For those unaware, since it’s inception in 2001, the Vivaldi Edition has explored the fantastic diversity of the work of the Prete Rosso. Presented by Giulio Prandi’s Coro e Orchestra Ghislieri, this seventy-second volume is once again dedicated to sacred music.

Two exceptional works, the Dixit Dominus, RV 807 and the Magnificat, RV 611, here frame rare motets such as Sanctorum meritis, RV 620 and Vos invito, barbarae faces, RV 811.

Preserved at the Saxon State Library, the Dixit Dominus belonged to a lot ordered from a Venetian publisher in the mid-1750s by the Saxon court which, threatened by the Prussian army, had been forced to flee Dresden for Warsaw.

Illustrating the highly pictorial text of Dixit Dominus, Vivaldi favors a lively and sparkling aesthetic, full of figuration’s. For example, pairs of repeated sixteenth notes depict the gentle lapping of a stream (De torrente in via bibet) while the impressive final fugue embodies the majesty of Christian communion.

Also forged in an ingenious and hushed counterpoint, the second motet of this programme, Confitebor tibi, Domine, presents three solo voices, something rare for Vivaldi. Hymn from the liturgy of the martyrs, Sanctorum meritis, RV 620 then introduces Vos invito, barbarae faces, whose text enjoins the believer to fight against the forces of evil.

This program finally offers the final version of the Magnificat in G minor (RV 611) in which the Red Priest specifically dedicated to a few singers of the Ospedale della Pieta certain sections, radically transformed since the first version of the 1710s.

This results in little less ensemble parts, and more arias for the soloists, almost a foretaste of Classicism. Faithful to his quest for clarity and joy that had been highlighted by moving recordings devoted to Jommelli and Rossini, Giulio Prandi, for this first collaboration with the naive label, glorifies the luminous, aristocratic sobriety of Vivaldi.

Vivaldi: Dixit Dominus, RV807
I. Coro, “Dixit Dominus”
II. Soli e Coro, “Donec ponam inimicos tuos”
III. Aria, “Virgam virtutis tuae”
IV. Duetto, “Tecum principium”
V. Coro, “Juravit Dominus”
VI. Aria, “Dominus a dextris tuis”
VII. Soli e Coro, “Judicabit in nationibus”
VIII. Aria, “De torrente in via bibet”
IX. Duetto, “Gloria Patri et Filio”
X. Coro, “Sicut erat in principio”
XI. Coro, “Amen … Et in saecula saeculorum”

Vivaldi: Confitebor tibi, Domine, RV 596
I. Terzetto, “Confitebor tibi, Domine”
II. Terzetto, “Memoriam fecit mirabilium suorum”
III. Terzetto, “Sanctum et terribile nomen ejus”
IV. Terzetto, “Intellectus bonus omnibus”
V. Aria, “Gloria Patri et Filio”
VI. Terzetto, “Et in saecula saeculorum”

Vivaldi: Sanctorum meritis, RV 620

Vivaldi: Vos invito barbarae faces, RV 811
I. Aria, “Vos invito, barbarae faces”
II. Recitativo, “Ergo impii tiranni”
III. Aria, “Sunt delitiae, non dolores”
IV. Aria, “Alleluia”

Vivaldi: Magnificat, RV611
I. Coro, “Magnificat anima mea Dominum”
II. Aria, “Et exultavit spiritus meus”
III. Aria, “Quia respecit humilitatem”
IV. Aria, “Quia fecit mihi magna”
V. Coro, “Et misericordia ejus”
VI. Coro, “Fecit potentiam”
VII. Coro, “Deposuit potentes”
VIII. Aria, “Esurientes implevit bonis”
IX. Coro, “Suscepit Israel puerum suum”
X. Aria, “Sicut lucutus est ad Patres nostros”

This exceptionally-dutiful, and amazingly-imbibed new recording opens on Vivaldi’s Dixit Dominus, RV807, and the flourishing Coro, “Dixit Dominus,” the cultured Soli e Coro, “Donec ponam inimicos tuos,” the elegant Aria, “Virgam virtutis tuae” and the perky Duetto, “Tecum principium,” and then we get the decadent Coro, “Juravit Dominus,” the opulent Aria, “Dominus a dextris tuis,” the regal Soli e Coro, “Judicabit in nationibus,” the beautiful sway of Aria, “De torrente in via bibet,” ending in the dance floor gentle swirls and twirls of Duetto, “Gloria Patri et Filio,” the strident fare of Coro, “Sicut erat in principio” and the veritably holiday-imbibed musical majesties of Coro, “Amen … Et in saecula saeculorum.”

Along next is Vivaldi’s Confitebor tibi, Domine, RV 596, which opens on the playful Terzetto, “Confitebor tibi, Domine,” the elegant Terzetto, “Memoriam fecit mirabilium suorum,” the wedding march-esque Terzetto, “Sanctum et terribile nomen ejus” and the fanciful Terzetto, “Intellectus bonus omnibus,” before giving way to the gilded Aria, “Gloria Patri et Filio,” culminating in the emboldened Terzetto, “Et in saecula saeculorum.”

Then comes Vivaldi’s harmoniously delightful Sanctorum meritis, RV 620 and his beautiful Vos invito barbarae faces, RV 811, which opens on the spirited Aria, “Vos invito, barbarae faces” before bringing forth the engrossing Recitativo, “Ergo impii tiranni,” the sheer gossamer of Aria, “Sunt delitiae, non dolores,” culminating on a simply breathtaking Aria, “Alleluia."

The last work is Vivaldi’s Magnificat, RV611, which begins with a resplendent Coro, “Magnificat anima mea Dominum,” an airy Aria, “Et exultavit spiritus meus,” and an astute Aria, “Quia respecit humilitatem,” with a flirtatious Aria, “Quia fecit mihi magna” backing them, and then we get the delicately hued Coro, “Et misericordia ejus,” the forcefully delivered Coro, “Fecit potentiam,” the dutifully harmonized Coro, “Deposuit potentes” and the regally-storied Aria, “Esurientes implevit bonis,” the work, and this new collection, closing on the choir-esque Coro, “Suscepit Israel puerum suum,” the sweeping Aria, “Sicut lucutus est ad Patres nostros” and the grandiose Coro, “Gloria Patri et Filio.”

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