When Mr. Ricci asked me to record a Vivaldi I thought of my old desire to match the A minor Concerto. Simple and brilliant, true soundtrack of 'childhood violin of the vast majority of those who have studied the instrument, and professionals not, perhaps the most spectacular concert and a better grip on the audience, the famous "Grosso Mogul".
A sort of Alpha-Omega with which to celebrate the infinite ingenuity of the Venetian composer.
Marco Fornaciari, conductor
Of the two Vivaldi Gloria stored in the first Volume of the Sacred Works of the collection of the Jordan National Library of Turin, the present in D major and certainly the most remarkable and I think goes with the writing, the Magnificat and the Stabat Mater of the best compositions in the group the Venetian musician. In this CD I wanted to give a "wise Choir" of these compositions, in fact with regard to the Gloria RV 589 is proposed eleven shares of the "Gloria in excelsis" Deo and "Domine filii only begotten" and two songs that feature in a more significant the strength of music by Antonio Vivaldi. The heavy eighth in the opening of the Gloria show us all that the Master has been able to fully exploit the wide range of expressive possibilities in pure melodic function, a powerful chorus on the words "Domine filii only begotten" follows in a ternary rhythm to dance with a biblical character.
Laetatus sum RV 607 "I was glad they told me to God's house we go", Vivaldi, expresses this sentiment while omoritmia entries in for the duration of the piece, leaving a melody on violins and a rhythm section that describes all its freshness and conviction.
Magnificat RV 610th three songs are offered in natural succession of the work and remain unchanged in both versions (RV 611)-III Et mercy Fecit potentiam IV, V Deposuit potentes.
The Credo RV 591 Vivaldi priest shows us the privilege of spontaneous anti-formalist privative Mass., knows his way to turn to God's supreme act of faith I think of mankind, here and lived through a writing four choral voices with organ and strings of filling. The maximum polyphony and developed in the "Crucifixus" with a 'painful and expressiveness collection, but in' "incarnatus est" in a monolithic structure of mysterious grandeur. In the two outer movements "I" and "Et resurrexit" concrete is a magnificent sound of great depth and significance.
Simone Valeri, director
