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Antonio Vivaldi

2007 Schools Wikipedia Selection. Related subjects: Performers and composers

   Unconfirmed portrait of Antonio Vivaldi
   Unconfirmed portrait of Antonio Vivaldi

   Antonio Lucio Vivaldi ( March 4, 1678 – July 27 or 28, 1741), nicknamed
   Il Prete Rosso ("The Red Priest"), was a Venetian priest and baroque
   music composer, as well as a famous violinist. The Four Seasons, a
   series of four violin concertos, are his best known works and highly
   popular Baroque music pieces.

Biography

Youth

   Antonio Lucio Vivaldi was born in Venice, the capital of the Republic
   of Venice. He was baptized immediately at his home by the midwife. It
   is not known how the life of the infant was in danger, but the
   immediate baptism was most likely due to his poor health or to an
   earthquake that shook the city that day. Vivaldi's official church
   baptism (at least, the rites which remained other than the actual
   baptism itself) did not take place until two months later. His father,
   Giovanni Battista, a barber before becoming a professional violinist,
   taught him to play violin and then toured Venice playing the violin
   with his young son. Giovanni Battista was one of the founders of the
   Sovvegno dei musicisti di Santa Cecilia, a sort of trade union for
   musicians and composers. The president of the association was Giovanni
   Legrenzi, the maestro di cappella at St. Mark's Basilica and noted
   early Baroque composer. It is possible that the young Antonio's first
   lessons in composition were imparted by him. The Luxemburgese scholar
   Walter Kolneder sees in the early liturgical work Laetatus sum (RV Anh
   31, written in 1691, at the age of 13) an influence of Legrenzi's
   style. His father may have been a composer himself: in 1688 an opera
   titled ''La Fedeltà sfortunata was composed by a Giovanni Battista
   Rossi, and this was the name under which Vivaldi's father had joined
   the Sovvegno di Santa Cecilia ("Rossi" for "Red", because of the colour
   of his hair, a family trait).

   Vivaldi had a medical problem which he called the tightening of the
   chest (probably some form of asthma). His medical problem, however, did
   not prevent him from learning to play the violin, composing and taking
   part in the prescribed musical activities. At the age of 15 ( 1693), he
   began studying to become a priest. In 1703, at the age of 25, Vivaldi
   was ordained as a priest, soon nicknamed Il Prete Rosso, "The Red
   Priest", probably because of his red hair.

   Not long after his ordination, in 1704, he was given a dispensation
   from celebrating the Holy Mass because of his ill health. In late 1706
   he withdrew from active priesthood.

At the Ospedale della Pietà

   On 1 December 1703, Vivaldi became maestro di violino (master of
   violin) at an orphanage called the Pio Ospedale della Pietà (Devout
   Hospital of the Mercy) in Venice. There were four such institutions in
   Venice. Their purpose was to give shelter and education to children who
   were abandoned, orphaned, or whose families could not support them.
   They were financed by funds provided by the Republic. The boys learned
   a trade and had to leave at age 15. The girls received musical
   education and the most talented stayed and became members of the
   Ospedale's renowned orchestra and choir.

   Shortly after his appointment, the orphans began to gain appreciation
   and esteem abroad, too; Vivaldi wrote for them most of his concertos,
   cantatas, and sacred music. In 1704 the position of teacher of viola
   all'inglese was added to his duty as violin instructor.

   His relation with the board of directors of the Ospedale was often
   strained. The board had to take a vote every year on whether to keep a
   teacher. The vote on Vivaldi was seldom unanimous and in 1709 he lost
   his job after a 7 against 6 vote. After a year as free-lance musician,
   he was recalled by the Ospedale with a unanimous vote in 1711; clearly
   the board had realized the importance of his role by then. In 1713 he
   became responsible for the musical activity of the institute. Vivaldi
   was promoted to maestro de' concerti in 1716.

   It was during these years that Vivaldi wrote much of his music,
   including many operas and concerti. In 1705, the first collection
   (Raccolta) of his works was published: his Opus 1 is a collection of 12
   sonatas for two violins and basso continuo, still in a conventional
   style. In 1709 a second collection of 12 sonatas for violin & basso
   continuo appeared (Opus 2). The real breakthrough came with his first
   collection of 12 concerti for one, two, and four violins with strings,
   L'Estro Armonico (Opus 3), that was published in Amsterdam in 1711 by
   Estienne Roger. This was a resounding success all over Europe, and was
   followed in 1714 by La Stravaganza (Opus 4), a collection of concerti
   for solo violin and strings.

   In February 1711, Vivaldi and his father went to Brescia where his
   setting of the Stabat Mater (RV 621) was played as part of a religious
   festival. The work seems to have been written in haste: the string
   parts are simple, the music of the first three movements is repeated in
   the next three, and not all the text is set. However, and in part as a
   consequence of the forced essentiality of the music, the work reveals
   musical and emotional depth and is one of his early masterpieces.

   In 1718, Vivaldi began to travel. Despite his frequent travels, the
   Pietà paid him to write two concertos a month for the orchestra and to
   rehearse with them at least four times when in Venice. The Pietà's
   records show that he was paid for 140 concertos between 1723 and 1729.

Opera Impresario

   In the Venice of the early 18th century, opera was the most popular
   musical entertainment and the most profitable for the composer. There
   were several theaters competing for the public attention. Vivaldi
   started his career as opera writer in undertone: his first opera,
   Ottone in villa (RV 729) was performed not in Venice, but at the
   Garzerie theatre in Vicenza in 1713. The following year, Vivaldi made
   the jump to Venice and became the impresario of the theatre Sant'Angelo
   in Venice, where his opera Orlando finto pazzo (RV 727) was performed.
   However, the work did not meet the public taste and Vivaldi had to
   close it after a couple of weeks and replace it with a rerun of a
   different work already given the previous year. In 1715, he presented
   Nerone fatto Cesare (RV 274, now lost), with music by seven different
   composers, of which he was the leader with eleven arias. This time it
   was a success and in the late season Vivaldi planned to give an opera
   completely of his own hand, Arsilda regina di Ponto (RV 700). However,
   the state censor blocked the performance; he objected to the plot: the
   main character, Arsilda, falls in love with another woman, Lisea, who
   is pretending to be a man. Vivaldi managed to get the opera through
   censorship the following year, and it was eventually performed to a
   resounding success.

   In this same period of time, the Pietà commissioned several liturgical
   works. The most important were two oratorios. The first, Moyses Deus
   Pharaonis (RV 643) is unfortunately lost. The second, Juditha
   triumphans (RV 644), composed in 1716, is one of his sacred
   masterpieces. It was commissioned to celebrate the victory of the
   Republic of Venice against the Turks and the recapture of the island of
   Corfù. All eleven singing parts were performed by girls of the Pietà,
   both for the female and male characters. Many of the arias included
   parts by solo instruments: recorders, oboes, clarinets, viola d'amore,
   mandolins, that showcased the range of talents of the girls.
   Frontispiece of Il teatro alla moda

   In the same year 1716, Vivaldi wrote and produced two more operas,
   L'incoronazione di Dario (RV 719) and La costanza trionfante degli
   amori e degli odi (RV 706). The latter was so popular that it was
   re-edited and represented two years later with the title Artabano re
   dei Parti (RV 701, lost); and was eventually performed in Prague in
   1732. In the following years, Vivaldi wrote several operas that were
   performed all over Italy.

   His modern operatic style caused him some trouble with other more
   conservative musicians, like Benedetto Marcello, a magistrate and
   amateur musician, who wrote a pamphlet against him and the modern style
   of opera. The pamphlet is called Il teatro alla moda, and its cover has
   a caricature of Vivaldi playing the violin. The Marcello family was the
   rightful owner of the Sant'Angelo theatre and a long legal battle had
   been fought with the management for its restitution, without success.
   The booklet attacks Vivaldi without mentioning him directly. The cover
   drawing shows a boat (the Sant'Angelo), on the left end of which stands
   a little angel wearing a priest hat and playing the violin. It is a
   caricature of Vivaldi. The obscure writing under the picture mentions
   nonexistent places and names. In particular, ALDIVIVA is an anagram of
   A. Vivaldi.

Maturity

   Caricature by P.L.Ghezzi, Rome (1723)
   Caricature by P.L.Ghezzi, Rome (1723)

   In 1717 or 1718, Vivaldi was offered a new prestigious position as
   Maestro di Cappella of the court of the prince Phillip of
   Hesse-Darmstadt, governor of Mantua. He moved there for three years and
   produced several operas, among which was Tito Manlio (RV 738). In 1721,
   he was in Milan, presenting the pastoral drama La Silvia (RV 734, lost)
   and again the next year with the oratorio L'adorazione delli tre re
   magi al bambino Gesù (RV 645, also lost). The next big step was a move
   to Rome in 1722, where his operas introduced the new style and where
   the new pope Benedict XIII invited Vivaldi to play for him. In 1725, he
   returned to Venice, where he produced four operas in the same year.

   It is also in this period that he wrote the Four Seasons, four violin
   concertos depicting natural scenes in music. While three of the
   concerti are of original conception, the first, "Spring", borrows
   motifs from a Sinfonia in the first act of his opera " Il Giustino,"
   composed the same time of the Four Seasons. The inspiration for them
   was probably the countryside around Mantua. They were a revolution in
   musical conception: in them Vivaldi represented flowing creeks, singing
   birds (of different species, each specifically characterised), barking
   dogs, buzzing mosquitoes, crying shepherds, storms, drunken dancers,
   silent nights, hunting parties (both from the hunter's and the prey's
   point of view), frozen landscapes, children ice-skating, and burning
   fires. Each concerto was associated with a sonnet of Vivaldi's hand,
   describing the scenes depicted in the music. They were published as the
   first four of a collection of twelve, Il cimento dell'Armonia e
   dell'Inventione, his Opus 8, published in Amsterdam by Le Cène in 1725.

   Despite his priestly status, Vivaldi is supposed to have had several
   love affairs, one of which was with the singer Anna Giraud, whom he met
   at his return to Venice. There is no concrete evidence, however, that
   links Vivaldi romantically to anyone. He was suspected of editing
   materials for his operas, which he adapted to the vocal preferences of
   his protegée.

Late life and death

   At the height of his career, Vivaldi received commissions from European
   nobles and royalty. The wedding cantata Gloria e Imeneo (RV 687) was
   written for the marriage of Louis XV. Opus 9, La Cetra, was dedicated
   to Emperor Charles VI. Vivaldi had the chance to meet the Emperor in
   person in 1728, when he came to Trieste to oversee the construction of
   a new port. Charles admired the music of the Red Priest so much that he
   is said to have spoken more with the composer in that occasion than
   with his ministers in two years. He gave him the title of knight, a
   gold medal, and an invitation to come to Vienna. On his part, Vivaldi
   gave Charles a manuscript copy of La Cetra; this is a set of concertos
   almost completely different from the one published with the same title
   as Opus 9. Probably the printing had been delayed and Vivaldi was
   forced to gather an improvised collection.

   In 1730, accompanied by his father, he travelled to Vienna and Prague,
   where his opera Farnace (RV 711) was presented. Some late operas marked
   the collaboration with two of Italy's major writers of the time.
   L'Olimpiade and Catone in Utica were written by Pietro Metastasio, the
   major representative of the Arcadian movement and court poet in Vienna.
   La Griselda was rewritten by the young Carlo Goldoni from an earlier
   libretto by Apostolo Zeno.

   Vivaldi's life, like those of many composers of the time, ended in
   financial difficulties. His compositions no longer held the high esteem
   they once did in Venice; changing musical tastes quickly made them
   outmoded, and Vivaldi, in response, chose to sell off sizeable numbers
   of his manuscripts at paltry prices to finance a migration to Vienna.
   Reasons for Vivaldi's departure from Venice are unclear, but it seems
   likely that he wished to meet Charles VI, who appreciated his
   compositions (Vivaldi dedicated La Cetra to Charles in 1727), and take
   up the position of a composer in the Imperial Court. It is ever more
   likely that Vivaldi went to Vienna to stage operas, especially as his
   place of residence was near the Karntner Tor Theatre. However, shortly
   after Vivaldi's arrival at Vienna, Charles died. This tragic stroke of
   bad luck left the composer without royal protection and a source of
   income. Vivaldi had to sell off more manuscripts to make ends meet and
   eventually died not long after, on either 27 July or 28 July 1741, of
   internal fire (which was probably from the asthma that he had been
   suffering from) in a house owned by the widow of a Viennese
   saddle-maker. On 28 July he was buried in a simple grave at the
   Hospital Burial Ground in Vienna (the assumption that the young Joseph
   Haydn sang in the choir at Vivaldi's burial was based on the
   mistranscription of a primary source and has been proven wrong).

   His burial spot is next to the Karlskirche in Vienna, at the site of
   the Technical Institute. The house he lived in while in Vienna was torn
   down. In its place there is now the Hotel Sacher. Memorial plaques have
   been placed at both locations, as well as a Vivaldi star in the
   Viennese Musikmeile and a monument at the Rooseveltsplatz.

Style and influence

   Many of Vivaldi's compositions reflect a buoyant, almost playful,
   exuberance which are in direct contrast with the dignified seriousness
   of much Baroque music in his time. Most of Vivaldi's repertoire was
   rediscovered only in the first half of the 20th century in Turin and
   Genoa and was published in the second half. Vivaldi's music is
   innovative, breaking a consolidated tradition in schemes; he gave
   brightness to the formal and the rhythmic structure of the concerto,
   repeatedly looking for harmonic contrasts and invented innovative
   melodies and themes. Moreover, Vivaldi was able to compose non-academic
   music, particularly meant to be appreciated by the wide public and not
   only by an intellectual minority. The joyful appearance of his music
   reveals in this regard a transmissible joy of composing. These are
   among the causes of the vast popularity of his music. This popularity
   soon made him famous in other countries such as France which was, at
   the time, very independent concerning its musical taste.

   Vivaldi is considered one of the composers who brought Baroque music
   (with its typical contrast among heavy sonorities) to evolve into a
   classical style. Johann Sebastian Bach was deeply influenced by
   Vivaldi's concertos and arias (recalled in his Johannes Passion,
   Matthäuspassion, and cantatas). Bach transcribed a number of Vivaldi's
   concertos for solo keyboard, along with a number for orchestra,
   including the famous Concerto for Four Violins and Violoncello, Strings
   and Continuo ( RV 580).

Posthumous reputation

   Vivaldi remained unknown for his published concerti, and largely
   ignored, even after the resurgence of interest in Bach, pioneered by
   Mendelssohn. Even his most famous work, The Four Seasons, was unknown
   in its original edition. In the early 20th century Fritz Kreisler's
   concerto in the style of Vivaldi, which he passed off as an original
   Vivaldi work but which was actually by Kreisler, helped revive
   Vivaldi's fortunes. This impelled the French scholar Marc Pincherle to
   begin academic work on Vivaldi's oeuvre. The discovery of many Vivaldi
   manuscripts and their acquisition by the National University of Turin
   Library, with the generous sponsorship of Roberto Foa and Filippo
   Giordano (in memory of their sons, respectively, Mauro and Renzo), led
   to renewed interest in Vivaldi. People such as Marc Pincherle, Mario
   Rinaldi, Alfredo Casella, Ezra Pound, Olga Rudge, Arturo Toscanini, and
   Louis Kaufman were instrumental in the Vivaldi revival of the 20th
   century. The resurrection of Vivaldi's unpublished works in the 20th
   century is mostly thanks to the efforts of Alfredo Casella, who in 1939
   organised the now historic Vivaldi Week, in which the rediscovered
   Gloria (RV 589) and l'Olimpiade were first heard again. Since WW II,
   Vivaldi's compositions have enjoyed almost universal success, and the
   advent of historically informed performances has only increased his
   fame. In 1947, the Venetian businessman Antonio Fanna founded the
   Istituto Italiano Antonio Vivaldi, with the composer Gian Francesco
   Malipiero as its artistic director, with the purpose of promoting
   Vivaldi's music and publishing new editions of his works.

   A movie titled Vivaldi, a Prince in Venice was completed in 2005 as an
   Italian-French coproduction, under the direction of Jean-Louis
   Guillermou, featuring Stefano Dionisi in the title role and Michel
   Serrault as the bishop of Venice. Another film inspired by the life of
   the composer is in a preproduction state: it has the working title
   Vivaldi, is produced and directed by Boris Damast, and is slated to
   have Joseph Fiennes in the title role. Also starring are Malcolm
   McDowell, Jacqueline Bisset, and Gérard Depardieu.

   Vivaldi's music, together with that of Mozart, Tchaikovsky and Corelli,
   has been included in the theories of Alfred Tomatis on the effects of
   music on human behaviour, and used in music therapy.

   His compositions include:
     * Over 500 concertos; approximately 350 of these are for solo
       instrument and strings, and of these about 230 are for violin; the
       others are for bassoon, cello, oboe, flute, viola d'amore,
       recorder, lute, and mandolin. Approximately 40 concertos are for
       two instruments and strings, and approximately 30 are for three or
       more instruments and strings.

     * 46 operas

     * sinfonias

     * 73 sonatas

     * chamber music (even if some sonatas for flute, as Il Pastor Fido,
       have been erroneously attributed to him, but were composed by
       Chédeville).

     * sacred music

     * His most famous work is perhaps 1723's Le Quattro Stagioni (The
       Four Seasons). In essence, it resembled an early example of a tone
       poem, where he attempted to capture all the moods of the four
       seasons without the use of percussion to dramatize the effects he
       sought to portray. (See section above for more detailed
       description.)

1926 and 1930 discoveries

   As one biography describes it:

   “   The fate of the Italian composer's legacy is unique. After the
     Napoleonic wars, it was thought that a large part of Vivaldi's work had
         been irrevocably lost. However, in the autumn of 1926, after a
     detective-like search by researchers, 14 folios of Vivaldi's previously
       unknown religious and secular works were found in the library of a
     monastery in Piedmont. Some even and odd-numbered volumes were missing
       and so, the search continued. Finally, in October 1930, the missing
         volumes were found to be with the descendants of the Grand Duke
        Durazzo, who had acquired the property as early as the eighteenth
                                    century.

      To its amazement, the world of music was presented with 300 concerts
     for various instruments, 18 operas, not counting a number of arias and
       more than 100 vocal-instrumental pieces. Such an impressive list of
          newly unearthed opuses warranted a re-evaluation of Vivaldi's
                                   creativity.
                                                                            ”

Recent discoveries

   Recently, four sacred vocal works by Vivaldi have been discovered in
   the Saxon State Library in Dresden. These compositions were improperly
   attributed to Baldassarre Galuppi, a Venetian composer of the early
   classical period, mostly famous for his choral works.

   In the years 1750s or 1760s, the Saxon court asked for some sacred
   works by Galuppi from the Venetian copyist Don Giuseppe Baldan. Baldan
   included, among authentic works by Galuppi, the four compositions by
   Vivaldi, passing them off as Galuppi's. He probably obtained the
   originals from two of Vivaldi's nephews, ( Carlo Vivaldi and Daniele
   Mauro), who worked under him as copyists.

   The recognition of Vivaldi's authorship could be made by analysing
   style and instrumentation and by recognizing arias from Vivaldi's
   operas.

   The two most recent among these discoveries are two psalm settings of
   Nisi Dominus (RV 803, in eight movements) and Dixit Dominus (RV 807, in
   eleven movements), identified in 2003 and 2005, respectively, by the
   Australian scholar Janice Stockigt.

   RV 803 was recorded for the first time in 2005 by the King's Consort
   under the direction of Robert King.

   RV 807 was recorded for the first time in 2006 by the Dresdner
   Instrumental-Concert under the direction of Peter Kopp. Vivaldi scholar
   Michael Talbot called it "arguably the best non-operatic work from
   Vivaldi's pen to come to light since ...the 1920s".

Works

   See also: Category:Compositions by Antonio Vivaldi

   Below is a list of Vivaldi works, from his many concerti to his sacred
   vocal works. While the list is not a complete listing of all Vivaldi
   works, these lists contain many known compositions, including
   publications during his lifetime.

Works published during his lifetime

     * Opus 1, twelve sonatas for two violins and basso continuo ( 1705)

     * Opus 2, twelve sonatas for violin and basso continuo ( 1709)

     * Opus 3, L'estro Armonico (Harmonic inspiration), twelve concertos
       for various combinations. Best known concerti are No. 6 in A minor
       for violin, No. 8 in A minor for two violins and No. 10 in B minor
       for four violins ( 1711).

     * Opus 4, La stravaganza (The extraordinary), twelve violin concertos
       (c. 1714)

     * Opus 5, (second part of Opus 2), four sonatas for violin and two
       sonatas for two violins and basso continuo ( 1716).

     * Opus 6, six violin concertos (1716– 21)

     * Opus 7, two oboe concertos and 10 violin concertos (1716–1717)

     * Opus 8, Il cimento dell'armonia e dell'inventione (The Contest
       between Harmony and Invention), twelve violin concertos including
       the celebrated work, Le quattro stagioni (The Four Seasons),
       consisting of the first four concertos in opus 8 ( 1723).

     * Opus 9, La cetra (The lyre), twelve violin concertos and one for
       two violins ( 1727)

     * Opus 10, six flute concertos (c. 1728)

     * Opus 11, five violin concertos, one oboe concerto, the second in E
       minor, RV 277, being known as "Il favorito" ( 1729)

     * Opus 12, five violin concertos and one without solo ( 1729)

     * Opus 13, Il pastor fido (The Faithful Shepherd), six sonatas for
       musette, viela, recorder, flute, oboe or violin, and basso continuo
       ( 1737, spurious works by Nicolas Chédeville).

Operas

     * Ottone in villa ( 1713)

     * Orlando finto pazzo ( 1714)

     * Arsilda regina di Ponto ( 1715)

     * L'incoronazione di Dario ( 1716)

     * Scanderbeg ( 1718)

     * Il Teuzzone ( 1719)

     * Tito Manlio ( 1719)

     * La verità in cimento ( 1720)

     * Ercole sul Termodonte ( 1723)

     * Il Giustino ( 1724)

     * Dorilla in Tempe ( 1726)

     * Farnace ( 1727)

     * Orlando furioso ( 1727)

     * Rosilena ed Oronta ( 1728)

     * La fida ninfa ( 1732)

     * Motezuma ( 1733)

     * L'Olimpiade ( 1734)

     * Bajazet (Tamerlano) ( 1735)

     * Griselda ( 1735)

     * Catone in Utica ( 1737)

     * Rosmira ( 1738)

Concerto

   Vivaldi wrote hundreds of concerti for various instruments. Below is a
   list of notable concerti:

   Cello:
     * Cello concerto in Cm, RV 401

     * Cello concerto in Em, RV 409

     * Cello concerto in F, RV 411

     * Cello concerto in F, RV 412

     * Cello concerto in G, RV 413

     * Cello Concerto in G, RV 415

     * Cello concerto in Gm, RV 417

     * Cello concerto in Am, RV 418

     * Cello concerto in Am, RV 420

     * Cello concerto in Bm, RV 424

   Mandolin:
     * Mandolin Concerto in C major, RV 425

     * Concerto for two Mandolins in G major, RV 532

   Lute:
     * Concerto in D major, RV 93

   Recorder and Flute:
     * Concerto in D major, RV 95, "La pastorella"

     * Concerto in C minor for Treble Recorder, RV 441

     * Concerto in F major for Treble Recorder, RV 442

     * Concerto in C major for Sopranino Recorder, RV 443

     * Concerto in C major for Sopranino Recorder, RV 444

     * Concerto in A minor for Sopranino Recorder, RV 445

     * Concerto in F major for Flute ("La Tempesta di Mare"), RV 433 (Op.
       10, No. 1), RV 98 and RV 570

     * Concerto in G minor for Flute ("La Notte"), RV 439 (Op. 10, No. 2)

     * Concerto in D major for Flute ("Il Gardellino"), RV 428 (Op. 10 No.
       3)

     * Concerto in G major for Flute, RV 435 (Op. 10, No. 4)

     * Concerto in F major for Flute, RV 434 (Op. 10, No. 5)

     * Concerto in G major for Flute, RV 437 (Op. 10, No. 6)

     * Concerto in C major for 2 Flutes, RV 533

   Brass and Woodwind:
     * Concerto in C major for Two Trumpets, RV 537

     * Concerto in D major for two Oboe, Bassoon, two French Horns, and
       Solo Violin, RV 562

     * Concerto in D minor for two Recorders, two Oboe, and Bassoon, RV
       566

     * Concerto in F major for Oboe, Bassoon, two French Horns, and Solo
       Violin, RV 571

     * Concerto in B-flat major for Oboe, Chalumeau, and Solo Violin, RV
       579

Sacred Works

     * Missa Sacrum, RV 586 (disputed)

     * Kyrie, RV 587

     * Gloria, RV 588

     * Gloria, RV 589

     * Gloria, RV 590 (lost)

     * Credo, RV 591

     * Credo, RV 592 (disputed)

     * Domine ad adiuvandum me, RV 593

     * Dixit Dominus, RV 594

     * Dixit Dominus, RV 595 ("di Praga")

     * Confetibor, tibi Domine, RV 596

     * Beatus vir, RV 597

     * Beatus vir, RV 598

     * Beatus vir, RV 599 (lost) — A possible archetype; precursor to RV
       597 and later variant RV 795

     * Laudate pueri Dominum, RV 600

     * Laudate pueri Dominum, RV 601

     * Laudate pueri Dominum, RV 602

     * Laudate pueri Dominum, RV 603

     * In exitu Israel, RV 604

     * Credidi propter quod, RV 605 (now RV Anh. 35b)

     * Laudate Dominum, RV 606

     * Laetatus sum, RV 607

     * Nisi Dominus, RV 608

     * Lauda Jerusalem, RV 609

     * Magnificat, RV 610/610a/610b/611

     * Deus Tuorum Militum, RV 612

     * Gaude Mater Ecclesia, RV 613

     * Laudate Dominum, RV 614

     * Regina coeli, RV 615 (incomplete)

     * Salve Regina, RV 616

     * Salve Regina, RV 617

     * Salve Regina, RV 618

     * Salve Regina, RV 619 (lost)

     * Sanctorum Meritis, RV 620

     * Stabat Mater, RV 621

     * Te Deum, RV 622 (lost)

     * Canta in Prato, Ride in Monte, RV 623 — not to be confused with RV
       636, which is "Canta in Prato, Ride in Fonte"

     * Clarae Rosae Respirate, RV 624

     * Clarae, Stellae, RV 625

     * In Furore Iustissimae Irae, RV 626

     * In Turbate Mare, RV 627

     * Invicti Bellate, RV 628

     * Longe Mala, Umbrae, Terrores, RV 629 — not to be confused with RV
       640, which is a similar motet on the same text but intended for
       different purposes

     * Nulla in Mundo Pax Sincera, RV 630

     * O Qui Coeli Terraque Serenitas, RV 631

     * Sum in Medio Tempestatum, RV 632

     * Vestro Principi Divino, RV 633

     * Vos Aurae per Montes, RV 634

     * Introduzione al Dixit (RV 595) "Ascende Laeta," RV 635

     * Introduzione al Dixit (RV 594?) "Canta in Prato, Ride in Fonte," RV
       636 — not to be confused with RV 623, which is "Canta in Prato,
       Ride in Monte"

     * Introduzione ad un Gloria "Cur sagittas," RV 637 — the preceding
       work that was to follow this introductory motet, most likely a lost
       setting of the Gloria in B♭ (RV 590), is now presumably lost

     * Introduzione al Miserere "Filiae Maestae Jerusalem," RV 638

     * Introduzione al Gloria (RV 588) "Jubilate o amoeni chori," RV 639 —
       Introductory motet has third movement interwoven with Gloria (RV
       588).

     * Introduzione al Gloria (RV 589) "Longe Mala, Umbrae, Terrores," RV
       640 — not to be confused with RV 629, which is a similar motet on
       the same text but intended for different purposes

     * Introduzione al Miserere "Non in pratis," RV 641

     * Introduzione al Gloria (RV 589) "Ostro Picta," RV 642

     * Oratorio Moyses Deus Pharaonis, RV 643 (lost)

     * Oratorio Juditha triumphans, RV 644

     * Oratorio L'adorazione delli tre re magi al bambino Gesu, RV 645
       (lost)

     * Confetibor, tibi domine, RV 789 — manuscript found in damaged
       condition

     * Beatus Vir, RV 795

     * Magnificat, RV 797 (lost) — possibly related to the extant settings
       of RV 610/610a/610b/611

     * Nisi Dominus, RV 803

     * Salve Regina, RV 804 (lost)

     * Dixit Dominus, RV 807

   A possible setting, or even settings (considering the many settings of
   other liturgical text Vivaldi composed) of the Miserere may have
   existed, as hinted by the two introductory sets of movements intended
   for the piece(s), but such composition(s) have been lost.

   Retrieved from " http://en.wikipedia.org/wiki/Antonio_Vivaldi"
   This reference article is mainly selected from the English Wikipedia
   with only minor checks and changes (see www.wikipedia.org for details
   of authors and sources) and is available under the GNU Free
   Documentation License. See also our Disclaimer.
