- Cello concerto in E minor, RV 409
- Cello concerto in F major, RV 411
- Cello concerto in F major, RV 412
- Cello concerto in G major, RV 413
- Cello concerto in G major, RV 415
- Cello concerto in G minor, RV 417
- Cello concerto in A minor, RV 418
- Cello concerto in A minor, RV 420
- Cello concerto in B minor, RV 424
Mandolin:
- Mandolin Concerto in C major, RV 425
- Concerto for two Mandolins in G major, RV 532
Mandolin (lute) and orchestra:
- Concerto in D major, RV 93
Recorder and flute:
- Concerto in D major, RV 95, "La pastorella"
- Concerto in C minor for Treble Recorder, RV 441
- Concerto in F major for Treble Recorder, RV 442
- Concerto in C major for Sopranino Recorder, RV 443
- Concerto in C major for Sopranino Recorder, RV 444
- Concerto in A minor for Sopranino Recorder, RV 445
- Concerto in F major for Flute ("La Tempesta di Mare"), RV 433 (Op. 10, No. 1), RV 98 and RV 570
- Concerto in G minor for Flute ("La Notte"), RV 439 (Op. 10, No. 2)
- Concerto in D major for Flute ("Il Gardellino"), RV 428 (Op. 10 No. 3)
- Concerto in G major for Flute, RV 435 (Op. 10, No. 4)
- Concerto in F major for Flute, RV 434 (Op. 10, No. 5)
- Concerto in G major for Flute, RV 437 (Op. 10, No. 6)
- Concerto in C major for 2 Flutes, RV 533
Violin:
- The Contest Between Harmony and Invention:
- The Four Seasons:
- Concerto No. 1 in E major, "La Primavera" (Spring), RV 269
- Concerto No. 2 in G minor, "L'estate" (Summer), RV 315
- Concerto No. 3 in F major, "L'autunno" (Autumn), RV 293
- Concerto No. 4 in F minor, "L'inverno" (Winter), RV 297
- Concerto No. 5 in E-flat major, "La tempesta di mare", RV 253
- Concerto No. 6 in C major, "Il piacere", RV 180
- Concerto No. 7 in D minor, RV 242
- Concerto No. 8 in G minor, RV 332
- Concerto No. 9 in D minor, RV 236
- Concerto No. 10 in B-flat major, "La caccia", RV 362
- Concerto No. 11 in D major, RV 210
- Concerto No. 12 in C major, RV 178
Brass and woodwind:
- Concerto in C major for Two Trumpets, RV 537
- Concerto in D major for two Oboes, Bassoon, two French Horns, and Solo Violin, RV 562
- Concerto in D minor for two Recorders, two Oboes, and Bassoon, RV 566
- Concerto in F major for Oboe, Bassoon, two French Horns, and Solo Violin, RV 571
- Concerto in B-flat major for Oboe, Chalumeau, and Solo Violin, RV 579
- Concerto in E minor for Bassoon, RV 484
- Concerto in A minor for Bassoon, RV 498
Sacred works
- Missa Sacrum, RV 586 (disputed)
- Kyrie, RV 587
- Gloria, RV 588
- Gloria, RV 589
- Gloria, RV 590 (lost)
- Credo, RV 591
- Credo, RV 592 (disputed)
- Domine ad adiuvandum me, RV 593
- Dixit Dominus, RV 594
- Dixit Dominus, RV 595 ("di Praga")
- Confetibor, tibi Domine, RV 596
- Beatus vir, RV 597
- Beatus vir, RV 598
- Beatus vir, RV 599 (lost)
- Laudate pueri Dominum, RV 600
- Laudate pueri Dominum, RV 601
- Laudate pueri Dominum, RV 602
- Laudate pueri Dominum, RV 603
- In exitu Israel, RV 604
- Credidi propter quod, RV 605 (now RV Anh. 35b)
- Laudate Dominum, RV 606
- Laetatus sum, RV 607
- Nisi Dominus, RV 608
- Lauda Jerusalem, RV 609
- Magnificat, RV 610/610a/610b/611
- Deus Tuorum Militum, RV 612
- Gaude Mater Ecclesia, RV 613
- Laudate Dominum, RV 614 (disputed)
- Regina coeli, RV 615 (incomplete)
- Salve Regina, RV 616
- Salve Regina, RV 617
- Salve Regina, RV 618
- Salve Regina, RV 619 (lost)
- Sanctorum Meritis, RV 620
- Stabat Mater, RV 621
- Te Deum, RV 622 (lost)
- Canta in Prato, Ride in Monte, RV 623 — not to be confused with RV 636, which is "Canta in Prato, Ride in Fonte"
- Carae Rosae Respirate, RV 624 — incomplete without reconstruction of lost second violin and viola parts
- Clarae, Stellae, RV 625
- In Furore Iustissimae Irae, RV 626
- In Turbate Mare, RV 627
- Invicti Bellate, RV 628 (incomplete, yet reconstructed and recorded by Academia Montis Regalis)
- Longe Mala, Umbrae, Terrores, RV 629 — not to be confused with RV 640, which is a similar motet on the same text but intended for different purposes
- Nulla in Mundo Pax Sincera, RV 630
- O Qui Coeli Terraque Serenitas, RV 631
- Sum in Medio Tempestatum, RV 632
- Vestro Principi Divino, RV 633
- Vos Aurae per Montes, RV 634
- Introduzione al Dixit (RV 595) "Ascende Laeta," RV 635
- Introduzione al Dixit (RV 594?) "Canta in Prato, Ride in Fonte," RV 636 — not to be confused with RV 623, which is "Canta in Prato, Ride in Monte"
- Introduzione al Gloria "Cur sagittas," RV 637 — the preceding work that was to follow this introductory motet, most likely a lost setting of a Gloria in B?, is now presumably lost
- Introduzione al Miserere "Filiae Maestae Jerusalem," RV 638
- Introduzione al Gloria (RV 588) "Jubilate o amoeni chori," RV 639 — Introductory motet has third movement interwoven with Gloria (RV 588).
- Introduzione al Gloria (RV 589) "Longe Mala, Umbrae, Terrores," RV 640 — not to be confused with RV 629, which is a similar motet on the same text but intended for different purposes
- Introduzione al Miserere "Non in pratis," RV 641
- Introduzione al Gloria (RV 589) "Ostro Picta," RV 642
- Oratorio Moyses Deus Pharaonis, RV 643 (lost)
- Oratorio Juditha triumphans, RV 644
- Oratorio L'adorazione delli tre re magi al bambino Gesu, RV 645 (lost)
- Oratorio La vittoria navale predetta dal S Pontefice Pio V Ghisilieri, RV 782 (lost)
- Confetibor, tibi domine, RV 789 — manuscript found in damaged condition
- Beatus Vir, RV 795
- Magnificat, RV 797 (lost) — possibly related to the extant settings of RV 610/610a/610b/611
- Nisi Dominus, RV 803
- Salve Regina, RV 804 (lost)
- Dixit Dominus, RV 807
A possible setting, or even settings (considering the many settings of other liturgical text Vivaldi composed) of the Miserere may have existed, as hinted by the two introductory sets of movements intended for the piece(s), but such composition(s) have been lost.
Media
External links
- from the online magazine .
- by Fréderic Délaméa (Translated by Kirk McElhearn) from .
- ** Free English eBooks: 1. Talbot, M. Vivaldi. 1993; 2. Heller, K. Antonio Vivaldi: The Red Priest of Venice. 1997
- The Seasons in interactive hypermedia , , (Shockwave required) at the
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