Many of his compositions were written for the all-female music ensemble of the Ospedale della PietΓ , a home for abandoned children. Vivaldi had worked there as a Catholic priest for 1 1/2 years and was employed there from 1703 to 1715 and from 1723 to 1740. Vivaldi also had some success with expensive stagings of his operas in Venice, Mantua and Vienna. After meeting the Emperor Charles VI, Vivaldi moved to Vienna, hoping for royal support. However, the Emperor died soon after Vivaldi's arrival, and Vivaldi himself died, in poverty, less than a year later.
Antonio Lucio Vivaldi was born on 4 March 1678 in Venice, then the capital of the Venetian Republic. He was baptized immediately after his birth at his home by the midwife, which led to a belief that his life was somehow in danger. Though the reasons for the child's immediate baptism are not known for certain, it was done most likely due either to his poor health or to an earthquake that shook the city that day. In the trauma of the earthquake, Vivaldi's mother may have dedicated him to the priesthood. The ceremonies which had been omitted were supplied two months later.
Vivaldi's parents were Giovanni Battista Vivaldi and Camilla Calicchio, as recorded in the register of San Giovanni in Bragora. Vivaldi had eight siblings: Iseppo Santo Vivaldi, Iseppo Gaetano Vivaldi, Bonaventura Tomaso Vivaldi, Margarita Gabriela Vivaldi, Cecilia Maria Vivaldi, Gerolama Michela Vivaldi, Francesco Gaetano Vivaldi, and Zanetta Anna Vivaldi. Giovanni Battista, who was a barber before becoming a professional violinist, taught Antonio to play the violin and then toured Venice playing the violin with his young son. Antonio was probably taught at an early age, judging by the extensive musical knowledge he had acquired by the age of 24, when he started working at the Ospedale della PietΓ . Giovanni Battista was one of the founders of the Sovvegno dei musicisti di Santa Cecilia, an association of musicians.
During his lifetime, Vivaldi was popular in many countries throughout Europe, including France, but after his death his popularity dwindled. After the end of the Baroque period, Vivaldi's published concerti became relatively unknown, and were largely ignored. Even his most famous work, The Four Seasons, was unknown in its original edition during the Classical and Romantic periods.
In the early 20th century, Fritz Kreisler's Concerto in C, in the Style of Vivaldi (which he passed off as an original Vivaldi work) helped revive Vivaldi's reputation. This spurred the French scholar Marc Pincherle to begin an academic study of Vivaldi's oeuvre. Many Vivaldi manuscripts were rediscovered, which were acquired by the Turin National University Library as a result of the generous sponsorship of Turinese businessmen Roberto Foa and Filippo Giordano, in memory of their sons. This led to a renewed interest in Vivaldi by, among others, Mario Rinaldi, Alfredo Casella, Ezra Pound, Olga Rudge, Desmond Chute, Arturo Toscanini, Arnold Schering and Louis Kaufman, all of whom were instrumental in the revival of Vivaldi throughout the 20th century.
In 1926, in a monastery in Piedmont, researchers discovered fourteen folios of Vivaldi's work that were previously thought to have been lost during the Napoleonic Wars. Some missing volumes in the numbered set were discovered in the collections of the descendants of the Grand Duke Durazzo, who had acquired the monastery complex in the 18th century. The volumes contained 300 concertos, 19 operas and over 100 vocal-instrumental works.
The resurrection of Vivaldi's unpublished works in the 20th century is mostly due to the efforts of Alfredo Casella, who in 1939 organized the historic Vivaldi Week, in which the rediscovered Gloria (RV 589) and l'Olimpiade were revived. Since World War II, Vivaldi's compositions have enjoyed wide success. Historically informed performances, often on "original instruments", have increased Vivaldi's fame still further.
Recent rediscoveries of works by Vivaldi include two psalm settings of Nisi Dominus (RV 803, in eight movements) and Dixit Dominus (RV 807, in eleven movements). These were identified in 2003 and 2005 respectively, by the Australian scholar Janice Stockigt. The Vivaldi scholar Michael Talbot described RV 807 as "arguably the best nonoperatic work from Vivaldi's pen to come to light since [β¦] the 1920s". Vivaldi's 1730 opera Argippo (RV 697), which had been considered lost, was rediscovered in 2006 by the harpsichordist and conductor OndΕej Macek, whose Hofmusici orchestra performed the work at Prague Castle on 3 May 2008βits first performance since 1730.
Laudamus te
Antonio Vivaldi Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
(laudamus te)
benedicimus Te
(benedicumus te)
adoramus te
(adoramus te)
Glorificamus te
(Glorifamus te)
Laudamus te
Benedicimus te
adoramus te
Glorificamus te
(Gloricamus te)
Adoramus te
(adoramus te)
Glorificamus te
laudamus te
benedicimus te
adoramus te
Gloricamus te
adoramus te, adoramus te
Glo- rifi-ca-mus te x2
(end)
The lyrics of Antonio Vivaldi's song "Laudamus te" are a series of repetitions of four verbs: laudamus (we praise), benedicimus (we bless), adoramus (we adore), and glorificamus (we glorify). These verbs are all directed towards the subject of the song, which is addressed as "te" (you), identified as God. The song starts with the repetition of the four verbs and their conjugation with "te," emphasizing the act of worship and reverence towards God. This repetition conveys a sense of devotion and awe towards God's nature and actions.
In the second stanza, the verbs are repeated with a different order, placing more emphasis on the worship and adoration of God. The third stanza focuses on the act of adoration alone, and the call for glorification is repeated twice, signaling that this act of worship is the highest form of praise that can be attributed to God. The song then ends with a final repetition of the four verbs, accompanied by the call to glorify God again.
Overall, the lyrics of "Laudamus te" are a powerful and direct expression of worship and adoration towards God. Vivaldi uses repetition as a tool to emphasize the different aspects of worship, suggesting that they are all important and necessary in the act of praising God.
Line by Line Meaning
laudamus te
We praise you
(laudamus te)
(We praise you)
benedicimus Te
We bless you
(benedicimus te)
(We bless you)
adoramus te
We adore you
(adoramus te)
(We adore you)
Glorificamus te
We glorify you
(Glorifamus te)
(We glorify you)
Adoramus te
We adore you
(adoramus te)
(We adore you)
Glorificamus te
We glorify you
laudamus te
We praise you
benedicimus te
We bless you
adoramus te
We adore you
Gloricamus te
We glorify you
adoramus te, adoramus te
We adore you, we adore you
Glo- rifi-ca-mus te x2
We glorify you twice
Writer(s): Doreen Rao, Antonio Vivaldi
Contributed by Samantha D. Suggest a correction in the comments below.
@rebecaperez
Latin:
Laudamus te
(Laudamus te)
Benedicimus Te
(Benedicumus te)
Adoramus te
(Adoramus te)
Glorificamus te
(Glorifamus te)
Laudamus te
Benedicimus te
Adoramus te
Glorificamus te
(Gloricamus te)
Adoramus te
(Adoramus te)
Glorificamus te
Laudamus te
Benedicimus te
Adoramus te
Gloricamus te
Adoramus te, adoramus te
Glo- rifi-ca-mus te x2
EspaΓ±ol:
Te alabamos,1
te bendecimos,
te adoramos,
te glorificamos.
Te alabamos,
te bendecimos,
te adoramos,
te glorificamos, te glorificamos.
Te adoramos, te adoramos.
Te glorificamos,
te alabamos,
te bendecimos,
te adoramos,
te glorificamos,
te adoramos, te adoramos.
Te glorificamos, te glorificamos.
@ashleymerida4286
Laudamus te
(Laudamus te)
Benedicimus Te
(Benedicumus te)
Adoramus te
(Adoramus te)
Glorificamus te
(Glorifamus te)
Laudamus te
Benedicimus te
Adoramus te
Glorificamus te
(Gloricamus te)
Adoramus te
(Adoramus te)
Glorificamus te
Laudamus te
Benedicimus te
Adoramus te
Gloricamus te
Adoramus te, adoramus te
Glo- rifi-ca-mus te x2
@renn-taylor
This is legit one of the best pairings I've heard sing "Laudamus Te". The singers complement each other so well!!
@sopranoarwen
Thank you so much! That's so kind!!
@dmytrophysicist7860
@Arwen Myers its true =**
@HJHecking
AGREED!!
@michaelgray-jordan9370
I so agree! Finding it made my night!
@alaskafan21
Not only is the tempi good but the voices are in sync and matching in equal strength. I feel this is the best recorded rendition of this duet.
@sopranoarwen
Thank you, Ron! How kind of you to say! β€οΈ
@ildanny80
@Arwen Myers congratulation for this awesome rendition. Is it possible to buy this recording somewhere ? I mean the full Gloria, thanks
@sopranoarwen
@Dan Black I'm don't think so, unfortunately - Early Music Vancouver owns the footage from that project, and I don't believe it's been released commercially.
@seaguluhtceare2695
My mom, aunt, and uncle would often play for this orchestra before the pandemic. I have crystal clear memories of sitting in on their rehearsals for hours as a small kid. I would let the music sing into my soul. They are some of the sweetest and most interesting childhood memories I have. <3