Print 557445bk Viv

VIVALDIDixit Dominus, RV 595 • Gloria, RV 588

Nulla in mundo pax sincera

Archibald • KrauseAradia Ensemble and Chorus • Kevin Mallon

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Dixit Dominus, RV 595 22:081 Dixit Dominus: Allegro 2:022 Donec ponam inimicos tuos: Andante 1:503 Virgam virtutis tuae: Allegro 2:134 Tecum principium: Allegro 1:525 Juravit Dominus: Largo – Presto 1:136 Dominus a dextris tuis: Allegro 1:397 Judicabit in nationibus: Largo – Presto 2:518 De torrente in via bibet: Largo 2:499 Gloria Patri: Andante 2:110 Sicut erat in principio: Allegro 0:52! Et in saecula saeculorum: (Allegro) 2:36

Nulla in mundo pax sincera, RV 630 14:00@ (Aria): Nulla in mundo: Larghetto 7:51# Recitativo: Blando colore 1:06$ (Aria): Spirat anguis: Allegro 3:01% Alleluia: (Allegro) 2:02

Jubilate, o amoeni chori, RV 639 – Gloria, RV 588 32:09^ Jubilate, o amoeni chori: Allegro 5:23& Recitativo: In tam solemni pompa 0:39* Sonoro modulamine – I Gloria in excelsis (RV 588): Allegro 3:38( II Et in terra pax: Largo 4:55) III Laudamus te: Allegro 2:18¡ IV Gratias agimus tibi: Adagio 0:46™ V Domine Deus, Rex coelestis: Largo 1:53£ V I Domine, Fili unigenite: (Allegro) 1:01¢ V II Domine Deus, Agnus Dei: Allegro 2:40∞ V III Qui tollis peccata mundi: Adagio 1:12§ IX Qui sedes ad dexteram Patris: Largo 3:17¶ X Quoniam tu solus sanctus: Allegro 1:26• XI Cum Sancto Spiritu: Adagio – (Allegro) 3:02

Antonio Vivaldi: Sacred Music • 1

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Vos mecum, o cantores,suaviter canentesjubilamus dicentes:

* Sonoro modulaminevoce simul unaniminunc proferamus jubilo.

Gloria in excelsis Deo.

Concentu gravi et tenerorepetant etiam citharae,fistulae, lirae et organa.


( Et in terra pax hominibus bonae voluntatis.

) Laudamus te. Benedicimus te. Adoramus te. Glorificamus te.

¡ Gratias agimus tibi propter magnam gloriam tuam.

™ Domine Deus, Rex cælestis, Deus Pater omnipotens.

£ Domine, Fili unigenite, Jesu Christe.

¢ Domine Deus, Agnus Dei, Filius Patris.

∞ Qui tollis peccata mundi, miserere nobis; suscipe deprecationem nostram.

§ Qui sedes ad dexteram Patris, miserere nobis.

¶ Quoniam tu solus sanctus, tu solus Dominus, tu solus altissimus, Jesu Christe.

• Cum Sancto Spiritu in gloria Dei Patris.Amen.

With me, singers,sweetly singingwe rejoice saying:

In sounding musicwith one voicelet us now offer rejoicing.

Glory be to God on high.

With song serious and tenderlet citharas sound again toopipes, lyres and organs.


And peace on earth to men of good will.

We praise Thee. We bless Thee. We adore Thee. We glorify Thee.

We give Thee thanks for Thy great glory.

Lord God, heavenly King, God, the Father Almighty.

Lord Jesus Christ, the only-begotten Son.

Lord God, Lamb of God, Son of the Father,

Thou, who takest away the sins of the world, have mercy upon us. Thou who takest away the sins of the world, receive our prayer.

Thou, who sittest at the right hand of the Father, have mercy on us.

For Thou alone art holy, Thou alone art Lord, Thou alone art most high, Jesus Christ.

Together with the Holy Ghost, in the glory of God theFather. Amen.

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Known in his native Venice as the red priest, from theinherited colour of his hair, Antonio Vivaldi was born in1678, the son of a barber who later served as a violinistat the great Basilica of St Mark. Vivaldi studied for thepriesthood and was ordained in 1703. At the same timehe won a reputation for himself as a violinist ofphenomenal ability and was appointed violin-master atthe Ospedale della Pietà. This last was one of four suchcharitable institutions, established for the education oforphan, indigent or illegitimate girls and boasting aparticularly fine musical tradition. Here the girls weretrained in music, some of the more talented continuingto serve there as assistant teachers, earning the dowrynecessary for marriage. Vivaldi’s association with thePietà continued intermittently throughout his life, from1723 under a contract that provided for the compositionof two new concertos every month. At the same time heenjoyed a connection with the theatre, as the composerof some fifty operas, director and manager. He finallyleft Venice in 1741, travelling to Vienna, where thereseemed some possibility of furthering his career underimperial patronage, or perhaps with the idea of travellingon to the court at Dresden, where his pupil Pisendel wasworking. He died in Vienna a few weeks after his arrivalin the city, in relative poverty. At one time he had beenworth 50,000 ducats a year, it seemed, but now had littleto show for it, as he arranged for the sale of some of themusic he had brought with him.

Vivaldi had started his service at the Pietà in 1703.The following years brought brief gaps in his tenure, butthe allegedly temporary departure in 1713 of FrancescoGasparini, maestro di coro at the Pietà since 1700,allowed Vivaldi to show his ability in sacred choralcomposition, for which the governors of the Pietàrewarded him in 1715. The following year he wasappointed maestro de’ concerti, with a performance ofhis oratorio Juditha triumphans in November 1716.In 1717 he left the Pietà and the next year was in Mantuaas maestro di cappella da camera to Prince Philip ofHesse-Darmstadt, Governor of Mantua from 1714 to

1735. He renewed his connection with the Pietà in 1723.Michael Talbot has suggested datings for Vivaldi’ssacred music. The works here included fall into the firstof the three periods he identifies, the years immediatelyafter the departure from Venice of Gasparini, when thePietà needed to find a composer fully competent to takehis place.

The second surviving setting by Vivaldi of theVespers Psalm CIX, Dixit Dominus, RV 595, is scoredfor two oboes, trumpet, strings, continuo, five vocalsoloists and five-part chorus. The opening makescelebratory use of the orchestra, accompanying andframing the choral proclamation of the first verse of thePsalm. The second movement, in B minor, is marked bythe urgent dotted rhythms introduced by theaccompanying strings, before the successive vocalentries, started by the bass and formed by the notes ofthe descending tonic chord. This is later inverted, with asimilar ascending figure introduced by the tenor. Therefollows a lively G major soprano aria with strings andcontinuo. There is a miraculous change of mood andtexture in the A minor duet for two sopranos, framed andaccompanied by two solo cellos and continuo. The nextsection opens in E minor, introduced by the ascendingfigure of the contraltos and scored now for four-partchorus, with strings and continuo. The descendingchromatic harmonies are suggested, not entirelyappropriately, by the words ‘et non paenitebit’ (and willnot repent). The mood changes with a final brief andbright G major Presto, with imitative vocal entries onthe words ‘Tu es sacerdos in aeternum’ (thou art a priestfor ever). An elaborate B minor soprano aria giveshostile kings their due, with the instrumental elemententrusted to a single violin line, viola and continuo. Thesolo trumpet suggests the last trump in the dramaticD major contralto solo ‘Judicabit in nationibus’ (Heshall judge nations), with the last judgementemphatically represented by the chorus. Violin and violaaccompany the following E minor contralto solo. Thefinal Gloria is set in three sections. The first of these,

Antonio Vivaldi (1678-1741)Sacred Music • 1: Dixit Dominus • Nulla in mundo pax sincera • Jubilate, o amoeni chori – Gloria

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Jubilate, o amoeni chori, RV 639 – Gloria, RV 588

^ Jubilate, o amoeni chori,divo amorilaetos plausus mille date.

Et in vocibus canorissummi honoriscoeli et terra resonate.

& In tam solemni pompaarmonice cantamuset Deo immortali honores mille damus.


Rejoice, fair choirs,to divine lovegive a thousand happy plaudits.

And in harmonious voicesof the highest honourlet heavens and earth resound.

In so solemn ceremonylet us sing in harmonyand give a thousand honours to immortal God.

Inter poenas et tormentavivit anima contentacasti amoris sola spe.

Da capo

# Blando colore oculos mundus decepitat occulto vulnere corda conficit;fugiamus ridentem, vitemus sequentem,nam delicias ostentando arte securavellet ludendo superare.

$ Spirat anguisinter floreset coloresexplicandotegit fel.

Sed occultotactus orehomo demensamoresaepe lambitquasi mel.

% Alleluia.

Amid punishments and tormentsthe soul lives content in the sole hope of chaste love.

Da capo

With fair colours the world deceives the eyesbut with secret wound kills the heart;let us flee its smiles, avoid it as it follows,for by showing its delights by carefree artit would conquer by deceit.

The snake breathesamong the flowersand colours,uncoilingit hides its poison.

But by its hidden mouth toucheda man maddenedin loveoften flowslike honey.

Alleluia.

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setting the opening words, is a D major trinitarian 3/8trio for contralto, tenor and bass, with continuo. The firstpart of the work is recalled, with the same scoring,leading to a final contrapuntal section of mountinggrandeur.

The motet Nulla in mundo pax sincera, RV 630, isscored for solo soprano, strings and continuo. The text isanonymous. The first section is an E major siciliano, aconventionally pastoral evocation of the sacred peacethat is its verbal theme, in the form of a da capo aria.The temptations of the world are alluded to in thefollowing recitative, with figuration that reflects the text.The following A major da capo aria allows the usualembellishments and short cadenza in its repeated firstsection. The original key of E major returns in theelaborate closing Alleluia.

It has been pointed out that Vivaldi’s Gloria, RV 588,which has similarities with the same composer’s otherD major setting, the well-known RV 589, owessomething to a setting by Giovanni Maria Ruggieri,notably in the fugal Cum Sancto Spiritu, which is areworking of the other composer’s more elaboratesetting. The work survives linked to an Introduction,Jubilate, o amoeni chori, from which it can be detached.The Introduction sets words of general liturgicalapplication and is scored for contralto (mezzo-soprano)solo, strings and continuo. The Gloria, linked to theIntroduction in the third movement is scored for foursoloists, four-part chorus, two oboes, trumpet, stringsand continuo.

The Introduction starts with a D major virtuoso andlively da capo aria. This leads to a B minor recitative,before the return of the original key and the soloist’s linkto the Gloria itself, now with oboes and trumpet and

leading to the entry of the choir, but interspersed withfurther solo passages for the contralto, who is heardagain in an elaborate passage, together with other solovoices. The introductory verse, in its listing ofinstruments, suggests a brief moment of glory for theorgan at the word ‘organa’.

The B minor setting of ‘Et in terra pax’ bringsdescending figuration, as one voice imitates another,leading to passages of melancholy descendingchromaticism. Any doubts about the possibilities ofpeace on earth are dispelled by the G major duet forsoprano soloists, ‘Laudamus te. Benedicimus te’,whether antiphonal or joining together in a happyconjunction of thirds.

‘Gratias agimus tibi’ is an E minor Adagio for choirand strings, succeeded by a buoyant G major tenorsetting of ‘Domine Deus, Rex coelestis’, in which dottedrhythms predominate. ‘Domine Fili unigenite’ is a C majorfugal choral movement, after which an attractive anddemanding oboe solo introduces the A minor Allegrosoprano ‘Domine Deus, Agnus Dei’. Both oboes takepart in the solemn choral ‘Qui tollis peccata mundi’,followed by the gently lilting D major contralto ‘Quisedes ad dexteram patris’, a movement of celestialtranquillity. Marked Allegro, ‘Quoniam tu solus sanctus’opens oboes and continuo, before the entry of the solosoprano in a cheerful G major. The original D majorreturns in the solid choral declaration of ‘Cum SanctoSpiritu’, before the grandiose fugal movement derivedfrom Ruggieri, involving once more the trumpet, whichadds its own brilliance to the conclusion.

Keith Anderson

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Psalm CIX Dixit Dominus, RV 595

1 Dixit Dominus Domino meo sede a dextris meis,

2 Donec ponam inimicos tuos,scabellum pedum tuorum.

3 Virgam virtutis tuae emittet Dominus ex Sion; dominare in medio inimicorum tuorum.

4 Tecum principium in die virtutis tuae, in splendoribus sanctorum;ex utero ante luciferum genui te.

5 Juravit Dominus, et non pœnitebit eum; tu es sacerdos in aeternum secundum ordinemMelchisedech.

6 Dominus a dextris tuis; confregit in die irae suae reges.

7 Judicabit in nationibus, implebit ruinas; conquassabit capita in terra multorum.

8 De torrente in via bibet; propterea exaltabit caput.

9 Gloria Patri, et Filio et Spiritui Sancto.

0 Sicut erat in principio, et nunc, et semper,

! et in saecula saeculorum. Amen.


The Lord said unto my Lord:Sit thou on my right hand,

until I make thine enemies,thy footstool.

The Lord shall send the rod of thy power out of Sion:be thou ruler, even in the midst of thine enemies.

The power to rule is with you on the day of yourstrength, in the splendor of the holy ones: I have begotten you from the womb before the rising of

the day-star.

The Lord swore an oath, and will not repent;Thou art a priest for ever after the order ofMelchisedech.

The Lord upon thy right hand:shall wound even kings in the day of his wrath.

He shall judge among the heathen;he shall fill the places with dead bodies;and smite in sunder, heads over many lands.

He shall drink of the brook in the way:therefore shall he lift up his head.

Glory be to the Father, Son and Holy Ghost:

As it was in the beginning, is now, and ever shall be:

world without end. Amen.

Nulla in mundo pax sincera, RV 630

@ Nulla in mundo pax sincerasine felle, pura et vera,dulcis Jesu, est in te.


In the world is no sincere peace,without gall, pure, true peace,sweet Jesus, is in you.

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Jane Archibald Jane Archibald, a 2004 Adler fellow at the San Francisco Opera, made her Merola début last summer in the title-rôleof Angélique. She was most recently seen as Masha in the San Francisco Opera Center Showcase production ofThomas Pasatieri’s The Seagull and was featured in the 2004 Schwabacher Début Recital Series. This Canadiansoprano first appeared with Opera Ontario in the title-rôle of Delibes’ Lakmé and performed the title-rôle ofRossini’s Semiramide with Opera in Concert, and Poppea in Chicago Opera Theater’s recent production ofAgrippina. She has collaborated with some of Canada’s most innovative proponents of contemporary musicincluding Queen of Puddings Music Theatre and Soundstreams Canada. As a concert artist, she has performed withthe Tanglewood Music Center orchestra and Canadian ensembles including Symphony Nova Scotia, the Kitchener-Waterloo Symphony, the Toronto Mendelssohn Choir, and the Elmer Iseler Singers. She made her recital début atToronto’s CBC Glenn Gould Studio and has appeared in the prestigious International Vocal Recital Series at RoyThomson Hall. Jane Archibald is featured on the Aradia Ensemble’s recording of Charpentier’s Te Deum (Naxos 8.557229).

Michele de Boer Since completing studies at the University of Western Ontario and the Royal College of Music in London, thesoprano Michele de Boer has quickly established herself as an active and versatile performer. With an affinity forearly music, she sings with groups including Tafelmusik, Toronto Consort, Opera Atelier, Aradia Ensemble, La Chappellede Québec and the Oregon Bach Festival. Recent highlights incluºde the rôles of Musica and of Euridice inMonteverdi’s Orfeo with the Toronto Consort, and duet work with Emma Kirkby and Tafelmusik.

Anita KrauseThe mezzo-soprano Anita Krause has performed with many of North America’s leading orchestras, including theChicago Symphony Orchestra, l’Orchestre symphonique de Montréal, the Toronto Symphony, the National ArtsCentre Orchestra and Les Violons du Roy, as well as with the orchestras of Vancouver, Calgary, Québec,Edmonton, Kitchener-Waterloo and the Canadian Opera Company. She has collaborated with such leadingconductors as Christoph Eschenbach, Charles Dutoit, Hans Graf, Eliahu Inbal, Andrew Parrott, Bernard Labadie,Patrick Summers, Mario Bernardi, Gerard Schwarz, Yoav Talmi and Kevin Mallon. She has appeared toenthusiastic acclaim with the Canadian Opera Company in such rôles as Suzuki in Madama Butterfly, Emilia inOtello, Ursule in Béatrice et Bénédict, the madrigal singer in Manon Lescaut, and the title-rôle in Gary Kulesha’sRed Emma. She has also enjoyed success in Salome with Seattle Opera and Opera Lyra Ottawa, Madama Butterflywith Glimmerglass Opera, Semele with Chicago Opera Theater, Cornelia in Giulio Cesare with Pacific OperaVictoria, Mallika in Lakmé with Opera Ontario and Offenbach’s Barbe Bleu with l’Opéra français de New York.

Nils BrownThe tenor Nils Brown has performed with the Jacksonville Symphony, the Spokane Symphony, the CalgaryPhilharmonic, the Orchestre symphonique de Québec, the Orchestre symphonique de Montréal, the American BachSoloists, the Brooklyn Academy of Music in New York City, Boston’s Handel & Haydn Society, the Santa Fe ProMusica and the Smithsonian Chamber Players. His recent opera credits include the first tenor rôle ever written,Arcetro in Peri’s Euridice performed at the Getty Museum in Los Angeles and the Second Priest and First ArmedMan in Mozart’s Die Zauberflöte at l’Opéra de Québec. He is a frequent performer with Aradia and has featured onrecordings by Charpentier and Purcell.

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Aradia Ensemble and Chorus (Conductor: Kevin Mallon)

One of the most exciting new groups to emerge in the early music world, the Toronto-based Aradia Ensemblespecializes in presenting an eclectic blend of orchestral, operatic and chamber music played on originalinstruments. The group records for Naxos and has made twenty recordings. They have made two music videos, onefilm soundtrack, have collaborated with Isadora Duncan and Baroque dancers, have co-produced opera and workedwith Balinese Gamelan. While focusing heavily on the repertoire of seventeenth-century France and England,Aradia also performs works by the Italian and German masters of the baroque, as well as contemporary piecescommissioned by the group. In July 2000 Aradia was the featured ensemble in residence at the New ZealandChamber Music Festival and in July 2003 performed at Musica nel Chiostro in Tuscany. According to RobertGraves, Aradia was the daughter of Apollo’s twin sisters. She was sent by the gods to teach mankind to order themusic of the natural world into song.

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Peter MahonCountertenor Peter Mahon has sung with many ensembles throughout eastern Canada over the last twenty-fiveyears, including Tafelmusik, Toronto Consort, Opera Atelier, La Chappelle de Québec, Toronto Masque Theatre and theMontreal Chamber Music Festival. He is also the director of two choirs, The Tallis Choir and The William Byrd Singers.

Giles TomkinsThe bass baritone Giles Tomkins has been enrolled in the Opera Division of the University of Toronto. He hasperformed in master-classes given by Marilyn Horne, Anthony Rolfe Johnson, Michael Schade and Martin Isepp,and has attended the prestigious Britten-Pears School in Aldeburgh. His operatic performances include the rôle ofColline in Puccini’s La Bohème, Figaro in Mozart’s Le nozze di Figaro, Somnus in Handel’s Semele, andSuperintendent Budd in Britten’s Albert Herring. He has been featured in a Young Artist’s Recital with theAldeburgh Connection. Giles Tomkins has undertaken major performing rôles with Aradia, including Charpentier’sTe Deum and Rameau’s Castor and Pollux, both recorded for Naxos.

1st ViolinGenevieve Gilardeau (leader),Aisslinn Nosky, Paul Zevenhuizen,Cristina Zacharias

2nd ViolinJulia Wedman, Valerie Sylvester,Emily Eng

ViolaMarguerite Schabas, Sheila Smyth

CelloAllen Whear, Joan Harrison

VioloneJ. Tracy Mortimore

OrganChristopher Dawes

TheorboLucas Harris

OboeStephen Bard, Debora Nagy

TrumpetNorman Engel

SopranoMeghan Roberts, Brenda Enns,Leah Gordon, Michele de Boer (also solos)

AltoSarah Whalen, Nancy Reynolds,Kelly Baxter, Peter Mahon (solos)

TenorWill Johnson, David Nortman,Michael Sawana, Nils Brown (solos)

BassBrian McMillan, Estaban Cambre,Giles Tomkins (solos)

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unterstreicht Vivaldi die dramatischen Textworte durchden Klang einer Solotrompete, während der Tag desZorns im Chor seine emphatische Gestaltung erfährt.Ein weiteres Altsolo, in e-Moll, wird von Violine undViola begleitet. Das abschließende ‚Gloria‘ gliedertsich in drei Teile: der erste ist ein D-Dur-Terzett im 3/8-Takt für Alt, Tenor und Bass sowie Continuo; an denWerkbeginn erinnert sodann der zweite Teil, bevor einkontrapunktisch gearbeiteter Abschnitt das DixitDominus zu einem sich steigernden, machtvollenAbschluss führt.

Die Motette Nulla in mundo pax sincera RV 630 fürSolosopran, Streicher und Continuo komponierteVivaldi auf einen anonymen Text. Der erste Abschnitt,ein E-Dur-Siciliano in der Gestalt einer Dacapo-Arie,beschwört in pastoraler Manier den heiligen Frieden desWerktitels. Das folgende Rezitativ spielt mit text-ausdeutenden Figurationen auf die Versuchungen derMenschheit an. Die anschließende Dacapo-Arie in A-Dur enthält in der Wiederholung des ersten Teils dieüblichen Verzierungen sowie eine kurze Kadenz. Imabschließenden, detailliert ausgearbeiteten Alleluiakehrt die Ausgangstonart E-Dur zurück.

Auf die Ähnlichkeit von Vivaldis Gloria RV 588(nicht zu verwechseln mit seiner bekannteren D-Dur-Vertonung RV 598) mit Giovanni Maria RuggierisGloria-Komposition ist verschiedentlich hingewiesenworden, vor allem aufgrund des fugierten ‚Cum SanctoSpiritu‘, das eine Umarbeitung von Ruggieris aus-führlicherer Fassung darstellt. Überliefert ist das Werk miteiner Introduktion, Jubilate, o amoeni chori, von der esauch getrennt aufgeführt werden kann. In dieserIntroduktion für Alt (bzw. Mezzosopran), Streicher undContinuo vertont Vivaldi Textworte von allgemeinerliturgischer Aussage. Das eigentliche Gloria, dessendritter Satz die thematische Verbindung zur Introduktionherstellt, ist mit vier Solisten, vierstimmigem Chor, zwei

Oboen, Trompete, Streichern und Continuo besetzt.Die Introduktion beginnt in der D-Dur-Tonart mit

einer lebhaft-virtuosen Dacapo-Arie; ihr folgt einh-Moll-Rezitativ, und anschließend kehrt mit demsolistischen Bezug zum Gloria die Ausgangstonartzurück – jetzt mit Oboen und Trompeten –, gefolgt vomEinsatz des Chors, der von Passagen für Soloaltunterbrochen wird. In seiner Instrumentalbesetzung ver-mittelt der Eingangsvers für einen kurzen Augenblickbei dem Wort ‚organa‘ den Glanz der Orgel. Dieh-Moll-Vertonung des ‚Et in terra pax‘ wird inStimmenimitation von fallenden Figuren charakterisiert,denen sich schwermütige, chromatisch absinkendePassagen anschließen. Jedwede Zweifel an einemirdischen Frieden werden im G-Dur-Sopranduett‚Laudamus te, benedicimus te‘ zerstreut, das teilsantiphonal, teils in Terzparallelenseligkeit daherkommt.Das ‚Gratias agimus tibi‘ ist ein e-Moll-Adagio fürChor und Streicher, gefolgt von einem schwungvollen,von punktierten Rhythmen beherrschten ‚DominusDeus, Rex coelestis‘ in G-Dur für Tenor. ‚Domine Filiunigenite‘ ist eine Chorfuge in C-Dur, nach der einreizvolles Oboensolo das in der a-Moll-Paralleltonartvom Sopran vorgetragene ‚Domine Deus, Agnus Dei‘einleitet. Beide Oboen kommen im feierlichen ‚Quitollis peccata mundi‘ für Chor zum Einsatz, dem sich imSoloalt das sanfte ‚Qui sedes ad dexteram patris‘anschließt, ein Satz von himmlischer Ruhe. Das Allegrodes ‚Tu solus sanctus‘ hebt in Oboen und Continuo an,bevor der Einsatz des Solosoprans eine fröhlicheG-Dur-Stimmung verbreitet. Das ursprüngliche D-Durkehrt im Chorsatz des ‚Cum Sancto Spiritu‘ zurück. DenBeschluss bildet die von Ruggieri abgeleitete grandioseSchlussfuge, der wiederum die Trompete einenbesonderen Glanz verleiht.

Keith AndersonDeutsche Fassung: Bernd Delfs

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Antonio Vivaldi wurde 1678 in Venedig als Sohn einesBarbiers geboren, der später dank seiner Leistungen imViolinspiel in das Orchester von San Marco auf-genommen wurde. Vivaldi erhielt zunächst einegeistliche Ausbildung und wurde 1703 zum Priestergeweiht. Aufgrund seiner roten Haarfarbe war er inseiner Heimatstadt auch unter dem Beinamen ‚il preterosso‘ (der rote Priester) bekannt. Bereits in frühemAlter fiel er durch eine stupende musikalische Begabungauf und erwarb sich einen Ruf als phänomenaler Violinist.Fast gleichzeitig mit der Priesterweihe begann Vivaldiseine Tätigkeit als Violinlehrer am Ospedale della Pietà,einer jener venezianischen Institutionen für Waisenmädchen,die sich vorrangig der musikalischen Ausbildung ihrerSchülerinnen widmeten und mit ihren Vokal- undInstrumentaldarbietungen über die Grenzen Italienshinaus Berühmtheit erlangten. Mit Unterbrechungenblieb Vivaldi dem Ospedale in verschiedenen Positionenbis zu seinem Lebensende verbunden – ein 1723abgeschlossener Vertrag verpflichtete ihn u.a. zurKomposition von monatlich zwei neuen Konzerten.Neben seiner Lehr- und Aufführungstätigkeit verfolgteer als Komponist von über fünfzig Opern, als Direktorund Impresario eine großartige Theaterkarriere. 1741verließ er Venedig endgültig und ließ sich in Wiennieder, wo er sich neue Entfaltungsmöglichkeiten undsteigende Einnahmen versprach. Es hatte Zeitengegeben, in denen er bis zu fünfzigtausend Dukaten imJahr verdient haben soll, doch am Ende war er sogar aufden Verkauf von Manuskripten angewiesen, um seinenLebensunterhalt zu bestreiten. Bereits wenige Wochennach seiner Ankunft starb Vivaldi in der Donaustadt.

Seine erste Stellung am Ospedale della Pietà hatteVivaldi 1703 angetreten. Als Francesco Gasparini, derdort seit 1700 als maestro del coro die Vokalmusikleitete, 1713 beurlaubt wurde, ergab sich für Vivaldi dieGelegenheit, seine Fähigkeiten als Komponistgeistlicher Werke unter Beweis zu stellen. 1716 erfolgteseine Ernennung zum maestro de‘ concerti, und nochim November desselben Jahres brachte er sein großes

Oratorium Juditha triumphans zur Aufführung. 1718wurde er zum maestro di capella da camera des Mark-grafen Philipp von Hessen-Darmstadt bestellt, derzwischen 1715 und 1735 Statthalter von Mantua war.1723 erneuerte Vivaldi sein Dienstverhältnis am Ospedale.

Die hier eingespielten geistlichen Werke entstandennach Untersuchungen des MusikwissenschaftlersMichael Talbot unmittelbar nach dem AusscheidenGasparinis, dessen Nachfolger sich kompositorisch nichtbetätigte, wodurch Vivaldi die Gelegenheit erhielt,seine Wirkungsmöglichkeiten auch auf die Vokalmusikauszudehnen.

Vivaldis zweite überlieferte Vertonung des 110.Psalms, Dixit Dominus RV 595, ist mit fünf Vokal-solisten, fünfstimmigem Chor, zwei Oboen, Trompete,Streichern und Continuo besetzt. Der erste, vom Chorintonierte Psalmvers wird in feierlichem Gestus vomOrchester begleitet und eingerahmt. Der zweite Satz, inh-Moll, fällt durch eindringliche punktierte Rhythmenin den Streichern auf, bevor die Vokalstimmennacheinander einsetzen, zunächst mit einer aus denNoten des fallenden Tonika-Dreiklangs gebildetenBassfigur, die später in Umkehrung als aufsteigendesMotiv vom Tenor übernommen wird. Es folgt einelebhafte, von Streichern und Continuo begleiteteSopranarie in G-Dur. Das daran anschließende a-Moll-Sopranduett mit zwei Violoncelli und Continuo sorgtfür einen wunderbaren Stimmungswechsel. Derfolgende Abschnitt für vierstimmigen Chor, Streicherund Continuo beginnt in e-Moll mit einer aufsteigendenFigur in den Altstimmen. Chromatische Harmonienwerden bei den Textworten ‚et non poenitebit‘ (‚und eswird ihn nicht gereuen‘) angedeutet. Die Stimmungwechselt bei einem kurzen G-Dur-Presto mit imitierendenVokaleinsätzen zu den Worten ‚Tu es sacerdos inaeternum‘ (‚Du bist ein Priester ewiglich‘). Kunstvollgearbeitet ist die folgende h-Moll-Arie für Sopran, imOrchester lediglich von einer einzigen Violinstimme,Viola und Continuo begleitet. Im Altsolo ‚Judicabit innationibus‘ (‚Er wird richten unter den Heiden‘)

Antonio Vivaldi (1678-1741)Geistliche Musik • 1: Dixit Dominus • Nulla in mundo pax • Jubilate, o amoeni chori – Gloria

8.557445 6

Kevin MallonThe Irish musician Kevin Mallon, now resident in Canada, is quickly developing a world-wide reputation. With animpressive background that includes conducting studies with John Eliot Gardiner, composition with Peter MaxwellDavies, with training at Chethams School of Music and the Royal Northern College of Music in Manchester, and atDartington College of Arts, he learnt his craft as a violinist with such orchestras as the Hallé and the BBCPhilharmonic, and later as concert-master with Le Concert Spirituel and Les Arts Florissants in Paris. With thesegroups he has recorded extensively and toured the world. He has performed concerts all over Europe, includingVienna, London, Berlin and Paris, with appearances in Russia, the Baltic States, China, Japan, New Zealand, theUnited States and Canada. Before moving to Canada to take up positions with the University of Toronto and theTafelmusik Baroque Orchestra, Kevin Mallon was active in both his native Ireland and throughout Europe. He wasconductor of the Irish Baroque Orchestra as well as the Musical Director of the Harty Ensemble in Belfast. He alsoconducted numerous orchestras and opera companies in Ireland, including the Ulster Orchestra, Castleward Operaand the National Chamber Choir.

Kevin Mallon formed and became the Music Director of the Aradia Ensemble in 1996. This vocal andinstrumental group has achieved extraordinary successes. They have made twenty recordings for Naxos, all ofwhich have received international praise. The ensemble was featured in 2000 at the New Zealand InternationalChamber Music Festival, and in 2003 at Musica nel Chiostro festival in Tuscany. Although Kevin Mallonspecialises in music of the Baroque period, he is in demand to conduct a wider repertoire. As part of his recordingcontract with Naxos, he is Music Director of the Toronto Camerata, a group made up of some of Toronto’s bestorchestral musicians, with whom he has already made nine recordings. In recent years he has also developed anassociation with the contemporary opera company Opera Anonymous, with which he has conducted Stravinsky’sThe Rake’s Progress and the early nineteenth-century opera Lucas et Cécile by the Canadian Joseph Quesnel. Hehas also conducted Toronto’s Opera in Concert in a varied repertoire.

For Naxos Kevin Mallon has made 25 recordings among them works by Charpentier, Rameau, Boyce, Saint-Georges and Handel. Engagements as a guest conductor have taken him to Finland, Sweden, Poland and the UnitedStates. He has recently taken up the position of Music Director of Opera 2005 in Cork, Ireland, conducting a seriesof operas as part of Cork’s tenure as European Capital of Culture. Also interested in Irish music, he is a member ofthe Toronto-based traditional group Dulaman.

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Antonio Vivaldi wurde 1678 in Venedig als Sohn einesBarbiers geboren, der später dank seiner Leistungen imViolinspiel in das Orchester von San Marco auf-genommen wurde. Vivaldi erhielt zunächst einegeistliche Ausbildung und wurde 1703 zum Priestergeweiht. Aufgrund seiner roten Haarfarbe war er inseiner Heimatstadt auch unter dem Beinamen ‚il preterosso‘ (der rote Priester) bekannt. Bereits in frühemAlter fiel er durch eine stupende musikalische Begabungauf und erwarb sich einen Ruf als phänomenaler Violinist.Fast gleichzeitig mit der Priesterweihe begann Vivaldiseine Tätigkeit als Violinlehrer am Ospedale della Pietà,einer jener venezianischen Institutionen für Waisenmädchen,die sich vorrangig der musikalischen Ausbildung ihrerSchülerinnen widmeten und mit ihren Vokal- undInstrumentaldarbietungen über die Grenzen Italienshinaus Berühmtheit erlangten. Mit Unterbrechungenblieb Vivaldi dem Ospedale in verschiedenen Positionenbis zu seinem Lebensende verbunden – ein 1723abgeschlossener Vertrag verpflichtete ihn u.a. zurKomposition von monatlich zwei neuen Konzerten.Neben seiner Lehr- und Aufführungstätigkeit verfolgteer als Komponist von über fünfzig Opern, als Direktorund Impresario eine großartige Theaterkarriere. 1741verließ er Venedig endgültig und ließ sich in Wiennieder, wo er sich neue Entfaltungsmöglichkeiten undsteigende Einnahmen versprach. Es hatte Zeitengegeben, in denen er bis zu fünfzigtausend Dukaten imJahr verdient haben soll, doch am Ende war er sogar aufden Verkauf von Manuskripten angewiesen, um seinenLebensunterhalt zu bestreiten. Bereits wenige Wochennach seiner Ankunft starb Vivaldi in der Donaustadt.

Seine erste Stellung am Ospedale della Pietà hatteVivaldi 1703 angetreten. Als Francesco Gasparini, derdort seit 1700 als maestro del coro die Vokalmusikleitete, 1713 beurlaubt wurde, ergab sich für Vivaldi dieGelegenheit, seine Fähigkeiten als Komponistgeistlicher Werke unter Beweis zu stellen. 1716 erfolgteseine Ernennung zum maestro de‘ concerti, und nochim November desselben Jahres brachte er sein großes

Oratorium Juditha triumphans zur Aufführung. 1718wurde er zum maestro di capella da camera des Mark-grafen Philipp von Hessen-Darmstadt bestellt, derzwischen 1715 und 1735 Statthalter von Mantua war.1723 erneuerte Vivaldi sein Dienstverhältnis am Ospedale.

Die hier eingespielten geistlichen Werke entstandennach Untersuchungen des MusikwissenschaftlersMichael Talbot unmittelbar nach dem AusscheidenGasparinis, dessen Nachfolger sich kompositorisch nichtbetätigte, wodurch Vivaldi die Gelegenheit erhielt,seine Wirkungsmöglichkeiten auch auf die Vokalmusikauszudehnen.

Vivaldis zweite überlieferte Vertonung des 110.Psalms, Dixit Dominus RV 595, ist mit fünf Vokal-solisten, fünfstimmigem Chor, zwei Oboen, Trompete,Streichern und Continuo besetzt. Der erste, vom Chorintonierte Psalmvers wird in feierlichem Gestus vomOrchester begleitet und eingerahmt. Der zweite Satz, inh-Moll, fällt durch eindringliche punktierte Rhythmenin den Streichern auf, bevor die Vokalstimmennacheinander einsetzen, zunächst mit einer aus denNoten des fallenden Tonika-Dreiklangs gebildetenBassfigur, die später in Umkehrung als aufsteigendesMotiv vom Tenor übernommen wird. Es folgt einelebhafte, von Streichern und Continuo begleiteteSopranarie in G-Dur. Das daran anschließende a-Moll-Sopranduett mit zwei Violoncelli und Continuo sorgtfür einen wunderbaren Stimmungswechsel. Derfolgende Abschnitt für vierstimmigen Chor, Streicherund Continuo beginnt in e-Moll mit einer aufsteigendenFigur in den Altstimmen. Chromatische Harmonienwerden bei den Textworten ‚et non poenitebit‘ (‚und eswird ihn nicht gereuen‘) angedeutet. Die Stimmungwechselt bei einem kurzen G-Dur-Presto mit imitierendenVokaleinsätzen zu den Worten ‚Tu es sacerdos inaeternum‘ (‚Du bist ein Priester ewiglich‘). Kunstvollgearbeitet ist die folgende h-Moll-Arie für Sopran, imOrchester lediglich von einer einzigen Violinstimme,Viola und Continuo begleitet. Im Altsolo ‚Judicabit innationibus‘ (‚Er wird richten unter den Heiden‘)

Antonio Vivaldi (1678-1741)Geistliche Musik • 1: Dixit Dominus • Nulla in mundo pax • Jubilate, o amoeni chori – Gloria

8.557445 6

Kevin MallonThe Irish musician Kevin Mallon, now resident in Canada, is quickly developing a world-wide reputation. With animpressive background that includes conducting studies with John Eliot Gardiner, composition with Peter MaxwellDavies, with training at Chethams School of Music and the Royal Northern College of Music in Manchester, and atDartington College of Arts, he learnt his craft as a violinist with such orchestras as the Hallé and the BBCPhilharmonic, and later as concert-master with Le Concert Spirituel and Les Arts Florissants in Paris. With thesegroups he has recorded extensively and toured the world. He has performed concerts all over Europe, includingVienna, London, Berlin and Paris, with appearances in Russia, the Baltic States, China, Japan, New Zealand, theUnited States and Canada. Before moving to Canada to take up positions with the University of Toronto and theTafelmusik Baroque Orchestra, Kevin Mallon was active in both his native Ireland and throughout Europe. He wasconductor of the Irish Baroque Orchestra as well as the Musical Director of the Harty Ensemble in Belfast. He alsoconducted numerous orchestras and opera companies in Ireland, including the Ulster Orchestra, Castleward Operaand the National Chamber Choir.

Kevin Mallon formed and became the Music Director of the Aradia Ensemble in 1996. This vocal andinstrumental group has achieved extraordinary successes. They have made twenty recordings for Naxos, all ofwhich have received international praise. The ensemble was featured in 2000 at the New Zealand InternationalChamber Music Festival, and in 2003 at Musica nel Chiostro festival in Tuscany. Although Kevin Mallonspecialises in music of the Baroque period, he is in demand to conduct a wider repertoire. As part of his recordingcontract with Naxos, he is Music Director of the Toronto Camerata, a group made up of some of Toronto’s bestorchestral musicians, with whom he has already made nine recordings. In recent years he has also developed anassociation with the contemporary opera company Opera Anonymous, with which he has conducted Stravinsky’sThe Rake’s Progress and the early nineteenth-century opera Lucas et Cécile by the Canadian Joseph Quesnel. Hehas also conducted Toronto’s Opera in Concert in a varied repertoire.

For Naxos Kevin Mallon has made 25 recordings among them works by Charpentier, Rameau, Boyce, Saint-Georges and Handel. Engagements as a guest conductor have taken him to Finland, Sweden, Poland and the UnitedStates. He has recently taken up the position of Music Director of Opera 2005 in Cork, Ireland, conducting a seriesof operas as part of Cork’s tenure as European Capital of Culture. Also interested in Irish music, he is a member ofthe Toronto-based traditional group Dulaman.

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Aradia Ensemble and Chorus (Conductor: Kevin Mallon)

One of the most exciting new groups to emerge in the early music world, the Toronto-based Aradia Ensemblespecializes in presenting an eclectic blend of orchestral, operatic and chamber music played on originalinstruments. The group records for Naxos and has made twenty recordings. They have made two music videos, onefilm soundtrack, have collaborated with Isadora Duncan and Baroque dancers, have co-produced opera and workedwith Balinese Gamelan. While focusing heavily on the repertoire of seventeenth-century France and England,Aradia also performs works by the Italian and German masters of the baroque, as well as contemporary piecescommissioned by the group. In July 2000 Aradia was the featured ensemble in residence at the New ZealandChamber Music Festival and in July 2003 performed at Musica nel Chiostro in Tuscany. According to RobertGraves, Aradia was the daughter of Apollo’s twin sisters. She was sent by the gods to teach mankind to order themusic of the natural world into song.

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Peter MahonCountertenor Peter Mahon has sung with many ensembles throughout eastern Canada over the last twenty-fiveyears, including Tafelmusik, Toronto Consort, Opera Atelier, La Chappelle de Québec, Toronto Masque Theatre and theMontreal Chamber Music Festival. He is also the director of two choirs, The Tallis Choir and The William Byrd Singers.

Giles TomkinsThe bass baritone Giles Tomkins has been enrolled in the Opera Division of the University of Toronto. He hasperformed in master-classes given by Marilyn Horne, Anthony Rolfe Johnson, Michael Schade and Martin Isepp,and has attended the prestigious Britten-Pears School in Aldeburgh. His operatic performances include the rôle ofColline in Puccini’s La Bohème, Figaro in Mozart’s Le nozze di Figaro, Somnus in Handel’s Semele, andSuperintendent Budd in Britten’s Albert Herring. He has been featured in a Young Artist’s Recital with theAldeburgh Connection. Giles Tomkins has undertaken major performing rôles with Aradia, including Charpentier’sTe Deum and Rameau’s Castor and Pollux, both recorded for Naxos.

1st ViolinGenevieve Gilardeau (leader),Aisslinn Nosky, Paul Zevenhuizen,Cristina Zacharias

2nd ViolinJulia Wedman, Valerie Sylvester,Emily Eng

ViolaMarguerite Schabas, Sheila Smyth

CelloAllen Whear, Joan Harrison

VioloneJ. Tracy Mortimore

OrganChristopher Dawes

TheorboLucas Harris

OboeStephen Bard, Debora Nagy

TrumpetNorman Engel

SopranoMeghan Roberts, Brenda Enns,Leah Gordon, Michele de Boer (also solos)

AltoSarah Whalen, Nancy Reynolds,Kelly Baxter, Peter Mahon (solos)

TenorWill Johnson, David Nortman,Michael Sawana, Nils Brown (solos)

BassBrian McMillan, Estaban Cambre,Giles Tomkins (solos)

8.557445 8

unterstreicht Vivaldi die dramatischen Textworte durchden Klang einer Solotrompete, während der Tag desZorns im Chor seine emphatische Gestaltung erfährt.Ein weiteres Altsolo, in e-Moll, wird von Violine undViola begleitet. Das abschließende ‚Gloria‘ gliedertsich in drei Teile: der erste ist ein D-Dur-Terzett im 3/8-Takt für Alt, Tenor und Bass sowie Continuo; an denWerkbeginn erinnert sodann der zweite Teil, bevor einkontrapunktisch gearbeiteter Abschnitt das DixitDominus zu einem sich steigernden, machtvollenAbschluss führt.

Die Motette Nulla in mundo pax sincera RV 630 fürSolosopran, Streicher und Continuo komponierteVivaldi auf einen anonymen Text. Der erste Abschnitt,ein E-Dur-Siciliano in der Gestalt einer Dacapo-Arie,beschwört in pastoraler Manier den heiligen Frieden desWerktitels. Das folgende Rezitativ spielt mit text-ausdeutenden Figurationen auf die Versuchungen derMenschheit an. Die anschließende Dacapo-Arie in A-Dur enthält in der Wiederholung des ersten Teils dieüblichen Verzierungen sowie eine kurze Kadenz. Imabschließenden, detailliert ausgearbeiteten Alleluiakehrt die Ausgangstonart E-Dur zurück.

Auf die Ähnlichkeit von Vivaldis Gloria RV 588(nicht zu verwechseln mit seiner bekannteren D-Dur-Vertonung RV 598) mit Giovanni Maria RuggierisGloria-Komposition ist verschiedentlich hingewiesenworden, vor allem aufgrund des fugierten ‚Cum SanctoSpiritu‘, das eine Umarbeitung von Ruggieris aus-führlicherer Fassung darstellt. Überliefert ist das Werk miteiner Introduktion, Jubilate, o amoeni chori, von der esauch getrennt aufgeführt werden kann. In dieserIntroduktion für Alt (bzw. Mezzosopran), Streicher undContinuo vertont Vivaldi Textworte von allgemeinerliturgischer Aussage. Das eigentliche Gloria, dessendritter Satz die thematische Verbindung zur Introduktionherstellt, ist mit vier Solisten, vierstimmigem Chor, zwei

Oboen, Trompete, Streichern und Continuo besetzt.Die Introduktion beginnt in der D-Dur-Tonart mit

einer lebhaft-virtuosen Dacapo-Arie; ihr folgt einh-Moll-Rezitativ, und anschließend kehrt mit demsolistischen Bezug zum Gloria die Ausgangstonartzurück – jetzt mit Oboen und Trompeten –, gefolgt vomEinsatz des Chors, der von Passagen für Soloaltunterbrochen wird. In seiner Instrumentalbesetzung ver-mittelt der Eingangsvers für einen kurzen Augenblickbei dem Wort ‚organa‘ den Glanz der Orgel. Dieh-Moll-Vertonung des ‚Et in terra pax‘ wird inStimmenimitation von fallenden Figuren charakterisiert,denen sich schwermütige, chromatisch absinkendePassagen anschließen. Jedwede Zweifel an einemirdischen Frieden werden im G-Dur-Sopranduett‚Laudamus te, benedicimus te‘ zerstreut, das teilsantiphonal, teils in Terzparallelenseligkeit daherkommt.Das ‚Gratias agimus tibi‘ ist ein e-Moll-Adagio fürChor und Streicher, gefolgt von einem schwungvollen,von punktierten Rhythmen beherrschten ‚DominusDeus, Rex coelestis‘ in G-Dur für Tenor. ‚Domine Filiunigenite‘ ist eine Chorfuge in C-Dur, nach der einreizvolles Oboensolo das in der a-Moll-Paralleltonartvom Sopran vorgetragene ‚Domine Deus, Agnus Dei‘einleitet. Beide Oboen kommen im feierlichen ‚Quitollis peccata mundi‘ für Chor zum Einsatz, dem sich imSoloalt das sanfte ‚Qui sedes ad dexteram patris‘anschließt, ein Satz von himmlischer Ruhe. Das Allegrodes ‚Tu solus sanctus‘ hebt in Oboen und Continuo an,bevor der Einsatz des Solosoprans eine fröhlicheG-Dur-Stimmung verbreitet. Das ursprüngliche D-Durkehrt im Chorsatz des ‚Cum Sancto Spiritu‘ zurück. DenBeschluss bildet die von Ruggieri abgeleitete grandioseSchlussfuge, der wiederum die Trompete einenbesonderen Glanz verleiht.

Keith AndersonDeutsche Fassung: Bernd Delfs

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1 Dixit Dominus Domino meo sede a dextris meis,

2 Donec ponam inimicos tuos,scabellum pedum tuorum.

3 Virgam virtutis tuae emittet Dominus ex Sion; dominare in medio inimicorum tuorum.

4 Tecum principium in die virtutis tuae, in splendoribus sanctorum;ex utero ante luciferum genui te.

5 Juravit Dominus, et non pœnitebit eum; tu es sacerdos in aeternum secundum ordinemMelchisedech.

6 Dominus a dextris tuis; confregit in die irae suae reges.

7 Judicabit in nationibus, implebit ruinas; conquassabit capita in terra multorum.

8 De torrente in via bibet; propterea exaltabit caput.

9 Gloria Patri, et Filio et Spiritui Sancto.

0 Sicut erat in principio, et nunc, et semper,

! et in saecula saeculorum. Amen.


The Lord said unto my Lord:Sit thou on my right hand,

until I make thine enemies,thy footstool.

The Lord shall send the rod of thy power out of Sion:be thou ruler, even in the midst of thine enemies.

The power to rule is with you on the day of yourstrength, in the splendor of the holy ones: I have begotten you from the womb before the rising of

the day-star.

The Lord swore an oath, and will not repent;Thou art a priest for ever after the order ofMelchisedech.

The Lord upon thy right hand:shall wound even kings in the day of his wrath.

He shall judge among the heathen;he shall fill the places with dead bodies;and smite in sunder, heads over many lands.

He shall drink of the brook in the way:therefore shall he lift up his head.

Glory be to the Father, Son and Holy Ghost:

As it was in the beginning, is now, and ever shall be:

world without end. Amen.


@ Nulla in mundo pax sincerasine felle, pura et vera,dulcis Jesu, est in te.


In the world is no sincere peace,without gall, pure, true peace,sweet Jesus, is in you.

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Jane Archibald Jane Archibald, a 2004 Adler fellow at the San Francisco Opera, made her Merola début last summer in the title-rôleof Angélique. She was most recently seen as Masha in the San Francisco Opera Center Showcase production ofThomas Pasatieri’s The Seagull and was featured in the 2004 Schwabacher Début Recital Series. This Canadiansoprano first appeared with Opera Ontario in the title-rôle of Delibes’ Lakmé and performed the title-rôle ofRossini’s Semiramide with Opera in Concert, and Poppea in Chicago Opera Theater’s recent production ofAgrippina. She has collaborated with some of Canada’s most innovative proponents of contemporary musicincluding Queen of Puddings Music Theatre and Soundstreams Canada. As a concert artist, she has performed withthe Tanglewood Music Center orchestra and Canadian ensembles including Symphony Nova Scotia, the Kitchener-Waterloo Symphony, the Toronto Mendelssohn Choir, and the Elmer Iseler Singers. She made her recital début atToronto’s CBC Glenn Gould Studio and has appeared in the prestigious International Vocal Recital Series at RoyThomson Hall. Jane Archibald is featured on the Aradia Ensemble’s recording of Charpentier’s Te Deum (Naxos 8.557229).

Michele de Boer Since completing studies at the University of Western Ontario and the Royal College of Music in London, thesoprano Michele de Boer has quickly established herself as an active and versatile performer. With an affinity forearly music, she sings with groups including Tafelmusik, Toronto Consort, Opera Atelier, Aradia Ensemble, La Chappellede Québec and the Oregon Bach Festival. Recent highlights incluºde the rôles of Musica and of Euridice inMonteverdi’s Orfeo with the Toronto Consort, and duet work with Emma Kirkby and Tafelmusik.

Anita KrauseThe mezzo-soprano Anita Krause has performed with many of North America’s leading orchestras, including theChicago Symphony Orchestra, l’Orchestre symphonique de Montréal, the Toronto Symphony, the National ArtsCentre Orchestra and Les Violons du Roy, as well as with the orchestras of Vancouver, Calgary, Québec,Edmonton, Kitchener-Waterloo and the Canadian Opera Company. She has collaborated with such leadingconductors as Christoph Eschenbach, Charles Dutoit, Hans Graf, Eliahu Inbal, Andrew Parrott, Bernard Labadie,Patrick Summers, Mario Bernardi, Gerard Schwarz, Yoav Talmi and Kevin Mallon. She has appeared toenthusiastic acclaim with the Canadian Opera Company in such rôles as Suzuki in Madama Butterfly, Emilia inOtello, Ursule in Béatrice et Bénédict, the madrigal singer in Manon Lescaut, and the title-rôle in Gary Kulesha’sRed Emma. She has also enjoyed success in Salome with Seattle Opera and Opera Lyra Ottawa, Madama Butterflywith Glimmerglass Opera, Semele with Chicago Opera Theater, Cornelia in Giulio Cesare with Pacific OperaVictoria, Mallika in Lakmé with Opera Ontario and Offenbach’s Barbe Bleu with l’Opéra français de New York.

Nils BrownThe tenor Nils Brown has performed with the Jacksonville Symphony, the Spokane Symphony, the CalgaryPhilharmonic, the Orchestre symphonique de Québec, the Orchestre symphonique de Montréal, the American BachSoloists, the Brooklyn Academy of Music in New York City, Boston’s Handel & Haydn Society, the Santa Fe ProMusica and the Smithsonian Chamber Players. His recent opera credits include the first tenor rôle ever written,Arcetro in Peri’s Euridice performed at the Getty Museum in Los Angeles and the Second Priest and First ArmedMan in Mozart’s Die Zauberflöte at l’Opéra de Québec. He is a frequent performer with Aradia and has featured onrecordings by Charpentier and Purcell.

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^ Jubilate, o amoeni chori,divo amorilaetos plausus mille date.

Et in vocibus canorissummi honoriscoeli et terra resonate.

& In tam solemni pompaarmonice cantamuset Deo immortali honores mille damus.


Rejoice, fair choirs,to divine lovegive a thousand happy plaudits.

And in harmonious voicesof the highest honourlet heavens and earth resound.

In so solemn ceremonylet us sing in harmonyand give a thousand honours to immortal God.

Inter poenas et tormentavivit anima contentacasti amoris sola spe.

Da capo

# Blando colore oculos mundus decepitat occulto vulnere corda conficit;fugiamus ridentem, vitemus sequentem,nam delicias ostentando arte securavellet ludendo superare.

$ Spirat anguisinter floreset coloresexplicandotegit fel.

Sed occultotactus orehomo demensamoresaepe lambitquasi mel.

% Alleluia.

Amid punishments and tormentsthe soul lives content in the sole hope of chaste love.

Da capo

With fair colours the world deceives the eyesbut with secret wound kills the heart;let us flee its smiles, avoid it as it follows,for by showing its delights by carefree artit would conquer by deceit.

The snake breathesamong the flowersand colours,uncoilingit hides its poison.

But by its hidden mouth toucheda man maddenedin loveoften flowslike honey.

Alleluia.

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setting the opening words, is a D major trinitarian 3/8trio for contralto, tenor and bass, with continuo. The firstpart of the work is recalled, with the same scoring,leading to a final contrapuntal section of mountinggrandeur.

The motet Nulla in mundo pax sincera, RV 630, isscored for solo soprano, strings and continuo. The text isanonymous. The first section is an E major siciliano, aconventionally pastoral evocation of the sacred peacethat is its verbal theme, in the form of a da capo aria.The temptations of the world are alluded to in thefollowing recitative, with figuration that reflects the text.The following A major da capo aria allows the usualembellishments and short cadenza in its repeated firstsection. The original key of E major returns in theelaborate closing Alleluia.

It has been pointed out that Vivaldi’s Gloria, RV 588,which has similarities with the same composer’s otherD major setting, the well-known RV 589, owessomething to a setting by Giovanni Maria Ruggieri,notably in the fugal Cum Sancto Spiritu, which is areworking of the other composer’s more elaboratesetting. The work survives linked to an Introduction,Jubilate, o amoeni chori, from which it can be detached.The Introduction sets words of general liturgicalapplication and is scored for contralto (mezzo-soprano)solo, strings and continuo. The Gloria, linked to theIntroduction in the third movement is scored for foursoloists, four-part chorus, two oboes, trumpet, stringsand continuo.

The Introduction starts with a D major virtuoso andlively da capo aria. This leads to a B minor recitative,before the return of the original key and the soloist’s linkto the Gloria itself, now with oboes and trumpet and

leading to the entry of the choir, but interspersed withfurther solo passages for the contralto, who is heardagain in an elaborate passage, together with other solovoices. The introductory verse, in its listing ofinstruments, suggests a brief moment of glory for theorgan at the word ‘organa’.

The B minor setting of ‘Et in terra pax’ bringsdescending figuration, as one voice imitates another,leading to passages of melancholy descendingchromaticism. Any doubts about the possibilities ofpeace on earth are dispelled by the G major duet forsoprano soloists, ‘Laudamus te. Benedicimus te’,whether antiphonal or joining together in a happyconjunction of thirds.

‘Gratias agimus tibi’ is an E minor Adagio for choirand strings, succeeded by a buoyant G major tenorsetting of ‘Domine Deus, Rex coelestis’, in which dottedrhythms predominate. ‘Domine Fili unigenite’ is a C majorfugal choral movement, after which an attractive anddemanding oboe solo introduces the A minor Allegrosoprano ‘Domine Deus, Agnus Dei’. Both oboes takepart in the solemn choral ‘Qui tollis peccata mundi’,followed by the gently lilting D major contralto ‘Quisedes ad dexteram patris’, a movement of celestialtranquillity. Marked Allegro, ‘Quoniam tu solus sanctus’opens oboes and continuo, before the entry of the solosoprano in a cheerful G major. The original D majorreturns in the solid choral declaration of ‘Cum SanctoSpiritu’, before the grandiose fugal movement derivedfrom Ruggieri, involving once more the trumpet, whichadds its own brilliance to the conclusion.

Keith Anderson

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Vos mecum, o cantores,suaviter canentesjubilamus dicentes:

* Sonoro modulaminevoce simul unaniminunc proferamus jubilo.


Concentu gravi et tenerorepetant etiam citharae,fistulae, lirae et organa.


( Et in terra pax hominibus bonae voluntatis.

) Laudamus te. Benedicimus te. Adoramus te. Glorificamus te.

¡ Gratias agimus tibi propter magnam gloriam tuam.

™ Domine Deus, Rex cælestis, Deus Pater omnipotens.

£ Domine, Fili unigenite, Jesu Christe.

¢ Domine Deus, Agnus Dei, Filius Patris.

∞ Qui tollis peccata mundi, miserere nobis; suscipe deprecationem nostram.

§ Qui sedes ad dexteram Patris, miserere nobis.

¶ Quoniam tu solus sanctus, tu solus Dominus, tu solus altissimus, Jesu Christe.

• Cum Sancto Spiritu in gloria Dei Patris.Amen.

With me, singers,sweetly singingwe rejoice saying:

In sounding musicwith one voicelet us now offer rejoicing.


With song serious and tenderlet citharas sound again toopipes, lyres and organs.


And peace on earth to men of good will.

We praise Thee. We bless Thee. We adore Thee. We glorify Thee.

We give Thee thanks for Thy great glory.

Lord God, heavenly King, God, the Father Almighty.

Lord Jesus Christ, the only-begotten Son.

Lord God, Lamb of God, Son of the Father,

Thou, who takest away the sins of the world, have mercy upon us. Thou who takest away the sins of the world, receive our prayer.

Thou, who sittest at the right hand of the Father, have mercy on us.

For Thou alone art holy, Thou alone art Lord, Thou alone art most high, Jesus Christ.

Together with the Holy Ghost, in the glory of God theFather. Amen.

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Known in his native Venice as the red priest, from theinherited colour of his hair, Antonio Vivaldi was born in1678, the son of a barber who later served as a violinistat the great Basilica of St Mark. Vivaldi studied for thepriesthood and was ordained in 1703. At the same timehe won a reputation for himself as a violinist ofphenomenal ability and was appointed violin-master atthe Ospedale della Pietà. This last was one of four suchcharitable institutions, established for the education oforphan, indigent or illegitimate girls and boasting aparticularly fine musical tradition. Here the girls weretrained in music, some of the more talented continuingto serve there as assistant teachers, earning the dowrynecessary for marriage. Vivaldi’s association with thePietà continued intermittently throughout his life, from1723 under a contract that provided for the compositionof two new concertos every month. At the same time heenjoyed a connection with the theatre, as the composerof some fifty operas, director and manager. He finallyleft Venice in 1741, travelling to Vienna, where thereseemed some possibility of furthering his career underimperial patronage, or perhaps with the idea of travellingon to the court at Dresden, where his pupil Pisendel wasworking. He died in Vienna a few weeks after his arrivalin the city, in relative poverty. At one time he had beenworth 50,000 ducats a year, it seemed, but now had littleto show for it, as he arranged for the sale of some of themusic he had brought with him.

Vivaldi had started his service at the Pietà in 1703.The following years brought brief gaps in his tenure, butthe allegedly temporary departure in 1713 of FrancescoGasparini, maestro di coro at the Pietà since 1700,allowed Vivaldi to show his ability in sacred choralcomposition, for which the governors of the Pietàrewarded him in 1715. The following year he wasappointed maestro de’ concerti, with a performance ofhis oratorio Juditha triumphans in November 1716.In 1717 he left the Pietà and the next year was in Mantuaas maestro di cappella da camera to Prince Philip ofHesse-Darmstadt, Governor of Mantua from 1714 to

1735. He renewed his connection with the Pietà in 1723.Michael Talbot has suggested datings for Vivaldi’ssacred music. The works here included fall into the firstof the three periods he identifies, the years immediatelyafter the departure from Venice of Gasparini, when thePietà needed to find a composer fully competent to takehis place.

The second surviving setting by Vivaldi of theVespers Psalm CIX, Dixit Dominus, RV 595, is scoredfor two oboes, trumpet, strings, continuo, five vocalsoloists and five-part chorus. The opening makescelebratory use of the orchestra, accompanying andframing the choral proclamation of the first verse of thePsalm. The second movement, in B minor, is marked bythe urgent dotted rhythms introduced by theaccompanying strings, before the successive vocalentries, started by the bass and formed by the notes ofthe descending tonic chord. This is later inverted, with asimilar ascending figure introduced by the tenor. Therefollows a lively G major soprano aria with strings andcontinuo. There is a miraculous change of mood andtexture in the A minor duet for two sopranos, framed andaccompanied by two solo cellos and continuo. The nextsection opens in E minor, introduced by the ascendingfigure of the contraltos and scored now for four-partchorus, with strings and continuo. The descendingchromatic harmonies are suggested, not entirelyappropriately, by the words ‘et non paenitebit’ (and willnot repent). The mood changes with a final brief andbright G major Presto, with imitative vocal entries onthe words ‘Tu es sacerdos in aeternum’ (thou art a priestfor ever). An elaborate B minor soprano aria giveshostile kings their due, with the instrumental elemententrusted to a single violin line, viola and continuo. Thesolo trumpet suggests the last trump in the dramaticD major contralto solo ‘Judicabit in nationibus’ (Heshall judge nations), with the last judgementemphatically represented by the chorus. Violin and violaaccompany the following E minor contralto solo. Thefinal Gloria is set in three sections. The first of these,

Antonio Vivaldi (1678-1741)Sacred Music • 1: Dixit Dominus • Nulla in mundo pax sincera • Jubilate, o amoeni chori – Gloria

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VIVALDIDixit Dominus, RV 595 • Gloria, RV 588

Nulla in mundo pax sincera

Archibald • KrauseAradia Ensemble and Chorus • Kevin Mallon

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Dixit Dominus, RV 595 22:081 Dixit Dominus: Allegro 2:022 Donec ponam inimicos tuos: Andante 1:503 Virgam virtutis tuae: Allegro 2:134 Tecum principium: Allegro 1:525 Juravit Dominus: Largo – Presto 1:136 Dominus a dextris tuis: Allegro 1:397 Judicabit in nationibus: Largo – Presto 2:518 De torrente in via bibet: Largo 2:499 Gloria Patri: Andante 2:110 Sicut erat in principio: Allegro 0:52! Et in saecula saeculorum: (Allegro) 2:36

Nulla in mundo pax sincera, RV 630 14:00@ (Aria): Nulla in mundo: Larghetto 7:51# Recitativo: Blando colore 1:06$ (Aria): Spirat anguis: Allegro 3:01% Alleluia: (Allegro) 2:02

Jubilate, o amoeni chori, RV 639 – Gloria, RV 588 32:09^ Jubilate, o amoeni chori: Allegro 5:23& Recitativo: In tam solemni pompa 0:39* Sonoro modulamine – I Gloria in excelsis (RV 588): Allegro 3:38( II Et in terra pax: Largo 4:55) III Laudamus te: Allegro 2:18¡ IV Gratias agimus tibi: Adagio 0:46™ V Domine Deus, Rex coelestis: Largo 1:53£ V I Domine, Fili unigenite: (Allegro) 1:01¢ V II Domine Deus, Agnus Dei: Allegro 2:40∞ V III Qui tollis peccata mundi: Adagio 1:12§ IX Qui sedes ad dexteram Patris: Largo 3:17¶ X Quoniam tu solus sanctus: Allegro 1:26• XI Cum Sancto Spiritu: Adagio – (Allegro) 3:02

Antonio Vivaldi: Sacred Music • 1

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5Volume 1 of Vivaldi’s complete sacred music features the impressive if less familiar of the twosettings of the Gloria, RV 588, the second setting of the Vespers Psalm Dixit Dominus, andNulla in mundo pax sincera, used with striking effect in the film Shine. With texts dividedbetween soloists and chorus, both compositions bear all the hallmarks of Vivaldi’s finest choralworks: festive brilliance, dramatic changes of mood and texture, and passages of aching melancholy.

Jane Archibald, Soprano1 • Michele de Boer, Soprano2 • Anita Krause, Mezzo-Soprano3

Nils Brown, Tenor4 • Peter Mahon, Countertenor5 • Giles Tomkins, Bass6

Aradia Ensemble and Chorus • Kevin Mallon

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Recorded at Grace Church on the Hill, Toronto, Canada, from 15th to 20th September, 2003Producers: Norbert Kraft and Bonnie Silver • Engineer: Norbert Kraft • Editor: Bonnie Silver

Booklet Notes: Keith Anderson • Cover Photo: Marco Rodolfo (by kind permission)Performed on period instruments • Pitch a=415Hz (temperament: Valotti)

Playing Time68:18

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Dixit Dominus, RV 595 1 2 3 4 5 6 22:081 Dixit Dominus 2:022 Donec ponam inimicos tuos 1:503 Virgam virtutis tuae 2:134 Tecum principium 1:525 Juravit Dominus 1:136 Dominus a dextris tuis 1:397 Judicabit in nationibus 2:518 De torrente in via bibet 2:499 Gloria Patri 2:110 Sicut erat in principio 0:52! Et in saecula saeculorum 2:36

Nulla in mundo pax sincera, RV 630 1 14:00

@ Nulla in mundo 7:51# Recitativo: Blando colore 1:06$ Spirat anguis 3:01% Alleluia 2:02

Jubilate, o amoeni chori, RV 639 –Gloria, RV 588 1 3 4 32:09

^ Jubilate, o amoeni chori 5:23& Recitativo: In tam solemni pompa 0:39* Sonoro modulamine –

I Gloria in excelsis (RV 588) 3:38( II Et in terra pax 4:55) III Laudamus te 2:18¡ IV Gratias agimus tibi 0:46™ V Domine Deus, Rex coelestis 1:53£ VI Domine, Fili unigenite 1:01¢ VII Domine Deus, Agnus Dei 2:40∞ VIII Qui tollis peccata mundi 1:12§ IX Qui sedes ad dexteram Patris 3:17¶ X Quoniam tu solus sanctus 1:26• XI Cum Sancto Spiritu 3:02

AntonioVIVALDI

(1678-1741)

Sacred Music • 1

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