This Dixit was rediscovered in 2005. It is indisputably the most significant work by Vivaldi to have resurfaced in this century. Here is a fuller account on how it happened. During the 1700s there was a most famous music-copying house in Venice, run by one Iseppo Baldan. Situated near the Rialto bridge, it was an important institution in the musical trade of the time. Around 1760 the Dresden Court ordered from them a large number of sacred works by the fashionable Venetian composer of the day, Baldassare Galuppi, nicknamed ‘Buranello’ because he hailed from the nearby island of Burano. The order was duly delivered and the manuscripts survive in the Saxon State and University Library (SLUB) Dresden. In 2005 musicologist Janice Stockigt was researching manuscripts at the SLUB. ‘I was checking hands of copyists,’ she said, ‘and looked at one work which had a bass line which yelled Vivaldi at me.’ Leading Vivaldi scholar Michael Talbot was quick to recognize that she had in fact discovered a new Vivaldi work. Beyond the obvious trademarks, it transpired that the general plan of the work, meaning the musical treatment of each part of the psalm, was very similar to the plan that Vivaldi followed in his two other Dixits. (Whether this setting is anterior or posterior to the ‘Turin’ setting, RV 594 for double choir, is a matter for debate, but the prevailing opinion is that RV 807 is the later one, RV 594 the middle one. The date of 1745 and the mention ‘For the Mendicanti’ on the manuscript of RV 807 are of course complete inventions meant to deceive the Saxons.) Two other facts made the 2005 discovery unsurprising. First, another Vivaldi work had already been salvaged from that group of manuscripts attributed to Galuppi: a Beatus Vir for single choir (RV 795) which is a simple recasting of the Turin Beatus Vir, RV 597 for double choir. Second is the fact that, according to musicologists, the dishonesty of the Baldan copisteria in matters of attribution is well documented. As a matter of fact, no less than five ‘Galuppi’ works from that group of manuscripts have been definitively identified as by Vivaldi. It is not known how they ended up in the hands of Baldan, but none of them survive in the composer’s personal archive (the Turin manuscripts). It could be that they were sold on or before Vivaldi’s departure from Venice, or by relatives when he did not return from Vienna. A new portrait of Vivaldi? The painting I used as a background for this video is a detail of the ceiling fresco of the church of Santa Maria della Pietà in Venice, painted by Giambattista Tiepolo around 1755. This building, still standing today on the Riva degli Schiavoni, is often nicknamed ‘Vivaldi’s Church’. Although planning of its construction began while Vivaldi was still around, actual construction did not begin until after Vivaldi’s death. In Vivaldi’s time, the old front of the Pietà was looking rather poorly compared to the rich Renaissance facades of other Venetian Ospedali. The old chapel where the Sunday concerts were held was cramped; so too were the old buildings where the girls were housed. The original plan called for a larger church, flanked by two wings to serve as new buildings for the Ospedale. In the event, only the church was ever built. But the extensive demolition work ensured that nearly all traces of the institution where Vivaldi taught and premiered many of his works were definitively erased. Except for the Pietà records, which eventually went to the Venetian State Archives. This is where researcher Micky White has unearthed so many documents and bits of information concerning the Pietà and its girls over the course of many years of patient research. It was also her (and this I learned from a lecture given by Maestro Federico Maria Sardelli) who discovered, in the fresco by Tiepolo, a half-hidden face that fits the description of Vivaldi. The subject of the fresco is ‘Triumph of Faith’. It depicts the coronation of the Virgin Mary, surrounded, appropriately for the Pietà, by a group of angelic musicians. Behind one angel holding a violin, there is a face. It is, really, only half a face. It is not looking upwards at the heavens in the painting, but down into the church. Almost unnoticeable. And, effectively, unnoticed. There is no reason to believe that the artists who made that fresco would have selectively remembered Vivaldi among the long list of masters once active at the Pietà and chosen to represent him, fourteen years after his death when his fame had reached its long nadir, although it is, of course, not impossible. A plaque on the side of the church, visible from the street, states: ‘Tradition has it that its perfect acoustics are indebted to the brilliant intuition and felicitous advice of Antonio Vivaldi.’ 0:00 Introduction 0:57 I. Dixit Dominus 2:33 II. Donec ponam 5:13 III. Virgam virtutis tuae 7:31 IV. Tecum principium 9:11 V. Juravit Dominus 10:06 Va. Tu es sacerdos 10:45 VI. Dominus a dextris tuis 12:33 VII. Judicabit in nationibus 14:11 VIII. Implebit ruinas 15:04 IX. De torrente 18:07 X. Gloria Patri 20:01 XI. Sicut erat in principio 20:31 XII. Et in saecula saeculorum 23:02 A new Vivaldi portrait? Composed: not before 1732 (Ryom) Source: D-Dl, Mus. 2389-E-6 Les Agrémens, ‘Vespro a San Marco’ Chœur de chambre de Namur Leonardo Garcia Alarcón, direzione Ambronay Éditions AMY029

La somma genialità del Prete Rosso non tradisce mai le attese! Le scuole musicali Veneta, Partenopea, Milanese, Romana, Corelli... insegnarono al mondo che cos'è la Grande Musica!

Thanks a lot! I love this piece by Vivaldi!,

¡Hermosa obra maestra! Gracias por compartir este estreno de la gran obra de Vivaldi.

Thank you so much for this upload. But more importantly for the historical background. Thank you for mentioning Micky White and Michael Talbot. Dr. M. Talbot being a remarkable Vivaldi scholar and expert has contributed significant musicological background when it comes to the personal and professional life of Antonio Vivaldi. Micky White has produced a fantastic documentary entitled "Vivaldi's Women" which beautifully details the timeline of her discovery and research leading to some remarkable findings about Vivaldi's life in Venice which you will not find in the already available Vivaldi's documentaries. It is in this documentary where Micky White suggests and points that the painting by Tiepolo at the church of Santa Maria della Pietà in Venice includes a portrait of Vivaldi. Micky White also published a book entitled "Antonio Vivaldi A Life in Documents" that I bought which is a great read if you want to get to know the Red Priest beyond any other biographical books and CD liner notes that are usually provided by reputable CD labels. Lastly, I have two recordings of RV 807 (Peter Kopp and Leonardo Garcia Alarcón). Both recordings are very well done with informative CD liner notes. If you are familiar with Vivaldi's operas and you then you started listening to RV 807 for the first time thinking it was by Galuppi (Buranello), by the time you got to the 6th movement "Dominus a dextris tuis" you would would have said "wait a minute!!", this music belongs to the aria "Alma oppressa da sorte crudele" from the opera "La Fida Ninfa" written in 1732 by Vivaldi. Then anyone well-versed in Vivaldi's music would have concluded that this Dixit Dominus was possibly by Vivaldi and not by Galuppi OR Galuppi stole (borrowed) the music. But now, thanks to the great work of Dr. Stockigt we now know the entire Dixit Dominus RV 807 is rightly and fully attributed to our Antonio Vivaldi. I suspect more "wrong attributions" will be unearthed in the near future and will find their right place in the ouvre of Vivaldi. Quoting Dr. M. Talbot, "Many Vivaldi works have their weaker moments, this one has none". Amen to that!! Thanks again for this upload. It gives me great joy 🤗

Aspetto con impazienza che venga data la meritata attenzione anche al Nisi Dominus RV 803 … e magari di vederlo presto in questo canale! Grazie DelVivaldi !!!

Complimenti! Eccellente lavoro, come al solito! Grazie a voi mi innamoro ogni giorno di più di questo magnifico compositore e della sua immortale musica.

Estoy profundamente emocionado, las obras cantadas de Vivaldi nunca me despertaron especial interés pero ésta OBRA MAESTRA me ha dejado sin respiración la música, las voces todo conjuntado en unas armonías sublimes. Gracias por tu inmenso trabajo.

Thank you for this! I remember watching a video of I believe Micky White talking about this inside the church (which I can't find), amazing stories!

10:45 = RV 714

Il De torrente è praticamente la firma di Vivaldi … ♥️

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I'd agree with the consensus that this is the later of the Dixit Dominus trios, it's more polished and shows a greater influence of the newer vanguard of the Neapolitans arriving in Venice. It is still undeniably Vivaldian due to his crystallized signature idioms, but now he is the follower, not the leader.

One of the highlights of this setting is the contrafactum of Alma Oppressa from La Fida Ninfa for a Tenor(!!!) in Dominus a dextris tuis, certainly it took a very virtuoso singer to do that

It´s amazing how the trademark of Vivadi`s works survived many centuries after he left this World. I guess many very important musical works were lost forever in the bombing of Dresden in February 1945. We could have many scores today if were not for those unhappy(and unnecessary) bombing.

1,000 views uploaded ONE DAY ago! My goodness!

Just recently began listening to Vivaldi. What a talent...where can I find the words in English to these manuscripts?

i suggest that the face in the fresco be x-rayed since it is possible that the full face was painted to get the correct proportions and then covered halfway - probably because a mere mortal musician was not quite worthy of being among the celestial beings. With a full view it can then be compared to the known images of vivaldi rk

Maybe iam stupid but should it not be easy to find Vivaldis works by just analysing his hand writing? Or did the people in the 1700es all write the same? Anyway you can hear undoubtedly some signatures which scream Vivaldi, if this work is by someone else, they probably borrowed a lot from his work. It still sounds in some parts a bit different than iam used to but i guess that really shows the situation he was confronted with. In his later years he had to adapt a lot because the taste of the listeners changed... Its the best age to discover (and hear) Vivaldis works iam really looking forward to all the stuff which will be discovered and played for the first time! Vivaldi is the Goat🐐

Who knows if this is an authentic composition or an AI fabrication 🙄