Dixit Dominus, RV 595

Antonio Vivaldi (1671-1742) typifies the Italian Baroque better than any other figure: extremely prolific, a brilliant and inventive violinist, working in Venice. In the realm of vocal music, he has been largely overshadowed by figures like Bach and Handel, even though he wrote spectacular operas and sacred works. Partly this is the result of what we might call “life situation.” Handel worked in close relation with several prominent opera companies in London; Bach’s position necessitated weekly cantatas and periodically masses, motets, and passions; Vivaldi never enjoyed such a ready-made venue for vocal music. Moreover, some of his best sacred works went missing after his death, only to be rediscovered in the 20th and 21st centuries.
Vivaldi made at least two settings of Psalm 110 (Vulgate 109), Dixit Dominus. RV 594 is a larger work and scored for two outstanding trumpeters, which were not easily come by in his day; even in our day it is hard to find two performers who have mastered the challenges of the original valveless trumpet. The other setting, RV 595, is considered a more modest companion of 594, though its charms are no less endearing and its choral sonority no less compelling. Scant information exists to help us date and contextualize its composition. A single scribbled comment in the manuscript, “di Praga,” suggests Dixit RV 595 connects somehow to Prague. Vivaldi traveled to Vienna and Prague in 1730, and during his final decade he planned to settle permanently in Vienna. Hence the Dixit Dominus may date from around 1730 and be intended as a musical calling card for securing future patrons.
Vivaldi spreads out the entire text (Psalm 110 plus the Gloria patri) over eleven sections, some of which flow continuously one to the next. The opening Sinfonia and Chorus, set in radiant D major, stride forth in steady 16th notes in the violins, walking bass line, and occasional punctuations from the lone trumpet. The dotted rhythms and minor mode of section 2 create a sober, processional mood. Sections 3 and 4 present solo aria and duet, respectively, followed by a striking choral recitative for full chorus (no. 5). Section 6 offers a virtuosic and highly melismatic solo for mezzo soprano. The trumpet comes to the forefront for section 7, which Vivaldi structures as a call-and-response, gradually building the texture from thin to full in a quite modern fashion. The final words of the psalm are presented as an impassioned alto solo (no. 8), after which the dancelike Gloria patri (no. 9) turns to a new texture: vocal trio for treble, middle, and bass registers. It leads directly into an exuberant passage for full chorus and orchestra (no. 10). At the end, Vivaldi returns to the glittering D major for a rousing fugue. Ample energy spills out from the ascending bass line and rising harmonic progression. Even through short instrumental interludes, Vivaldi maintains a masterful drive to the final, resounding cadence.

(c) Jason Stell