I - Gloria in excelsis Deo (Chorus) / II - Et in terra pax (Chorus) / III - Qui sedes ad dexteram Patris (Contralto)
I&III - The Choir of Christ Church Cathedral, Oxford / The Academy of Ancient Music / Simon Preston
II - Live recording of the Choir in concert with the Orchestra of St. Gaudenzio Assumption - Director Paul Time - choirmaster John Maestrone
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Gloria (Vivaldi)
Antonio Vivaldi wrote several settings of the Gloria. RV 589 is the most familiar and popular piece of sacred music by Vivaldi; however, he was known to have written at least three Gloria settings. Only two survive (RV 588 and RV 589) whilst the other (RV 590) is presumably lost and is only mentioned in the Kreuzherren catalogue. The two were written at about the same time (it is disputed which came first) in the early 18th century.
RV 589
This is the better known setting of the Gloria, simply known as the Vivaldi "Gloria" due to its outstanding popularity. This piece, along with its mother composition RV 588, was composed at the same time during Vivaldi's employment at the Pieta. Two introduzioni exist as explained in the aforementioned article.
RV 589 is more mature and original than its predecessor. However, evidence of obvious influence still exist. The first movement's chorus shares similar key modulations to that of the first movement of RV 588, only modified to fit a duple meter instead of the triple meter of RV 588. Motivic content present in in the orchestral parts of either piece are also shared, including octaval jumps in the opening motives of the piece. The second movement is much more dramatic in RV 589, but nevertheless shares with RV Anh. 23 in that the second movement of both employ the use of rhythmic repetition underneath choral progressions. The "Qui Tollis" movement of RV 589 is rhythmically similar to the first few measures of RV 588 (and ultimately RV Anh. 23). The last movement, "Cum Sancto Spiritu," is essentially an "updated" version of movement present in both RV Anh. 23 and RV 588, 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 in excelsis Deo (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)
This article is licensed under the Creative Commons Attribution/Share-Alike License. It uses material from the Wikipedia article Gloria (Vivaldi)
