Saltar para: Posts [1], Pesquisa [2]

luís soares

Blog do escritor Luís Soares

Agitata infidu flatu

Delphine Galou sings 'Agitata infidu flatu' from Antonio Vivaldi's 'Juditha Triumphans'
www.accademiabizantina.it

 

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

 

Fabio Mercurio, styling
B.B. hair stylist & Makeup

 

Location: Convento di San Francesco, Bagnacavallo (RA), Italy
Art Installation: About Dreams by Collettivo Magma

Thanks to:Daniele, Comune di Bagnacavallo (Ra) - Italy

Recorded by:
ALPHA CLASSICS - Feb, 2017

Gloria!

Antonio Vivaldi - Gloria in excelsis Deo (RV 589)

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.

Venice, 4 March, 1678

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.

All sound withers to silence. So let us.