Antonio Vivaldi: Kyrie - Sheet music | Carus-Verlag

Antonio Vivaldi Kyrie

RV 587

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Antonio Vivaldi’s extensive oeuvre also includes a large repertoire of sacred vocal music, ranging from large-scale mass and vesper compositions to biblical oratorios and solo motets. The double-choir Kyrie in G minor RV 587, composed around the middle of the 1720s, belongs to a group of individual mass movements. The harmonically exposed opening part, a series of excitingly modulating chords that presumably goes back to a foreign model, lends the first "Kyrie" call a high intensity of expression. The "Christe" is performed by the female voices of both choirs; the final movement is an Allegro double fugue in a strict four-part movement with a short Adagio introduction.
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  • Kyrie eleison
  • Christe eleison
  • Kyrie eleison
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  • 1. Kyrie eleison

    Lord, have mercy on us.

    2. Christe eleison

    Christ, have mercy on us.

    3. Kyrie eleison (Coro I and Coro II)

    Lord, have mercy on us.
    ...
  • 1. Kyrie eleison

    Herr, erbarme dich unser.

    2. Christe eleison

    Christus, erbarme dich unser.

    3. Kyrie eleison (Coro I und Coro II)

    Herr, erbarme dich unser.
    ...
  • 1. Kyrie eleison

    Kyrie eleison.

    2. Christe eleison

    Christe eleison.

    3. Kyrie eleison (Coro I und Coro II)

    Kyrie eleison.
    ...
  • Text from the CD Carus 83.325

    Karl Heller
    Translation (abridged): John Coombs

    Vivaldi’s setting of the Kyrie follows the common practice of assigning the outer sections (“Kyrie eleison”) to the choir and using solo singers in the “Christe eleison”. Only the inner movement uses double choir throughout; in the opening movement the two choirs often sing together, as they do throughout the final movement – an Allegro double fugue with a short Adagio introduction. This double fugue draws upon a model borrowed by Vivaldi from a work of another composer. This practice is probably also true for the harmonically striking opening section of the work, a series of tensely modulating chords which give the first “Kyrie” appeal such a great expressive power. In fashioning this “labyrinthine” sequence of chords Vivaldi also probably followed the model of an other composer, and the use of this sequence is not unique to this Kyrie: we encounter it again in the opening chorus of the Magnificat and at “Et incarnatus est” in the Credo. This harmonic progression always helps the composer to create a very special aura.

    ...
  • Booklet-Text der CD Carus 83.325

    Karl Heller (2003)

    Die Wiederbelebung der Musik Antonio Vivaldis im 20. Jahrhundert ging einher mit der Neuentdeckung bisher völlig unbekannter Schaffensbereiche des Komponisten. Für die stärksten Überraschungen sorgte dabei ein großer Bestand an geistlicher Vokalmusik, dessen Repertoire von der groß angelegten Mess- und Vesperkomposition bis zum biblischen Oratorium und zur Solomotette reicht. Die ersten Wiederaufführungen solcher Werke, darunter das Gloria RV 589 und das Credo RV 591, während einer Vivaldi-Woche in Siena 1939 wurden geradezu als Sensation empfunden. Sie ließen deutlich werden, dass der Komponist gerade auf diesem Sektor Werke höchsten künstlerischen Ranges geschaffen hat.

    Vivaldis Vertonung des Kyrie folgt der weithin geübten Praxis, die beiden rahmenden Textglieder (»Kyrie eleison«) für Chor, das »Christe eleison«

    ...
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full score Carus 40.005/00, ISMN 979-0-007-05742-8 48 pages, DIN A4, paperback
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14,00 € / copy
vocal score Carus 40.005/03, ISMN 979-0-007-05875-3 20 pages, paperback
available
9,20 € / copy
choral score Carus 40.005/05, ISMN 979-0-007-05743-5 16 pages, DIN A4, without cover Minimum order quantity: 20 copies
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from 20 copies 5,80 € / copy
from 40 copies 5,22 € / copy
from 60 copies 4,64 € / copy
individual part, choir 1: violin 1 Carus 40.005/11, ISMN 979-0-007-05744-2 4 pages, DIN A4, without cover
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2,20 € / copy
individual part, choir 1: violin 2 Carus 40.005/12, ISMN 979-0-007-05745-9 4 pages, DIN A4, without cover
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2,20 € / copy
individual part, choir 1: viola Carus 40.005/13, ISMN 979-0-007-05746-6 4 pages, DIN A4, without cover
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2,20 € / copy
individual part, choir 1: basso continuo Carus 40.005/14, ISMN 979-0-007-05747-3 4 pages, DIN A4, without cover
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individual part, choir 2: violin 1 Carus 40.005/21, ISMN 979-0-007-05748-0 4 pages, DIN A4, without cover
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individual part, choir 2: violin 2 Carus 40.005/22, ISMN 979-0-007-05749-7 4 pages, DIN A4, without cover
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individual part, choir 2: viola Carus 40.005/23, ISMN 979-0-007-05750-3 4 pages, DIN A4, without cover
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2,20 € / copy
individual part, choir 2: basso continuo Carus 40.005/24, ISMN 979-0-007-05751-0 4 pages, DIN A4, without cover
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text (without music) for download, html file, Introductory text, German Carus 40.005/00-310-000
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25,00 € / copy
text (without music) for download, html file, Introductory text, English Carus 40.005/00-320-000
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text (without music) for download, html file, Singing text, German translation Carus 40.005/00-350-000
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text (without music) for download, html file, Singing text, english translation Carus 40.005/00-360-000
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text (without music) for download, html file, Singing text, original Carus 40.005/00-380-000
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Reviews

Vivaldi, Antonio: Kyrie RV 587

Carus druckte das erste Kyrie auf 14 Seiten, Ricordi auf 16. Carus größeres Format ist bequem und deutlicher zu lesen, Ricordis klassischer Notensatz wirkt elegant, ist aber für meine Augen etwas zu klein. Ricordi hält konsequent ein ausgewogenes Notenbild, während Carus in manchen Takten, wie z.B. in den Takten 28-30 des ersten Satzes, auf dieses verzichtet. Aber natürlich die Wahl liegt bei Ihnen.
Toccata 7/03

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