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Vivaldi gloria5/27/2023 Steadily descending lines in the strings, over a throbbing basso continuo accompaniment, usher in a series of stranger harmonies for “et in terra pax.” As the choral voices overlap one another, we hear occasional twinges of dissonance, as if we are already lamenting, in the midst of this celebratory first section, the cost to be paid for peace on earth. The second half of the phrase, however, provides an oddly somber contrast to the jubilant opening. We suddenly understand why the shepherds were compelled. Vivaldi’s decision to open his Gloria with a bold statement from the orchestra, resounding with bravura octave leaps and illuminated by the brilliance of trumpet and oboe, conjures the overwhelming sound of the “heavenly host.” Following in the same vein, the choir projects a wall of sound, each voice magnifying the others while preserving the clarity of the angel’s words. The text of the Gloria begins by quoting one of the more theatrical passages of the Bible, from the story of the Nativity in the Gospel of Luke, in which an angel announces Christ’s birth to the shepherds: “Glory to God in the highest, and on earth peace to men of good will” (ii.14). Vivaldi was not the first Italian composer to bring operatic recitatives and arias into the music of the Catholic Church, but his Gloria is proof of the expressive powers that opera could lend to religious experience. While each work bears the unique imprint of its creator, they also share many elements of style and are connected, in their inspiration, to the whole world of sacred art. In composing music for two of the oldest Christian liturgical texts-the Gloria and the Magnificat-Antonio Vivaldi and Johann Sebastian Bach stepped onto a well-worn path. Music, especially, plays a prominent role in religious imagination, from the hymns of ancient Greece, to the cantorial traditions of Judaism and Islam, to the continuing attempts by composers to capture the “songs of heaven” in earthly music. Whether it takes shape in the arabesques and mosaics of the Great Mosque of Damascus or the intricate calligraphy and illuminated details in sacred books, spirituality has motivated countless artists. The concert is free and no tickets are required (donations appreciated).Among all the areas of human experience and endeavor, religion has perhaps inspired the greatest works of art. Given the venue this year, we will be offering this concert as a gift to the community. ![]() ![]() Susan McCreary Duprey, Artistic Director & Conductor Local Soloists: Peg KempHenry, Soprano Wendy Buzby, Alto John Stover, Tenor and Dan Garrett, Bass Come and enjoy this casual classical concert! We welcome a 90-voice chorus, four talented local soloists, and a 22-person orchestra. 18, 4:00 PM, at the open air Grace Kona Community Church, 74-4889 Palani Road (please note that this is a new venue for this concert). What is Christmas without the singing of Handel’s Messiah? Or, Antonio Vivaldi’s well-known Gloria? After a two year hiatus, Kona Choral Society & Orchestra, under the direction of Artistic Director Susan McCreary Duprey, presents its annual concert of Part I of Handel’s Messiah for TWO performances this year Saturday, Dec.
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