Short Movie Director: Marco Boarino Short Movie Associate Directors & Production: Setteventi
Performed by Delphine Galou with Accademia Bizantina Ottavio Dantone, conductor with: Delphine Galou, Alto Alessandro Tampieri, Andrea Rognoni, Lisa Kawata Ferguson, violins I Ana Liz Ojeda Hernandez, Paolo Zinzani, Mauro Massa, violins II Diego Mecca, Alice Bisanti, altos Mauro Valli, Paolo Ballanti, cellos Nicola Dal Maso, double basses Tiziano Bagnati, lute OTTAVIO DANTONE, harpsichord, organ and conductor
Realizzato da Philippe Béziat // Concerto Italiano - Rinaldo Alessandrini - Sara Mingardo
Antonio Vivaldi wrote at least three settings of the hymn Gloria in excelsis Deo, whose words date probably from the 4th Century and which is an integral part of the Ordinary of the Mass. Two survive: RV 588 and RV 589. A third, RV 590, is mentioned only in the Kreuzherren catalogue and presumed lost. The RV 589 Gloria is a familiar and popular piece among sacred works by Vivaldi. It was probably written at about the same time as the RV 588, possibly in 1715.
The earth trembles and makes the bells ring from every church, from every heaven-defiant tower, dust falls from old walls, from bridges and white perfect sculptures, shakes the ropes tethering the gondolas to terra firma or as firma as it gets in this city afloat on tune, hulls slap against uncertain water, cats run and hide, people scream in fear, beg protection to the Madonna, a rage of sound, a thousand cellos and drums, horsehair bows angered against pig-gut strings of vibrating basses, small almost invisible clouds of resin. The child Antonio Lucio Vivaldi is born amidst the confusion and he breathes with difficulty, more than enough reasons for them to baptize his red hair with the holiest of waters at once lest he go into death soulless to be forever lost.
His hair will be the stuff of legend though frequently hidden beneath wigs as is the custom of the time. He will become obsessed with music at his father’s behest. He will play the violin beautifully, teach generations of orphan girls (who will seduce the voluptuous citizens of the republic with their musical virtuosity) and write hundreds of concerts, sonatas, operas, angelic sacred music. Those who envy his prodigious creativity say he writes the same concert over and over, four hundred times over. Which is mostly untrue. Under very well defined rules and limitations – three movements: fast, slow, fast – he manifests his musical genius. Should we accept the constraints of form and strive to create amazing beauty within them? Should we, like his contemporary, the adolescent Casanova, abhor all forms of rule and constraint and live the life of the truly irresponsibly maddeningly free?
Freedom leads to an overflow of feeling, impossible to tune, atonal, a-rhythmic, arrhythmia of the heart, heartless heartfelt inevitable end. Then they will try to reign us in to new structures of constraint. I have never know a human being to escape his or hers final fate.
He will favor the soprano Anna Giraud, La Mantovana.
He swears he never touched her.
He will die alone and penniless, overtaken by the taste of the epoch.