Juditha triumphans - Revision history

Esfield: /* The Text of Juditha triumphans */

2022-03-27T22:21:06Z

The Text of Juditha triumphans

← Older revision		Revision as of 22:21, 27 March 2022
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	[[File:Juditha-tp.jpg\|275px\|thumb\|left\|Title-page of Cassetti's libretto for the oratorio <i>Juditha triumphans</i>. Biblioteca della Ca' Goldoni, Venice, 2008.]]		[[File:Juditha-tp.jpg\|275px\|thumb\|left\|Title-page of Cassetti's libretto for the oratorio <i>Juditha triumphans</i>. Biblioteca della Ca' Goldoni, Venice, 2008.]]

	In such a simplistic account the characters of Judith and Holofernes ~~are easily contrasted~~. The righteous widow Judith is intent on defending the Faith (i.e., Venice), and her arias define her as forthright and determined. ~~Music~~ of sympathy and quiet persuasion ~~falls~~ to Abra. By turns we find Holofernes, the Ottoman aggressor, to be angry, seductive, drunk, and betrayed. The head priest Ozias and the head eunuch Vagaus serve their masters in conventional but musically persuasive ways.		In such a simplistic account the characters of Judith and Holofernes allows for easy comparison. The righteous widow Judith is intent on defending the Faith (i.e., Venice), and her arias define her as forthright and determined. Musical mumbers of sympathy and quiet persuasion fall to Abra, her attendant. By turns we find Holofernes, the Ottoman aggressor, to be angry, seductive, drunk, and betrayed. The head priest Ozias and the head eunuch Vagaus serve their masters in conventional but musically persuasive ways.

	Few works by Vivaldi exhibit such a close coupling of political motive, text, and music. His imitations of Janissary bands permeate the surface, but at a deeper level most of the woodwinds serve to underscore a fleeting sentiment or turn of events.		Few works by Vivaldi exhibit such a close coupling of political motive, text, and music. His imitations of Janissary bands permeate the surface, but at a deeper level most of the woodwinds serve to underscore a fleeting sentiment or turn of events.

Esfield: /* Performer's Guide to Juditha triumphans */

2021-01-25T20:09:27Z

Performer's Guide to Juditha triumphans

← Older revision		Revision as of 20:09, 25 January 2021
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	[[File:Chalumeau.jpg\|100px\|thumb\|left\| Central European chalumeau (left) and Lithuanian birbyne. Photograph by HaCeMei, Wikimedia Commons, 2008.]]		[[File:Chalumeau.jpg\|100px\|thumb\|left\| Central European chalumeau (left) and Lithuanian birbyne. Photograph by HaCeMei, Wikimedia Commons, 2008.]]
	Contrary to popular belief, the Pietà's <i>figlie di coro</i> who performed in this and other works by Vivaldi were not nubile. They ranged in age from their mid-teens to their 60s or 70s. Many had pupils who were girls ranging in age from 8 or 10 to their teends. One copy of the libretto for <i>Juditha</i> identifies the soloists as Caterina, Silvia (b. 1650), Polonia (b. 1692), Barbara, and Giulia. All five were born in the seventeenth century, the eldest (Silvia) around 1650, the youngest (Polonia) in 1692. The chorus was one of Virgins with respect both to the Pietà’s situation and in the context of the subject~~, for~~ Bethulia, the name of the city Judith defended, meant “virgin.”		Contrary to popular belief, the Pietà's <i>figlie di coro</i> who performed in this and other works by Vivaldi were not nubile. They ranged in age from their mid-teens to their 60s or 70s. Many had pupils who were girls ranging in age from 8 or 10 to their teends. One copy of the libretto for <i>Juditha</i> identifies the soloists as Caterina, Silvia (b. 1650), Polonia (b. 1692), Barbara, and Giulia. All five were born in the seventeenth century, the eldest (Silvia) around 1650, the youngest (Polonia) in 1692. The chorus was one of Virgins with respect both to the Pietà’s situation and in the context of the subject: Bethulia, the name of the city Judith defended, meant “virgin.”

	While in its reliance on core strings (violins, violas, cellos) <i>Juditha triumphans</i> is straightfoward in its instrumental requirements, the obbligati extend to unusual bowed strings [http://en.wikipedia.org/wiki/Viola_d'amore (<i>viola d'amore</i>)], plucked strings (mandolin, four theorboes), and woodwinds. A consort of five viols (2 treble viols, 2 violas da gamba, and a <i>violone</i>) are called for one in <i>recitativo accompagnato</i>. The woodwinds include paired baroque oboes, recorders, [http://en.wikipedia.org/wiki/Chalumeau <i>chalumeaux</i>] (single-reed instruments from Central Europe that were slightly shrill forerunners of the clarinet), and a shawm (<i>salmoè</i>). Natural trumpets and timpani lead the triumphal openings and closing numbers.		While in its reliance on core strings (violins, violas, cellos) <i>Juditha triumphans</i> is straightfoward in its instrumental requirements, the obbligati extend to unusual bowed strings [http://en.wikipedia.org/wiki/Viola_d'amore (<i>viola d'amore</i>)], plucked strings (mandolin, four theorboes), and woodwinds. A consort of five viols (2 treble viols, 2 violas da gamba, and a <i>violone</i>) are called for one in <i>recitativo accompagnato</i>. The woodwinds include paired baroque oboes, recorders, [http://en.wikipedia.org/wiki/Chalumeau <i>chalumeaux</i>] (single-reed instruments from Central Europe that were slightly shrill forerunners of the clarinet), and a shawm (<i>salmoè</i>). Natural trumpets and timpani lead the triumphal openings and closing numbers.

Esfield: /* The CCARH Edition of Judith triumphans */

2020-09-26T04:15:53Z

The CCARH Edition of Judith triumphans

← Older revision		Revision as of 04:15, 26 September 2020
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	The <i>Basso continuo</i> part (with occasional specifications for Organo, Cembalo) incorporates the cello and four theorbo parts.		The <i>Basso continuo</i> part (with occasional specifications for Organo, Cembalo) incorporates the cello and four theorbo parts.

	This ~~editions~~ of <i>Juditha triumphans</i> was first used by Venice Baroque, whose performances may be available [http://www.youtube.com/watch?v=2m-zXQNkTi0 here]. The edition has subsequently been revised and corrected for use by Philharmonia Baroque (2014).		This edition of <i>Juditha triumphans</i> was first used by Venice Baroque, whose performances may be available [http://www.youtube.com/watch?v=2m-zXQNkTi0 here]. The edition has subsequently been revised and corrected for use by Philharmonia Baroque (2014).

Esfield: /* The CCARH Edition of Judith triumphans */

2020-07-15T19:55:30Z

The CCARH Edition of Judith triumphans

← Older revision		Revision as of 19:55, 15 July 2020
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	<li> [http://scores.ccarh.org/vivaldi/rv644/jt-miscellaneous.pdf Other instruments]		<li> [http://scores.ccarh.org/vivaldi/rv644/jt-miscellaneous.pdf Other instruments]
	<li> [http://scores.ccarh.org/vivaldi/rv644/jt-ingleseamore.pdf Viole all'inglese]		<li> [http://scores.ccarh.org/vivaldi/rv644/jt-ingleseamore.pdf Viole all'inglese]
	<li> [http://scores.ccarh.org/vivaldi/rv644/quantomagisgenerosa.pdf Viola di'amore] (written pitch)		<li> [http://scores.ccarh.org/vivaldi/rv644/quantomagisgenerosa.pdf Viola d'amore] (written pitch)
	</ol>		</ol>
	</td></tr></table></center>		</td></tr></table></center>

Esfield: /* Juditha triumphans */

2014-03-17T23:55:50Z

Juditha triumphans

← Older revision		Revision as of 23:55, 17 March 2014
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	[[File:Johannes_Matthias_Schulenburg.jpg\|200px\|thumb\|left\|Antonio Corradini's monument (1716) to Johann Matthias von Schulenburg on the island of Corfù. Photograph by Tasoskesaris, Wikimedia Commons, 2010.]]		[[File:Johannes_Matthias_Schulenburg.jpg\|200px\|thumb\|left\|Antonio Corradini's monument (1716) to Johann Matthias von Schulenburg on the island of Corfù. Photograph by Tasoskesaris, Wikimedia Commons, 2010.]]
	One is aware from the first few notes that this is a staunchly militaristic work: the trumpets greet us almost brazenly, the chorus reminds us at intervals that this is a work with the purpose, and it all ends as militantly as it began. Yet <i>Juditha triumphans</i> is full of tender, affective writing. Abra is a fictional "nurse" who demurely follows the widowed Bethulian queen Judith on her murderous mission. Vivaldi heightens attention the work's most significant moments through the use of a series of changing instrumental obbligati. In the architecture of the whole, instrumental color plays a significant role in delineating changes of mood and also in symbolizing diverse universal conceptions--the passage of time (theorboes), fidelity (the oboe), rusticity (the recorder), and so forth.		One is aware from the first few notes that this is a staunchly militaristic work: the trumpets greet us almost brazenly, the chorus reminds us at intervals that this is a work with the purpose, and it all ends as militantly as it began. Yet <i>Juditha triumphans</i> is full of tender, affective writing. Abra is a fictional "nurse" who demurely follows the widowed Bethulian queen Judith on her murderous mission. Vivaldi heightens attention to the work's most significant moments through the use of a series of changing instrumental obbligati. In the architecture of the whole, instrumental color plays a significant role in delineating changes of mood and also in symbolizing diverse universal conceptions--the passage of time (theorboes), fidelity (the oboe), rusticity (the recorder), and so forth.

	Giacomo Cassetti derived the tale from the [http://en.wikipedia.org/wiki/Apocrypha Apocrypha]. He specified its genre as a "sacred military oratorio." The seriousness of its intention was reinforced through its dedication to Johann Matthias (1661-1747), count of Schulenburg, the marshal of the forces designated to defend Corfù, the Republic's last stronghold of its diminishing maritime empire.		Giacomo Cassetti derived the tale from the [http://en.wikipedia.org/wiki/Apocrypha Apocrypha]. He specified its genre as a "sacred military oratorio." The seriousness of its intention was reinforced through its dedication to Johann Matthias (1661-1747), count of Schulenburg, the marshal of the forces designated to defend Corfù, the Republic's last stronghold of its diminishing maritime empire.

Craig: /* The CCARH Edition of Judith triumphans */

2014-02-25T00:22:14Z

The CCARH Edition of Judith triumphans

← Older revision		Revision as of 00:22, 25 February 2014
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	<li> [http://scores.ccarh.org/vivaldi/rv644/jt-miscellaneous.pdf Other instruments]		<li> [http://scores.ccarh.org/vivaldi/rv644/jt-miscellaneous.pdf Other instruments]
	<li> [http://scores.ccarh.org/vivaldi/rv644/jt-ingleseamore.pdf Viole all'inglese]		<li> [http://scores.ccarh.org/vivaldi/rv644/jt-ingleseamore.pdf Viole all'inglese]
			<li> [http://scores.ccarh.org/vivaldi/rv644/quantomagisgenerosa.pdf Viola di'amore] (written pitch)
	</ol>		</ol>
	</td></tr></table></center>		</td></tr></table></center>

Esfield: /* The CCARH Edition of Judith triumphans */

2014-02-24T23:08:15Z

The CCARH Edition of Judith triumphans

← Older revision		Revision as of 23:08, 24 February 2014
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	<b>Unfretted bowed strings</b>:		<b>Unfretted bowed strings</b>:
	Violin 1, Violin 2, Viola, Violoncello.		Violin 1 (3 above), Violin 2 (4), Viola (5), Violoncello (6).

	<b>Fretted bowed strings</b>:		<b>Fretted bowed strings</b>:
	Consort of 4 <i>Viole all’inglese</i>, i.e. 2 treble and 2 alto English viols, with <i>Violone</i>		Consort of 4 <i>Viole all’inglese</i>, i.e. 2 treble and 2 alto English viols, with <i>Violone</i>(8 above)

	<b>Plucked strings</b>:		<b>Plucked strings</b>:

Esfield: /* The CCARH Edition of Judith triumphans */

2014-02-24T22:49:08Z

The CCARH Edition of Judith triumphans

← Older revision		Revision as of 22:49, 24 February 2014
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	<b>Unfretted bowed strings</b>:		<b>Unfretted bowed strings</b>:
	Violin 1, Violin 2, Viola, Violoncello.		Violin 1, Violin 2, Viola, Violoncello.

	~~<i>Viola d’amore</i>: We provide two versions--one at sounding pitch, another replicating the pitches written in Vivaldi's [http://en.wikipedia.org/wiki/Scordatura <i>scordatura</i>] version.~~

	<b>Fretted bowed strings</b>:		<b>Fretted bowed strings</b>:
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	Mandolin, 4 theorboes		Mandolin, 4 theorboes

	Viola d’amore (version at sounding pitch; version in written pitch with scordatura)		<b>Bowed with sympathetic strings</b>:
			<i>Viola d’amore</i> (version at sounding pitch; version in written pitch with [http://en.wikipedia.org/wiki/Scordatura <i>scordatura</i>].

	<b>Woodwinds</b>:		<b>Woodwinds</b>:

Craig: /* The CCARH Edition of Judith triumphans */

2014-02-24T08:53:44Z

The CCARH Edition of Judith triumphans

← Older revision		Revision as of 08:53, 24 February 2014
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	<li> [http://scores.ccarh.org/vivaldi/rv644/jt-viola.pdf Viola]		<li> [http://scores.ccarh.org/vivaldi/rv644/jt-viola.pdf Viola]
	<li> [http://scores.ccarh.org/vivaldi/rv644/jt-continuo.pdf Continuo]		<li> [http://scores.ccarh.org/vivaldi/rv644/jt-continuo.pdf Continuo]
	<li> [http://scores.ccarh.org/vivaldi/rv644/jt-~~miscellandous~~.pdf Other instruments]		<li> [http://scores.ccarh.org/vivaldi/rv644/jt-miscellaneous.pdf Other instruments]
	<li> [http://scores.ccarh.org/vivaldi/rv644/jt-ingleseamore.pdf Viole all'inglese]		<li> [http://scores.ccarh.org/vivaldi/rv644/jt-ingleseamore.pdf Viole all'inglese]
	</ol>		</ol>

Craig: /* The CCARH Edition of Judith triumphans */

2014-02-24T08:53:14Z

The CCARH Edition of Judith triumphans

← Older revision		Revision as of 08:53, 24 February 2014
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	<li> [http://scores.ccarh.org/vivaldi/rv644/jt-continuo.pdf Continuo]		<li> [http://scores.ccarh.org/vivaldi/rv644/jt-continuo.pdf Continuo]
	<li> [http://scores.ccarh.org/vivaldi/rv644/jt-miscellandous.pdf Other instruments]		<li> [http://scores.ccarh.org/vivaldi/rv644/jt-miscellandous.pdf Other instruments]
	<li> [http://scores.ccarh.org/vivaldi/rv644/ingleseamore.pdf Viole all'inglese]		<li> [http://scores.ccarh.org/vivaldi/rv644/jt-ingleseamore.pdf Viole all'inglese]
	</ol>		</ol>
	</td></tr></table></center>		</td></tr></table></center>