Vivaldi's "Nisi Dominus" (RV 608) is in G minor and is
originally scored for solo voice, viola d'amore, a
small string group, and continuo. It is one of two
settings by Vivaldi of the Nisi dominus (Psalm 126 or
127) text. The other, RV 803, only recently
authenticated, dates from the late 1730s, but RV 608 is
an early work, perhaps composed for the Venetian girls'
orphanage that employed the composer in the 1710s. In
nine short sections, the work is remarkable for its
variety; it supports the co...(+)
Vivaldi's "Nisi Dominus" (RV 608) is in G minor and is
originally scored for solo voice, viola d'amore, a
small string group, and continuo. It is one of two
settings by Vivaldi of the Nisi dominus (Psalm 126 or
127) text. The other, RV 803, only recently
authenticated, dates from the late 1730s, but RV 608 is
an early work, perhaps composed for the Venetian girls'
orphanage that employed the composer in the 1710s. In
nine short sections, the work is remarkable for its
variety; it supports the conclusion that the obscurity
of Vivaldi's vocal music is due more to historical
accident than to any lack of quality. Though it has
been sung by male countertenors, the vocal part would
probably have been composed for a female alto if the
work indeed originated during Vivaldi's tenure at the
orphanage.
It is the variety of instrumental accompaniments, as
vivid as those of any Baroque opera, that brings the
work to life. The third section, "Surgite" ("It is vain
for you to rise up early, to sit up late, to eat the
bread of sorrows") is an accompanied recitative with
vigorous illustrations of both the early riser and the
bread of sorrows in the orchestral strings. The
following "Cum dederit" ("When He shall give sleep...")
is a masterful chromatic siciliana that ranks among the
most alluring Baroque depictions of sleep, complete
with string mutes. "Sicut sagittae" ("Like arrows in
the hand of a mighty man...") offers still more
operatic text-painting, with stabbing unisons
dominating the texture. The "Gloria" section replaces
the usual festive mood with a meditative, dark setting,
and the other movements are similarly original. Some
have simple continuo accompaniment, while others have a
viola d'amore part (perhaps written for Vivaldi's own
use, for he was a virtuoso player on the instrument)
taking on a concerto-like role. It is perhaps only the
presence of that unusual instrument that has kept this
lovely work from the pinnacles of popularity where some
of Vivaldi's other compositions reside.
Although originally composed for Voice (Alto), Strings
& Continuo, I created this arrangement of "Sicut erat
in principio [...]" (As it was in the beginning) from
"Gloria Patri et Filio [...]" (glory to father and son)
for Flute & Piano.
PARTITION