Among musicians, interest in his compositions grew slowly at first. Change came about as scholars began researching the extant musical sources. Nevertheless, Vivaldi’s music - his extensive oeuvre of chamber music, symphonic works, operas and sacred pieces - was forgotten and remained so until the beginning of this century. The Venetian dramatist Carlo Goldoni, who occasionally collaborated with Vivaldi, tells us in his autobiography published in 1761 that the composer’s achievements were significant for the musical life of his home town. Today, we know that 10 of Vivaldi’s 220 violin concertos served as models for Bach’s piano and organ transcriptions. 3, 1711) that had recently been published as a study piece and arranged the entire work for piano”. In 1802, Johann Nikolaus Forkel wrote in his biography of Bach that the composer used “Vivaldi’s violin concerto (op. For more than 150 years, only a handful of lexicographers, biographers and musicians preserved the reputation of the composer known as “Prete Rosso” (the red priest) on account of his red hair and clerical order. His Italian contemporary, Antonio Vivaldi (1678 – 1741), met another fate however.
Such was the case with Johann Sebastian Bach.
In other cases, however, a small group of enthusiasts kept the memory of a composer’s works and contributions alive in the minds of a few, until interest in him was revived. Thus, many a composer who was extremely popular and celebrated during his lifetime has been so completely forgotten since his death that he is only known today to music historians. “His famous Stabat Mater is one of the great masterpieces of the Baroque, but I also wanted to record the motet Longe mala, umbrae, terrores, a work I find utterly fascinating.” For Pietà Jaroussky reunites with Ensemble Artaserse, the chamber orchestra he founded in 2005, and almost a decade later he has come full circle, completing an important triptych of Vivaldi recital albums.The course of music history has taken surprising and, occasionally, truly strange turns. Bach, Caldara and Porpora, I felt not only a musical need but also a physical yearning to return to Vivaldi,” says Jaroussky. “After several recordings dedicated to lesser-known repertoire from composers such as J.C. There are, of course, the vocal pyrotechnics characteristic in which Jaroussky excels, as in the blazing Alleluia of Longe mala, umbrae, terrores RV629. But it’s not all solemn fare: Clarae stellae scintillate is an uplifting, light-filled motet in praise of Mary, and the sweet-toned ‘Domine Deus’ from the Gloria RV589 has an almost pastoral lilt. Philippe Jaroussky turns once again to the poignant meditation on grief that is the Stabat Mater - this time in Vivaldi’s searingly beautiful 1712 setting - along with a selection of the Red Priest’s solo motets and sacred works.
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