The vocal work sacredness earliest known of Antonio Vivaldi is the Stabat Mater (RV 621), and custom made for the festival of the church Santa Maria della Pace in Brescia in 1712. The poem written in Latin by Jacopo da Todi in the thirteenth century and describes the lament of Mary at the foot of the Cross, Vivaldi chose only the first ten stanzas of the text, as prescribed when the text is used as a hymn Vespers.
sacred and secular spheres in Vivaldi share a common musical language and merely forms and styles that derived from the instrumental concert and operatic aria, we know that the concert consists of ritornello (orchestral, expository nature, thematically concise and stable in key), and the only (prepared technically and modulatory character). In the aria the sung text replaced instead of just between ritornellos. How Vivaldi used these elements of secular music in a liturgical situation? The text evokes essentially a dramatic scene, a lyrical expressing the emotions of the protagonist, exactly what was invented the operatic aria. Naturally there is no da capo section , and the context of a dramatic recitative is completely absent, however, as we shall see, some of the interpretations are inclined towards this direction stage. Contrary to the model of the concert, the tempi are all slow, emphasizing the painful impression, and vocal writing (for the solo) is discrete and non-virtuosic. The mood remains throughout the play somber and solemn and oppressive getting a remarkable drive, although restricted in expression and simple textures. This gives all the work is more contemplative than dramatic expression, and shows the intense pain with an elegance and restraint appropriate to the Mother of God.
The musical form of the work reflects the strophic nature of the text, cyclical patterns in sequences of three movements each (1-4, 5-8, 9-10, plus Amen ) The first group consists of: 1 - Stabat mater (Length: ritornello in F minor), 2 - Cuis animam (Recitative it becomes arioso adagissimo in C minor); 3-4 O quam tristis Quae moerebat ... (Andante: ritornello in F minor). The conjunction of these three movements resembling a small concert, the first and last built with single and ritornello, and the episode as a typical central slow movement, where intense harmonies emphasize the distressed mood already set by the unique key of F minor . This musical pattern is repeated exactly in the second group, in the verses 5 to 8. The progressive animation culminates in the third group where the voice of the poem changes, and the narrator speaks directly to Mary, asking her to share her pain: 9 - Eia Mater (Largo ritornello in C minor) in a texture feature Vivaldi, without bass, dotted notation for violins, violas accompanied only by where the rhythm becomes irregular, the voice becomes more consistent and string accompaniment more intense, especially in the first movement, expressing the flogging as a Bach Passion. The original key is restored to 10 - Fac ut ardeat , a slow soft Sicilian sweet. The final Amen (andante) adds the dimension of the contrapuntal church sonata. Melismatic style provides a framework specifically sacred to the scene and adds an element of objectivity without interrupting the expressiveness of the piece. The cadence and the radiant optimism major chord conclusorio offer a shot dildo.
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The austere score strings, bass and lead vocals, probably male, but the falsetto was common as employees so high, for liturgical music were used especially the castrato. The pristine sound that gave the undeveloped larynx and the associated working methods have been lost (naturally) as used today countertenor and contralto voices.
http://rapidshare.com/files/311878423/Vivaldi_Stabat_Mater_Score.pdf Although there are earlier recordings such as 1959 by Sergiu Celibidache (Orchestra Scarlatti RAI di Napoli and Marga Höffgen, Arkadia), or Ephrikian Angelo (I Solissti di Milano and Aafije Heynis, Ars Nova, LP) somewhat later, totally forgettable in his grand opera concept of thick textures and slow tempi, the album that opened the door to exploring this hitherto almost unknown repertoire was to James Bowman (L'Oiseau-Lyre, 1976), which exemplifies the limitations of range of the countertenor tessitura: the bottom is sometimes fragile and acute area lacks the warmth and softness of a female voice. Ring sweet and touching, constant in dynamic style has conviction and understanding, despite the embellishments agility shows difficulty of pronunciation (the "r"), and his desire not to sing with vibrato does tremolos prescribed in (my edition) the score. The clarity of phrasing and sensitivity in the accompaniment of the Academy of Ancient Music conducted by Christopher Hogwood, allowed to demonstrate a freshness that was revolutionary, not aggressive accents, refined and formal beauty, focusing on the delicacy of the orchestral sound all restraint and rigor. Despite the years this recording still holds the lead in their ability to extract all the pathos which the work. The recording, perhaps consciously rubs off velvet haze.
http://rapidshare.com/files/311437441/Vivaldi_Stabat_Mater_Bowman.rar
The captivating tenderness with which it Gerard Lesne (Harmonic, 1988) this music is unparalleled in discography. Imaginative ornamentation, the deeply contemplative and perfect fusion of texture and balance with all Il Seminario Musicale, which, following the usual Italian practice of this period increases the continuous bass line plucked (but overall it sounds more weaker than the previous AAM). The nakedness of the continuum acquires a layman aroma "O Quam tristis " implying a courtly dance, what kind of canzonetta where only chitarrone attached.
http://rapidshare.com/files/311472617/Vivaldi_Stabat_Mater_Lesne.rar
For those allergic to the original instruments (see historicist criteria) included this reading due to Vittorio Negri ( Philips, 1990) where Jochen Kowalski, champion continuous vibrato, and the large modern string Concertgebouw Chamber Orchestra with its magnificent symphonic sound (that others will sound heavy), detract from the loss of intonation and the unraveling of the string section on "Fac ut ardeat ."
http://rapidshare.com/files/311524542/Vivaldi_Stabat_Mater_Kowalski.rar
Andreas Scholl delivers a powerful expressive intensity coupled with a rare sensitivity, calm and harmony angelic timbre emotion, longing and beauty, fervor, excitement and mysticism, depth in each of the stanzas without losing the narrative flow. Without vibrato, timbre is a marvel of clarity, though sharp and cold in their wide range. The luxurious decoration shown in the repetition of the verses. Impeccable accompaniment of Ensemble 415 under the baton of Chiara elegant Banchini (Harmonia Mundi, 1995). However, there are moments like "O Quam tristis " in which addiction plucked the continuous sound creates some confusion. The recording is unusually heeled to port.
With a light, warm timbre, Michael Chance (Archiv, 1995) sings superbly, rounded at both ends of the pitch range, recitation and intonation perfect crystal (as in the extraordinary "Quis non posset ") the subtleties of expression without intrusive mannerisms. Surprised by the generous use of vibrato, play with the dynamic adjusting the meaning of the text as " Cuis animam" where to get a velvety softness continued softly. Trevor Pinnock awarded to the lower strings Inglés Consort The completion of the continuo, giving a unique sound to every performance. Making clear sound and resonant.
Robin Blaze's voice, mellifluous and warm, and that sometimes resembles a contralto, says an intelligent sense of balance. The King's Consort directed by the same Robert King (Hyperion, 1998) combines strength and sensitivity, although the cord can be somewhat coarse. It successfully combines a charm the tempo slightly with the oppressive nature that makes the organ, and dynamically highlight the tragedy of the text, for example, in " Quis non posset ”. La toma de sonido es tan cercana que evidencia la respiración del solista.
Deslumbra el aroma teatral de la versión de Sara Mingardo, poseedora de un timbre de fervor expresivo y calor emocional (fantástica en “ Eja Mater ”), que nos hace olvidar rápidamente como en algún melisma (“ Docentemás) the vowel is closing, closing. Rinaldo Alessandrini Concerto Italiano front (Naive, 1999), underscores the frequent imitation of motives between groups of violins and for that provision in the traditional antiphonal groups of violins (first left and second right), justified from the first bars of the score, along which will radicalize the tempi (very deliberate and very light), we would say that unashamedly operatic. It may surprise some of his decisions, as the unexpected breath slur sublime cuts " gladius, or how ignorant the first eleven introductory bars before the entry of the voice in "Quis est homo ." Pronounced dynamic contrasts are used to project the affections: for example, in the first bar is a fall from a fifth and a ninth increase followed by a descending chromatic bass line with suspensions (bars 5-8). Overall the best instrumental contribution, vital and vibrant. Mediterranean passion and great aviation record.
Apart from its attractive and masculine timbre, vibrato omnipresent (can be annoying) by David Daniels and expressive (histrionic?) Operatic approach fails to convey the feeling of pain inherent in the text, apart from its imperfect articulation and diction (such unstable vowels in melismas). What is really interesting in this record is the sublime instrumental contribution (camera, a voice part) by Fabio Biondi and Europa Galante (Virgin, 2001), with his usual mannerisms and displaced accents. The curious and imaginative ornamentation in "Quis est homo " or "Eja Mater " are a breath of fresh air in the marked character of the work stressful. Plucked discreet, accurate and revealing the role of the bass, especially the organ. Sound decision provides a clear and comprehensive range of instruments.
With Me (and sober self ) reduced the organ, Francisco Javier Braojos, timid voice college and imperfect (and expert Latin pronunciation), puts his willingness and enthusiasm in this recording made by the Friends of the Choir of El Escorial in 2007. Tempi Domain light imposed by the organ played by Alberto Padrón, who can delay the tempo to help the hurried voice at the end of lengthy melisma on " poena." The simplicity of the textures to appreciate as well as voice and organ melodies exchanged regularly. Although the impurities of the song (or perhaps because of them), this recording has all the genuine taste of document stolen hours, lost almost smell cupcakes ...
Somewhere I read that the textures to achieve the original instruments are so light and crisp like autumn leaves. Jean-Christophe Spinosi energy commands the Ensemble Matheus (Naïve, 2008), with great dramatic sense of precision and articulation so scintillating that manages to illuminate the details within the dark shadows of autumn. The continuous low marks an ominous atmosphere with dynamic waves, and in dramatic explosions and in whispers almost inudibles, resembling the concertos. Accompanying the text " flagellis subditum " ropes made figures as a whip in an obvious musical onomatopoeia, though perhaps exaggerated gesture, unabashedly theatrical, in the "Amen " and would be noted a lack of synchrony in "Fac ut ardeat ." Maternal approach in its most painful of Marie-Nicole Lemieux, contralto voice warm and large-spirited, his record is rich and smooth, and shows emotional and passionate when needed ("Quis est homo qui non Fleret " ), almost languid in sensual abandon. The recording captures up close and clear the dynamic range.
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