The Credo belongs to that large group of church works which Vivaldi composed in Venice between 1713 and 1717 for the Ospedale della Pietà, then his primary place of employment.
The composition, conceived solely for choir and strings, is characterized by a two-layered formal design: a continuous, basic motivic idea, i.e., a constant rhythmic impulse with rapid tone repetition builds an instrumental layer, while on the other hand the writing for choir renders the text in a blocklike structure in chordal declamation. This structure will only be abandoned briefly in the concluding section of work, where the text “Et vitam venturi saeculi” is embedded in a concise fugue.
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- Credo in unum Deum
- Et incarnatus est
- Crucifixus
- Et resurrexit
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Digital text (without sheet music) incl. printing licence, html file, singing text, english translationhtml file, singing text, english translation (Sample)1. Credo in unum DeumI believe in one God,
the Father almighty,
Maker of heaven and earth
and of all things visible
and invisible.
And in one Lord
Jesus Christ,
the only-begotten Son of God,
begotten of his Father
before all ages.
God of God,
light of light,
true God of true God,
begotten, not made,
being of one substance with the Father,
by whom all things were made.
Who for us men
and for our salvation
came down from heaven....
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Digital text (without sheet music) incl. printing licence, html file, singing text, german translationhtml file, singing text, german translation (Sample)1. Credo in unum Deum
Ich glaube an einen Gott,
den allmächtigen Vater,
der alles geschaffen hat,
Himmel und Erde, die sichtbare
und die unsichtbare Welt.
Und an den einen Herrn
Jesus Christus,
Gottes eingeborenen Sohn,
aus dem Vater geboren
vor aller Zeit:
Gott von Gott,
Licht vom Licht,
wahrer Gott vom wahren Gott,
gezeugt, nicht geschaffen,
eines Wesens mit dem Vater;
durch ihn ist alles geschaffen.
Für uns Menschen
und zu unserem Heil
ist er vom Himmel gekommen....
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Digital text (without sheet music) incl. printing licence, html file, singing text, originalhtml file, singing text, original (Sample)1. Credo in unum Deum
Credo in unum Deum,
Patrem omnipotentem,
factorem coeli et terrae,
visibilium omnium, et invisibilium.
Et in unum Dominum Jesum Christum,
Filium Dei unigenitum.
Et ex Patre natum ante omnia saecula.
Deum de Deo, lumen de lumine, Deum verum de Deo vero.
Genitum, non factum, consubstantialem Patri:
per quem omnia facta sunt.
Qui propter nos homines, et propter nostram salutem
descendit de coelis....
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Digital text (without sheet music) incl. printing licence, html file, Introductory text, englishhtml file, Introductory text, english (Sample)Text from the CD Carus 83.325
Karl Heller
Translation (abridged): John CoombsThe Credo RV 591 shows in wide stretches a continuous, uninterrupted setting of the words. Thus, the duration of the composition of this textually lengthy section of the Mass is only about a third as long as the Gloria RV 589. Vivaldi achieved this by forcing the large blocks of text of the Credo into a unified musical mould. In so doing, the principle of musical duality is again confirmed: The basic, characteristic idea, whose in sistent rhythm is emphasized by rapid repeated notes, is entrusted to the orchestra, while the cho rus declaim the words in block chords. This treatment of the chorus is only abandoned in the final section of the work: The words “Et vitam venturi saeculi. Amen” are set as a short fugue, but at the same time they remain surrounded by the unifying flow of the instruments.
The only sections with music uniquely their own
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Digital text (without sheet music) incl. printing licence, html file, Introductory text, germanhtml file, Introductory text, german (Sample)Booklet-Text der CD Carus 83.325
Karl Heller
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 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.
Einer starken Aufsplitterung des Textes in Einzelsätze (wie beispielsweise im GloriaRV 589) steht im Credo RV 591 auf weite Strecken eine durchgehende Vertonung des Textes gegenüber.
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Composer
Antonio Vivaldi
| 1678-1741Antonio (Lucio) Vivaldi was an Italian composer and violinist of the Baroque period.
It is assumed that his father, who was a musician himself, was responsible for Vivaldi's musical education. However, he began his professional career as a priest, which earned him the nickname Il prete rosso (the red-haired priest).
From 1703, Vivaldi worked intermittently as a violin teacher and composer at the Ospedale della Pietà, an orphanage for girls in Venice, until shortly before his death. Initially, he also worked there as a priest, but relinquished this role after three years. He wrote numerous chamber music works and concertos for his pupils at the Pietà. The famous Four Seasons are particularly well-known and often performed today. Vivaldi also composed sacred and secular vocal music and was an opera composer and director.
Of over 800 works known today, only 135 were published during Vivaldi's lifetime. After his death, Vivaldi's compositions were initially largely forgotten. Many of his works were rediscovered and published, particularly in the 20th century. Among them is the Gloria in D RV 589, the very first sheet music edition published by Carus-Verlag.
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Vivaldi, Antonio: Credo RV 591
Diese dramatische vierteilige Vertonung des Credo ist ein überraschendes Werk. Der deklamierende Chor im homophonen Stil und die durchdringenden, ostinaten Motive der Violinen im ersten und vierten Satz wirken erregt und unruhig. Zwischen diesen Sätzen steht ein sanftes 19-taktiges „Et incarnatus est” und ein berauschendes „Cruxifixus”. Die letzten 25 Takte des „Et resurrexit” bilden eine exquisite kurze Amen-Fuge.Toccata 7/2003
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