Towards the end of the 1720s, Vivaldi intensified his contacts with the Dresden court. In 1728, Pisendel, his former pupil and patron, took over the direction of the orchestra there. Two years later, a group of seven singers arrived, having previously trained for six years in Venice. The motet for soprano depicts a ship tossed about by high waves, which finally, with the help of the Virgin Mary, safely reaches port. Particularly progressive is the change to a different meter in the first aria and the slower tempo in the middle section. The diverse moods of the text passages are an expression of Vivaldi's creative versatility. In the concluding "Alleluia" section, he demonstrates his rhythmic and harmonic talent.
Among the central tasks of the choirmaster at the Pietà was the composition of works for Holy Week, including Psalm 50, the Miserere. Although no Miserere by Vivaldi himself survives, two introductions to the Miserere for solo alto exist: RV 641 and Filiae maestae Jerusalem RV 638, both composed around 1715 and testifying to his rich musical imagination. RV 641 ends in C minor and reflects Vivaldi's empathy for Geltruda, a renowned singer in the Pietà.
RV 641 conveys an atmosphere of dignified lamentation, with Vivaldi achieving great emotional depth using simple means. His consideration for Geltruda's delicate voice is evident, for example, in his use of quiet strings or their complete omission. While Vivaldi's original intention is no longer entirely discernible, this recording presents the introduction followed by the Stabat Mater. This work from Vivaldi's early sacred music was rediscovered in the 20th century and has since gained considerable popularity.
In RV 621, Vivaldi's instrumental expertise is more evident than his vocal style. His music is influenced by earlier works. Although RV621 has a rather restrained feel, impressive effects of word painting can occasionally be heard. The overall mood remains solemn and tragic.
With "O qui coeli terraeque serenitas" RV631, Vivaldi leads the listener into a prayer that calls upon the faithful to renounce worldly pleasures. RV631 and other works from this period demonstrate his expressive power. Together with other sacred compositions such as "Deus tuorum militum" RV612 and "Confitebor tibi, Domine" RV596, they attest to his contrapuntal skill and artistic versatility well into the later years of his career.