List of Compositions By Antonio Vivaldi - Sacred Music

Sacred Music

Work RV Notes
Missa Sacrum 586 Disputed. Withdrawn and moved to Anh. 112.
Kyrie 587
Gloria 588
Gloria 589
Gloria 590 Lost.
Credo 591
Credo 592 Disputed.
Domine ad adiuvandum me 593
Dixit Dominus 594
Dixit Dominus 595 Di Praga.
Confitebor tibi, Domine 596
Beatus vir 597
Beatus vir 598
Beatus vir 599 Lost.
Laudate pueri Dominum 600
Laudate pueri Dominum 601
Laudate pueri Dominum 602
Laudate pueri Dominum 602a
Laudate pueri Dominum 603
In exitu Israel 604
Credidi propter quod 605 Now RV Anh. 35b.
Laudate Dominum 606
Laetatus sum 607
Nisi Dominus 608
Lauda Jerusalem 609
Magnificat 610/610a/610b/611
Deus tuorum militum 612
Gaude Mater Ecclesia 613
Laudate Dominum 614 Disputed.
Regina coeli 615 Incomplete.
Salve Regina 616
Salve Regina 617
Salve Regina 618
Salve Regina 619 Lost.
Sanctorum meritis 620
Stabat Mater 621
Te Deum 622 Lost.
Canta in prato, ride in monte 623 Not to be confused with RV 636, which is "Canta in prato, ride in fonte".
Carae rosae respirate 624 Incomplete without reconstruction of lost second violin and viola parts.
Clarae, stellae 625
In furore iustissimae irae 626
In turbate mare 627
Invicti bellate 628 Incomplete, yet reconstructed and recorded by Academia Montis Regalis.
Longe mala, umbrae, terrores 629 Not to be confused with RV 640, which is a similar motet on the same text but intended for different purposes.
Nulla in mundo pax sincera 630
O qui coeli terraeque serenitas 631
Sum in medio tempestatum 632
Vestro principi divino 633
Vos aurae per montes 634
Introduzione al Dixit (RV 595) "Ascende laeta" 635
Introduzione al Dixit (RV 594?) "Canta in prato, ride in fonte" 636 Not to be confused with RV 623, which is "Canta in prato, ride in monte".
Introduzione ad un Gloria "Cur sagittas" 637 The preceding work that was to follow this introductory motet, most likely a lost setting of the Gloria in B-flat, RV 590, is now presumably lost.
Introduzione al Miserere "Filiae maestae Jerusalem" 638
Introduzione al Gloria (RV 588) "Jubilate o amoeni chori" 639 Introductory motet has third movement interwoven with Gloria, RV 588.
Introduzione al Gloria (RV 588) "Jubilate o amoeni chori" 639a
Introduzione al Gloria (RV 589) "Longe mala, umbrae, terrores" 640 Not to be confused with RV 629, which is a similar motet on the same text but intended for different purposes.
Introduzione al Miserere "Non in pratis" 641
Introduzione al Gloria (RV 589) "Ostro picta" 642
Oratorio Moyses Deus Pharaonis 643 Lost.
Oratorio Juditha triumphans 644
Oratorio L'adorazione delli tre re magi al bambino Gesu 645 Lost.
Ad corda reclina 646 New text on the aria from Act II, Scene 8 of Arsilda, regina di Ponto, RV 700.
Eja voces plausum date 647 New text on the aria from Act II, Scene 2 of Orlando furioso, RV 728.
Ihr Himmel nun 648 New text on the aria from Act II, Scene 2 of Arsilda, regina di Ponto, RV 700.
Bajazet 703
Aria per la communione 748 Lost.
Oratorio La vittoria navale predetta dal S Pontefice Pio V Ghisilieri 782 Lost.
Confitebor tibi, domine 789 Manuscript found in damaged condition.
Beatus vir 795
Magnificat 797 Lost; possibly related to the extant settings of RV 610/610a/610b/611.
Nisi Dominus 803
Salve Regina 804 Lost.
Dixit Dominus 807
Vos invito, barbare faces 811

A possible setting, or even settings (considering the many settings of other liturgical text Vivaldi composed) of the Miserere may have existed, as hinted by the two introductory sets of movements intended for the piece(s), but such composition(s) have been lost.

Read more about this topic:  List Of Compositions By Antonio Vivaldi

Famous quotes containing the words sacred and/or music:

    For the support of this declaration we mutually pledge to each other our lives, our fortunes, & our sacred honour.
    Thomas Jefferson (1743–1826)

    I fear I agree with your friend in not liking all sermons. Some of them, one has to confess, are rubbish: but then I release my attention from the preacher, and go ahead in any line of thought he may have started: and his after-eloquence acts as a kind of accompaniment—like music while one is reading poetry, which often, to me, adds to the effect.
    Lewis Carroll [Charles Lutwidge Dodgson] (1832–1898)