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In furore iutissimae irae RV.626

Antonio Vivaldi (b. 1678 - d. 1741)

Composer
Antonio Vivaldi (b. 1678 - d. 1741)
Composition Year
Early 1720s
Work Movements
1. Allegro - In furore iutissimae irae
2. Recitativo
3. Largo - Tunc meus fletus
4. Allegro - Alleluia
Artists
Berit Norbakken Solset [Soprano], Camerata Øresund (Ida Lorenzen (violin), Tinne Albrechtsen (violin), Alison Luthmers (vioin), Rastko Roknic (viola), Hanna Loftsdóttir (cello), Joakim Peterson (double Bass), Dohyo Sol (lute), Magdalena Karolak (oboe), Marcus Mohlin (harpsicord)

Programme Note Writer:
©

Antonio Vivaldi [1678-1741]


In furore iutissimae irae RV.626 [early 1720s]

1. Allegro - In furore iustissimae irae

2. Recitativo

3. Largo – Tunc meus fletus

4. Allegro - Alleluia 


Despite In furore iustissimae irae being a sacred work, Vivaldi manages to conjure up all the emotions and drama associated with the operatic stage, not least because of the da capo arias and recitatives. Written during one of Vivaldi’s sojourns to Rome during the carnival seasons of the early 1720’s, In furore is one of three surviving motets from this period, written with the intention of being an introductory preface to larger-scale settings of liturgical texts. The work is bolder and more outgoing than those from the decade before, and Vivaldi’s manner of expression bears all the unmistakable traits of the individualism that would dominate all his sacred vocal music of this period and beyond. The text tells of the dangers of sin, and speaks directly to God and Jesus. The result of setting music to a poetic text meant that the work was not restricted to any particular time of year, and thus could be fitted in to the majority of church festivals, giving the musicians the chance to repeat the work many times. 


The opening C minor da capo aria engulfs the listener at once in its fury and wrath with just a little respite in the contrasting middle section. The brief recitative which follows is a plea for mercy, setting the atmosphere for the next movement. Simple and beautiful in nature, the second aria displays a positive yet heart-wrenching acceptance of sorrow, the tortured sighing voice portrayed in unison with the violin, accompanied only by the upper strings with sparse use of the continuo. The poignant mood is broken by the final Alleluia, an exuberant and virtuosic conclusion to the motet. 

Kate Hearne

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In furore iutissimae irae RV.626

Composer: Antonio Vivaldi (b. 1678 - d. 1741)
Performance date: Sunday 1st July 2018
Venue: St. Brendan's Church, Bantry, Co Cork, Ireland

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Composer Antonio Vivaldi (b. 1678 - d. 1741)
Work Title In furore iutissimae irae RV.626
Composition Year Early 1720s
Work Movements 1. Allegro - In furore iutissimae irae
2. Recitativo
3. Largo - Tunc meus fletus
4. Allegro - Alleluia
Artist(s) Berit Norbakken Solset [Soprano], Camerata Øresund (Ida Lorenzen (violin), Tinne Albrechtsen (violin), Alison Luthmers (vioin), Rastko Roknic (viola), Hanna Loftsdóttir (cello), Joakim Peterson (double Bass), Dohyo Sol (lute), Magdalena Karolak (oboe), Marcus Mohlin (harpsicord)
Performance Date Sunday 1st July 2018
Performance Venue St. Brendan's Church, Bantry, Co Cork, Ireland
Event Coffee Concert
Duration 00:12:00
Recording Engineer Ciaran Cullen, RTÉ
Instrumentation Category Baroque Ensemble
Instrumentation Baroque Ensemble & Soprano

Antonio Vivaldi [1678-1741]


In furore iutissimae irae RV.626 [early 1720s]

1. Allegro - In furore iustissimae irae

2. Recitativo

3. Largo – Tunc meus fletus

4. Allegro - Alleluia 


Despite In furore iustissimae irae being a sacred work, Vivaldi manages to conjure up all the emotions and drama associated with the operatic stage, not least because of the da capo arias and recitatives. Written during one of Vivaldi’s sojourns to Rome during the carnival seasons of the early 1720’s, In furore is one of three surviving motets from this period, written with the intention of being an introductory preface to larger-scale settings of liturgical texts. The work is bolder and more outgoing than those from the decade before, and Vivaldi’s manner of expression bears all the unmistakable traits of the individualism that would dominate all his sacred vocal music of this period and beyond. The text tells of the dangers of sin, and speaks directly to God and Jesus. The result of setting music to a poetic text meant that the work was not restricted to any particular time of year, and thus could be fitted in to the majority of church festivals, giving the musicians the chance to repeat the work many times. 


The opening C minor da capo aria engulfs the listener at once in its fury and wrath with just a little respite in the contrasting middle section. The brief recitative which follows is a plea for mercy, setting the atmosphere for the next movement. Simple and beautiful in nature, the second aria displays a positive yet heart-wrenching acceptance of sorrow, the tortured sighing voice portrayed in unison with the violin, accompanied only by the upper strings with sparse use of the continuo. The poignant mood is broken by the final Alleluia, an exuberant and virtuosic conclusion to the motet. 

Kate Hearne