Vivaldi: Magnificat in G minor | Hervé Niquet & Le Concert Spirituel

Antonio Vivaldi’s Magnificat RV 610 reflects the grandeur of Venetian sacred music at the time. This performance of the work was given by Le Concert Spirituel under Hervé Niquet at the Chapel of the Trinity in Lyon, France, during the 32nd Lyon Baroque Music Festival in December 2014.

00:00 I. Magnificat anima mea Dominum
00:58 II. Et exultavit
02:57 III. Et misericordia
05:37 IV. Fecit potentiam
06:07 V. Deposuit potentes de sede
07:08 VI. Esurientes implevit bonis
08:30 VII. Suscepit Israel
09:13 VIII. Sicut locutus est
10:56 IX. Gloria patri

Antonio Vivaldi (1678 - 1741) composed his Magnificat in G minor, RV 610, around 1715–1719. An ordained priest and virtuoso violinist known as "il prete rosso" (the red-haired priest) for his red locks, he was appointed to the Ospedale della Pietà in Venice, an institution famed for its choir and orchestra, comprised of the orphaned or "illegitimate" girls living there. At the time, Venice's four ospedali were gaining widespread attention for their religious services, which featured high quality music. The Magnificat was composed for Vespers, one of the canonical hours in the Catholic liturgy.

During his tenure at the Pietà, Vivaldi became increasingly recognized for his bold and innovative music. Among several versions of his setting of the Magnificat text, RV 610 is the most widely performed. He later reworked the piece into RV 611, preserving the choral framework but adding five elaborate solo arias tailored to individual female performers at the Pietà, whose names were written in the manuscript. This practice of reusing and adapting material—while common in the Baroque era—is especially extensive when it comes to Vivaldi's Magnificat, a piece he returned to again and again.

With its dramatic contrasts between solo and choral textures and vivid musical depictions of the text, the Magnificat showcases Vivaldi's command of the Baroque musical language. The Latin text, taken from the Gospel of Luke, is the Virgin Mary's hymn of praise upon learning she will give birth to Jesus. Drawing on the theme, the piece includes a number of references to the relationship between humankind and the divine. The final movement, "Gloria Patri," culminates in a double fugue, symbolizing eternity and spiritual triumph. Today, Magnificat in G minor, RV 610 stands as one of Vivaldi’s most compelling sacred compositions.

French conductor and harpsichordist Hervé Niquet founded Le Concert Spirituel in 1987, naming it after a Parisian concert society that was popular in the 18th century. The group tours regularly and is known for performing French and sacred music with a special focus on bringing long-forgotten works back into the spotlight.

© Karl More Productions / Festival de Musique Baroque de Lyon - 2014

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