Ed. Critica A. Borin - Riduzione Per Canto E Pianoforte A Cura Di A. Frige. Par VIVALDI ANTONIO. The Serenata a3 RV 690 is the least familiar and in certain respects the most enigmatic of the Vivaldi serenatas that have come down to us. The sole surviving source is the autograph manuscript of the score, preserved at the Biblioteca NazionaleUniversitaria of Turin. On the basis of this meagre information Michael Talbot managed to indentify the subject of the work and to suggest a key to the interpretation of its unusual plot, which transports to an allegorical plane the story of theFrench Jansenist Jean de Tourreil, who was arrested in Italy on the orders of the Holy Office and imprisoned in the Castel Sant Angelo. / Opéra-opérette / Répertoire / Voix et Piano Réduction

Ed. critica M. Talbot - Riduzione per canto e pianoforte di A. Frigé-RV 588 is Vivaldi?s ?other? Gloria a composition having many parallels with Vivaldi?s better-known setting of the same text (RV 589). It dates similarly from the period 1713-1717 when the composer was acting choirmaster at the Ospedale della Pietà in Venice. It even borrows from the same work a slightly earlier Gloria by the Venetian amateur composer Giovanni Maria Ruggieri for its closing fugue. However the present Gloria RV 588 departs from its more famous counterpart in ingeniously combining its opening movement with the final movement of a specially designed introductory motet Jubilate o amoeni chori (RV 639/639a) for solo contralto (or soprano) and strings although Vivaldi makes it possible through optional cuts indicated in the autograph manuscript in Turin to perform the Gloria alone. With or without its Introduzione RV 588 is a masterly work with many memorable moments not least in its heartfelt second movement set to the words ?Et in terra pax?. The Introduction and Critical Commentary for this vocal score prepared by Antonio Frigé are closely based on those of the Critical Edition by Denis Arnold and Michael Talbot published in 1990.

Ed. critica di C. Bacciagaluppi - Riduzione per canto e pianoforte-Pergolesi wrote his Mass in D major for an unknown occasion. The composition however is similar in quality and commitment to his other Mass in F major. Numerous manuscript copies all over Europe testify to the fortunate reception of the work in the eighteenth century. As was traditional in Naples Pergolesi limited his composition to the ?Kyrie? and ?Gloria?. The festive character of the work is emphasized by the rich scoring for vocal soloists five-part choir and a full orchestra of strings and winds. This edition made with strict philological criteria is based as its main source on a set of parts preserved partly in Naples partly in Montecassino. These parts were made for aperformance conducted by the composer who added various autograph annotations. Among the secondary sources are two period Neapolitan scores today in Bologna and Dresden. The book includes a historical introduction (which traces the history of the genre in Naples and the relationship between the two Masses by Pergolesi) and the critical notes.