Vivaldi gloria pdf

Set of choral compositions

Antonio Vivaldi wrote at least three Gloria compositions, settings of the hymn Gloria in excelsis Deo, with words probably dating back to the 4th century, and an integral part of the mass ordinary. Two of them have survived: RV and RV A third, RV , is mentioned only in the Kreuzherren catalogue and presumed lost.

Gloria rv 589 de antonio vivaldi biography Thanks to his father, he became a virtuoso violinist; in addition, he was ordained as a priest in A striking feature about all of the ospedali is that, unlike their conservatory counterparts elsewhere, all the musicians were female. In terms of non-operatic vocal music, Vivaldi wrote more for solo voice than for chorus. MusicBrainz work.

The RV Gloria is a familiar and popular piece among sacred works by Vivaldi. It was probably written at about the same time as the RV , possibly in

Introduction

Further information: Introduzioni (Vivaldi)

As with other choral pieces the composer, Vivaldi, wrote many introduzioni (introductory motets) that were to be performed before the Gloria itself.

Four introduzioni exist for these Glorias: Cur Sagittas (RV ), Jubilate, o amoeni cori (RV ) (the last movement of which is compositionally tied with the first movement of RV ), Longe Mala, Umbrae, Terrores (RV ), and Ostro Picta (RV ).

Settings

RV

The lesser known of the two surviving Glorias, RV was most likely composed during Vivaldi's employment at the Pio Ospedale della Pietà, known for its advanced choral ensemble.

The first movement is interwoven with the last aria of RV , as explained above.

Gloria rv 589 de antonio vivaldi biography summary Terms of Use. Even in the 18th century they were thought of as music conservatories, since music was an important part of their existence, but music served as a means to earn money rather than as the end goal itself. Authority control databases. A ccording to an old joke, Antonio Vivaldi was able to produce such a prolific legacy of concertos—more than —by writing the same one over and over … and over.

The date of composition between this Gloria and RV is still disputed, but both show compositional inspiration from each other.

RV borrows extensively from a double orchestra-and-choir setting of the same text by Giovanni Maria Ruggieri (which will henceforth in this article be referred by its RV cataloguing number of RV. Anh. 23). Many movements show inspiration from this composition, and two movements ("Qui Tollis" and "Cum Sancto Spiritu") are plagiarised from the original Ruggieri setting (although "Qui Tollis" completely omits the second coro (chorus), and "Cum Sancto Spiritu" is slightly modified).

The first movement of RV is also an extended version of RV Anh. 23, sans the second coro employed in RV Anh. 23, among other musical modifications. The second movements of both RV and RV ("Et in Terra Pax") both show chromatic patterns and key modulations similar to that of the second movement of RV Anh.

Movements

1. Gloria in excelsis Deo
2. Et in terra pax
3. Laudamus te (Sopranos I and II)
4. Gratias agimus tibi (Chorus)
5. Propter magnam gloria (Chorus)
6. Domine Deus (Soprano)
7. Domine, Fili unigenite (Chorus)
8. Domine Deus, Agnus Dei (Alto, Chorus)
9. Qui tollis peccata mundi (Chorus)
10. Qui sedes ad dexteram Patris (Mezzo Soprano)
11. Quoniam tu solus sanctus (Chorus)
12. Cum Sancto Spiritu (Chorus)

RV

This is the better-known setting of the Gloria, simply known as the Vivaldi "Gloria" because of its outstanding popularity.

This piece, along with its mother composition RV , was composed at the same time during Vivaldi's employment at the Pietà.

Gloria rv 589 de antonio vivaldi biography book

Antonio Vivaldi

Gloria, R. 589 - nashvillesymphony.org

Two introduzioni exist as explained above.

As in RV , there exists evidence of influence by RV Anh. the first movement's chorus shares similar key modulations to that of the first movement of RV , only modified to fit a duple meter instead of the triple meter of RV Motivic material present in the orchestral parts of either piece are also shared, including octave jumps in the opening motives of the piece.

The second movement is significantly more chromatic in RV , but nonetheless is texturally similar to the setting present in RV Anh. 23, with the use of repeating rhythmic figures underneath harmonic motion. The "Qui Tollis" movement of RV is rhythmically similar to the first few measures of RV (and ultimately RV Anh. 23).

Gloria rv 589 de antonio vivaldi biography wikipedia In other projects. Motivic material present in the orchestral parts of either piece are also shared, including octave jumps in the opening motives of the piece. It was probably written at about the same time as the RV , possibly in It is likely that Vivaldi produced it around or though it may date from several years earlier.

The last movement, "Cum Sancto Spiritu", is essentially an "updated" version of movement present in both RV Anh. 23 and RV , except extensively harmonically modified, becoming more chromatic than its predecessors, reflecting a maturity in Vivaldi's output and the emerging style of the late Italian Baroque.

Movements

1. Gloria (Chorus)
2. Et in terra pax (Chorus)
3. Laudamus te (Sopranos I and II)
4. Gratias agimus tibi (Chorus)
5. Propter magnam gloriam (Chorus)
6. Domine Deus (Soprano)
7. Domine, Fili unigenite (Chorus)
8. Domine Deus, Agnus Dei (Contralto and Chorus)
9. Qui tollis peccata mundi (Chorus)
10. Qui sedes ad dexteram Patris (Contralto)
11. Quoniam tu solus sanctus (Chorus)
12. Cum Sancto Spiritu (Chorus)

RV

Little information exists on this lost work other than its instrumentation (five voices and oboes in trombae) in the Kreuzherren catalogue.

There is no other source of information; not even its possible key can be conjectured. In the Ryom-Verzeichnis catalogue, it is considered lost.

RV Anh. 23

As stated above, this Gloria for two cori (orchestras) was written by Giovanni Maria Ruggieri.

Vivaldi gloria score, and parts

Gloria by antonio vivaldi

Vivaldi: gloria in excelsis deo

Vivaldi gloria imslp

Vivaldi gloria analysis

This composition, probably for a Venetian church during a festival, is dated September 9, N.S. This Gloria provided much inspiration for Vivaldi's two settings and for other Glorias by other composers at the time, who may have used it in their settings.

Movements

1. Gloria in excelsis Deo (Chorus)
2. Et in terra pax (Seven Bass soloists)
3. Laudamus te (Chorus, Sopranos I and II, Tenor)
4. Gratias agimus tibi (Chorus)
5. Propter Magnam Gloriam (Chorus)
6. Domine Deus (Sopranos I and II and Bass from first coro, Sopranos III and VI and Bass from second coro)
7. Domine, Fili unigenite (Chorus)
8. Domine Deus, Agnus Dei (Chorus)
9. Qui tollis peccata mundi (Chorus)
10. Qui sedes ad dexteram Patris (Chorus and Soprano, Contralto, and Tenor)
11. Quoniam tu solus sanctus (Chorus)
12. Cum Sancto Spiritu (Chorus)

Popularity

The Glorias remained relatively unknown until RV 's revival by Alfredo Casella during "Vivaldi Week" in Siena (), along with the composer's setting of the Stabat Mater (RV ).

RV enjoys well-founded popularity and is performed at many sacred events, including Christmas. It has been recorded on almost one hundred CDs, sometimes paired with Bach's Magnificat (BWV ), Vivaldi's own Magnificat settings (RV –), or Vivaldi's Beatus Vir (RV ). RV , however, has had little success and has been published in few albums.

Gloria rv 589 de antonio vivaldi biography for kids Fast forward to Sometime during this period he composed the Gloria in D major. Time for Toddlers. Vivaldi was the second of 10 children.

Attempts to attract more attention to RV and other sacred Vivaldi works (most notably by The King's Consort) are underway.^{[citation needed]}

As with many other pieces of the Baroque era, RV (and its lesser-known companion RV ) have been performed in historically informed instrumentation, even with the use of an all-female choir to simulate choral conditions at the Pietà.

There are several different editions, and choirs need to exercise caution when combining different vocal and orchestral editions.^{[citation needed]}

RV has also been used in a number of films. The first movement featured in the Scott Hicks film Shine about pianist David Helfgott, as well as in the film The Hunter.

An adaptation of the second movement was used with profound effect in the final climactic scenes of the Andrei Konchalovsky film Runaway Train.^[1]

Editions

References

External links