Pristine manuscript of a pristine composition. Michael Talbot thinks the work was commissioned by the Dresden court; and a copy of this manuscript, from Vivaldi's own workshop, is extent in Dresden. According to Michael Talbot, it is likely from 1732-1733. The first movement calls for one or more "Hautbois" to play along with the violins ­- perhaps also in the penultimate movement, but the score does not mention any oboes at that point. Because of these uncertainties, or because the use of oboes is seen as a concession to Dresden custom on Vivaldi's part, they are often omitted in performance... 0:00 I. Laudate Pueri Dominum 3:11 II. Sit nomen Domini 5:40 III. A solis ortu 9:11 IV. Excelsus super omnes 12:30 V. Suscitans a terra 14:46 VI. Ut collocet eum 16:30 VII. Gloria Patri et Filio 20:32 VIII. Sicut erat in principio 21:30 IX. Amen Composed: 1732-1733 (Talbot) Turin source: Giordano 33, ff. 96-114 Accademia Bizantina, ‘In furore’ Sandrine Piau, soprano Ottavio Dantone, direzione Naïve OP 30416

Thank you so much! Divine beauty of the piece and performance!

Complimenti!

Se oye muy hermosa y ver la partitura es muy interesante. Aunque no pueda entender lo que está escrito pienso que ver la caligrafía del genial compositor y escuchar la música es más que suficiente para mí. Muchas gracias por tomarse la molestia de editar estos vídeos y de poner una reseña en los comentarios para entender mejor la obra. 😊👍

Belíssimo!!!

Thank you DelVivaldi. Just a comment about the fact that this work has the highest note that Vivaldi ever wrote for a soprano voice: two high D (one tone above high C), one in "A Solis Ortu" and one in the "Amen". An absolute record as I'm not aware of any other vocal composition by Vivaldi that reaches such a stratospheric high note. Clearly this psalm was written for a very specific and outstanding singer who had a range well beyond that of an average soprano and to me this would support the hypothesis that it could have been written for a court chapel (such as the one in Dresden) where often "star singers" were employed. In fact, if memory doesn't betray me, some sacred compositions by Zelenka have very high soprano parts, similar to this Laudate Pueri.

Goodness, what an "instrumental" vocal part! Brava to Ms. Piau for her admirable rendition of what must be a very difficult piece.

Oh my, when I created my score-video utilizing the Dresden copy I was unaware the autograph survived - this changes everything as I have been working on a urtext score (for a future score-video), but until now, only based on the copy.