The Organ of Riga Dome - Antonio Vivaldi / Орган Рижского Домского Собора - Антонио Вивальди

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Published on 30 May 2014, 13:34
The Organ of Riga Dome - Antonio Vivaldi (Орган Рижского Домского Собора - Антонио Вивальди)


1. Gloria - AVE SOL, Imants Kokars, Yevgeniya Lisitsina. ( 00:00 )
2. Et in terra paxhominibus - AVE SOL, Imants Kokars, Yevgeniya Lisitsina - ( 03:22 )
3. Laudamus te - Yevgeniya Lisitsina, Galina Kalinina, Irina Arhipova - ( 08:24 )
4. Gratias agimus tibi - AVE SOL, Imants Kokars, Yevgeniya Lisitsina - ( 11:22 )
5. Propter magnam gloriam - AVE SOL, Imants Kokars, Yevgeniya Lisitsina - ( 12:09 )
6. Domine Deus - Yevgeniya Lisitsina, Galina Kalinina - ( 13:28 )
7. Domine, Fili unigenite - AVE SOL, Imants Kokars, Yevgeniya Lisitsina - ( 19:00 )
8. Domine Deus, Agnus Dei - AVE SOL, Imants Kokars, Yevgeniya Lisitsina, Irina Arkhipova - ( 21:51 )
9. Qui tollis peccata mundi - AVE SOL, Imants Kokars, Yevgeniya Lisitsina - ( 27:35 )
10. Qui sedes ad dexteram Patris - Yevgeniya Lisitsina, Irina Arkhipova - (30:14 )
11. Quoniam tu solus sanctus - AVE SOL, Imants Kokars, Yevgeniya Lisitsina - ( 33:33 )
12. Cum Sancto Spiritu - AVE SOL, Imants Kokars, Yevgeniya Lisitsina - ( 34:48 )


13. Concerto in E Major, Op. 8 No.1, RV 269 "Spring" Allegro. Largo.Allegro. - Yevgeniya Lisitsina - ( 38:17 )
14. Concerto in G Minor, Op. 8 No.2, RV 315 "Summer" Allegro non molto.Allegro.Adagio.Presto. - Yevgeniya Lisitsina - ( 49:34 )
15. Concerto in F Major, Op. 8 No.3, RV 293 "Autumn" Allegro. Adagio molto.Allegro - Yevgeniya Lisitsina - ( 01:01:05 )
16. Concerto in F Minor, Op. 8 No.4, RV 297 "Winter" Allegro non molto.Largo.Allegro. - Yevgeniya Lisitsina - ( 01:12:14 )

ANTONIO VIVALDI (1678 - 1741) - the outstanding Italian composer, violinist and conductor has merited widest acknowledgement with his significant contribution to development of the concerto genre. He is the founder of instrumental solo concerto, the pioneer of program orchestral music.
Alongside with "Stabat Mater" the cantata "Gloria"- for soloists, the mixed choir and the orchestra - belongs to the composer's pithiest vocal compositions. It may be characterized by directness of emotionality, rich musical figurativeness, striking dynamical changes and expressive development. The dramatical fast parts distinguished by monumental pathos,and spiritualized lyrics of the slow parts go into the united whole.
Riga chamber choir "AVE SOL"(founded in 1969) under the leadership of its art-adviser and conductor prof. Imants Kokars has become one of the most well-known Latvian choir units, the performance of which is distinguished by skillfulness, richness in vocal colours and shades, timbre freshness. The choir has a stylistically diverse repertoire,wide concertgiving activities.
Soprano solo is performed by the soloist of Moscow Bolshoi Theatre Galina Kalinina, the part of mezzo-soprano - one of the most prominent representatives of the Russian vocal school, the soloist of the Bolshoi Theatre Irina Arkhipova. The artists singing attracts with deep revelation of the musical image, uniting of high vocal mastery and timbral diversity of the voice.
The arrangement of orchestra part for organ of the cantata "Gloria"by A. Vivaldi has been carried out by the distinguished Latvian organist Yevgeniya Lisitsina, who has also given concerts in Finland,England,Italy and Eastern Europe.

The most significant place in the wide musical heritage of the Italian composer, violin-virtuoso and the conductor ANTONIO VIVALDI (1678-1741) is taken by concerto genre. Rapid, but not long flourishing of orchestra concerto - Concerto grosso - in its further development in A. Vivaldi's creation transformed of bright thematicism is in places raised to the border of visual associations. Beginning the tradition of programmatic orchestra music, many concertos of A. Vivaldi are also given a definite figurative trend with a title.
A composition of the early period - cycle of four concertos "Seasons" is widely known among the composer's 228 violin concertos. The 17th - 18th centuries orchestra music expression methods related to the specific character of organ as well as spiritually - creative approach to interpretation questions of early and baroque music in general have urged the Latvian organist Yevgeniya Lisitsina to form the cycle arrangement for organ. Strong marking of timbrely dynamical terraces, working out of smallest articulation details, skilful use of tumbrel colourness possibilities of the Riga Dom instrument in illustrative moments in Y. Lisitsina's interpretation enables us to touch anew with the beauty of A. Vivaldi's art.