In the great ecclesiastical Roman houses of the late Baroque, the time between the first Vespers of the Nativity and Midnight Mass on Christmas Eve was filled with festivities including sumptuous dinners followed by concerts of vocal and instrumental music. Often special Christmas Cantatas were written for these occasions. An official ceremonial record of 1711 shows that even the Pope indulged in these entertainments: "Vespers being ended, those most eminent cardinals who wish to be present at Matins and Mass remain in the Apostolic Palace, and the ministers of the said palace ... give them a most abundant supper ... In addition, to give the said cardinals a virtuous entertainment in music, a cantata in Italian about the Nativity of the Child Jesus, which is organized by our maestro di cappella The Chamberlain must choose the best singers of our college to sing it ..." Alessandro Scarlatti, a noted composer of opera and over 600 cantatas, was commissioned to contribute Christmas offerings for these entertainments five times. Although O di Betlemme altera was not among the papal commissions, it is quite possible that it was the result of a commission from one of the other great Roman houses. The text is by Cardinal Antonio Ottoboni, curator of the Sistine Chapel and a great patron of music and musicians.

The piece is scored for soprano, strings, and basso continuo. Following a two-part instrumental introduction, the following recitative and aria comment on the virgin birth (the soprano in duet with a solo violin). The second recitative and aria, accompanied by violin and viola, focuses on the fact that the child in the manger must suffer to give us hope. The final recitative calls on the shepherds to bring their instruments to help celebrate the child's birth. The final aria is the traditional pastorale in 12/8 time again entreating the shepherds to leave their flocks and join in adoration.

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Antonio Vivaldi was known variously as the red priest; the teacher of orphan girls in the Venetian Pio Ospedale della Pietà; a renowned violin virtuoso; and innovator in the composition of concertos of various types. He composed over 500 of them, more than 230 for solo violin. His contributions to the genre included: regular use of ritornello form (tutti theme alternating with solo episodes) in the fast outer movements; new virtuosic standards for soloists; and new strong effects, such as orchestral unison. These innovations became part of the expected language of the concerto. Composed some years earlier and published in 1725 as part of a larger set (Il cimento dell'armonia e dell'inventione, Op. 8), Vivaldi's most popular work The Four Seasons paints a picture of the passing of year in the Venetto through four concertos for solo violin, strings, and basso continuo. The published version was accompanied by sonnets (written by Vivaldi?), repeated in the score where the description applies. Tonight we hear the fourth of this set, L'inverno (Winter).

I. Allegro non molto: "Frozen and trembling among the chilly snow," The orchestra enters slowly, one part at a time, painting a picture of the frozen landscape. Trembling is heard with trills on the violins. "Our breathing hampered by horrid winds, as we run, we stamp our feet continuously," Our teeth chatter with the frightful cold:" Running passages in the solo bring in the horrid winds; repeated notes, the feet stamping; soloist double stops, the teeth chattering.

II. Largo: "We move to the fire and contented peace, while the rain outside pours in sheets." The most beautiful of movements, the violin melody represents contentment in front of the fire while the pizzicato strings depict the rain outside.

III. Allegro: "Now we walk on the ice, with slow steps, attentive how we walk, for fear of falling;" The solo slithers along on thin ice with no supporting harmonies; tutti enters tentatively, afraid of falling. "If we move quickly, we slip and fall to earth, again walking heavily on the ice, until the ice breaks and dissolves;" Solo and tutti keep trying to stay upright, but keep falling with descending passages. "We hear from the closed doors Boreas and all the winds at war -this winter, but such as brings joy." A brief lento settles us in again cozily by the fire, and even though we hear the north winds roaring outside, we are joyful in the comforts of hearth and home.

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The great composer of Italian opera, Giacomo Puccini came from a long line of church musicians. In fact, he was the fourth generation of Puccini's to hold the position of town organist and maestri di capella at the cathedral in his native Lucca. The six-year-old Giacomo's father died leaving the family in poverty and his musical future uncertain. However, local teachers gave him good training, and at the age of 20 he produced a Motetto and Credo, which he incorporated two years later into a full Mass for four voices and orchestra. The piece was favorably reviewed in the local press, thus convincing Puccini's granduncle to sponsor him to Conservatory in Milan. The Mass was laid aside and forgotten, except for two movements that he later used in his operas. Early in 1951, Fr. Dante del Fiorentino, an American priest, traveled to Lucca to research the life and works of the composer. He encountered Puccini's musical secretary who showed him the manuscript of the Mass. Excited by his discovery, Father Dante edited the work for publication in the United States under the title Messa di Gloria. The work was first performed in the United States July 12, 1952, at a Grant Park Concert in Chicago. The work for full chorus and orchestra also includes tenor and bass soloists. The Gloria section that we hear tonight is the most extensive of the movements, and exhibits the drama and power befitting the glory of the song of the angels.

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Program notes by Linda Mack. Copyright 2001.
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