Antonio Vivaldi: Psalm 112* (113) " Laudate pueri " RV 601 (after 1725)
Antonio Vivaldi
Born 4 March 1678 in Venice
died 28 July 1741 in Vienna
Composition
after 1725, probably composed for the Dresden court. Manuscript with water damage, preserved in the Sächsische Landesbibliothek, Dresden (D-Dl): see Mus.2389-E-3.
Original title:
Laudate Pueri à Canto Solo con Istromi Del Sr Anto Vivaldi
Psalms are cult and prayer texts from almost a thousand years of religious history in the Middle East, which were finally summarised by the Hebrew Bible in the Hellenistic period to form a book of 150 psalms (from ancient Greek ψαλμός psalmós ‘string playing, song’). Based on the enthronements of kings, which were common rituals in the Orient, these collected texts were increasingly demo-cratised in Israel (i.e. in the kingless period they referred to the people themselves instead of to a king) and in the late Hellenistic period they were also individualised and referred to every person in situations of need or thanksgiving. The Hebrew Psalm 113 probably dates from the Hellenistic period (2nd-3rd century BC) and is therefore a more recent text in the Book of Psalms.
Vivaldi researcher Michael Talbot assumes that Vivaldi composed the setting of this psalm (RV 601) after 1725 for the royal court in Dresden, where Vivaldi's good colleagues (the musicians Heinichen, Pisendel, Lotti and others) characterised the musical events at court. The most famous soprano of her time, the singer Faustina Bordoni, celebrated as ‘la nuova Sirena’, also worked there. It is not known whether she performed the piece, but the demand for the highest level of virtuosity is clearly evident in the notes of the vocal part (two octaves up to the two-note D‘’).
The special thing about this psalm setting is that there is no choir. Normally, psalms sung at vespers on Sundays are provided with a choral part. Here, the concertante scoring already seems to indicate that a solemn service was to be celebrated with a special virtuoso. Naturally to the honour of God and especially of the Prince. For all the splendour of the music, this suspicious form of religiosity, which ultimately legitimises power with God, must not be forgotten. But the music wants to reopen the listener to the original meaning of this psalm: not to forget and praise the name above all names.
Psalm 112 (113) belongs to the classic series of liturgical Sunday Vespers psalms and is therefore one of the most frequently set biblical texts. Vivaldi alone set this psalm to music four times, as the Ryom catalogue (abbreviation RV) shows: Antonio Vivaldi, Laudate pueri RV 600-603.
*Counting of the Septuagint and Vulgate, the two ancient Greek and Latin translations of the Bible. Today's Bible editions follow the Masoretic text, the authoritative Hebrew text version.
Listen here (approx. 24 min.):
Listening companion:
Allegro non molto
The strings accompany the soprano's joyful entrance in a dance-like manner.
The word ‘Laudate’ is sung with virtuosity and in a variety of figurations, as if there were no end to the amazement and praise for her and all like-minded people around her.
Allegro
Trills decorate a subsequent cantabile melody. Extremely long phrases symbolise this singing without end, until eternity.
Andante
A mystical mood is created as the sun rises in the orchestra. The voice repeats this ascent until the culmination point (the high D!), and sinks again at ‘occasum’. And leads to further, extensive praise of the highest name that can exist.
Larghetto
The rhythm changes to a typical Siciliana: the music reveals a God who dances and hovers over all peoples and especially protects the lowly and the poor.
Allegro molto
The music becomes more violent and takes the side of a god who protests against the prevailing conditions and lifts up the wretched. The singer lends her virtuoso voice to this protest.
Allegro
The soprano sings her vision more melodically and in a somewhat stricter rhythm: the poor man and the nursing mother may really live with the princes. The moving conclusion of this wish is all the more joyful.
Larghetto
Unexpectedly and in serene calm, a transverse flute enters, a beautiful solo in thanksgiving to God, whose honour is justice. Flute and human song unite. The flute continues to sing and withdraws confidently into such great mystery.
Allegro
But man (singing) returns to the work of history awaiting justice.
The ‘Amen’ is festively affirmed like an Alleluia with virtuoso colouratura singing, perhaps also during a festive church service in Dresden in the presence of the powerful members of the princely court.
Laudate pueri Dominum laudate nomen Domini
Sit nomen Domini benedictum ex hoc nunc et usque in saeculum
A solis ortu usque ad occasum laudabile nomen Domini
Excelsus super omnes gentes Dominus super caelos gloria eius
Quis sicut Dominus Deus noster qui in altis habitat et humilia respicit in caelo et in terra
Suscitans a terra inopem et de stercore erigens pauperem
Ut conlocet eum cum principibus cum principibus populi sui qui habitare facit sterilem in domo matrem filiorum laetantem
Gloria Patri et Filio et Spiritui Sancto.
Gloria Patri et Filio et Spiritui Sancto.
sicut erat in principio et nunc et semper et in saecula saeculorum.
Amen.
Give praise, O servants of the LORD; praise the name of the LORD.
Blessed be the name of the LORD
both now and forevermore.
From where the sun rises to where it sets,
the name of the LORD is praised.
The LORD is exalted over all the nations,
His glory above the heavens.
Who is like the LORD our God,
the One enthroned on high,
who humbles Himself to behold
the things that are in heaven and on the earth..
He raises the poor from the dust
and lifts the needy from the dump
Glory be to the Father, and to the Son, and to the Holy Spirit.
Glory be to the Father, and to the Son, and to the Holy Spirit.
As it was in the beginning, is now,
and ever shall be, world without end.
Amen.
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