Gloria (Vivaldi)

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The Gloria RV 589 in D Major by Antonio Vivaldi heard after centuries of oblivion to its well-known sacred works .

Work description

Audio sample Domine Deus

For the introduction to his Gloria RV 589, Vivaldi wrote two short introduzioni for a vocal soloist with orchestral accompaniment. The corresponding texts are Longe Mala, Umbrae, Terrores (RV 640) and Ostro Picta (RV 642).

The Gloria itself contains twelve sections:

Movements from Vivaldi's Gloria RV 589
No. title be right tempo Time signature key
1 Gloria in excelsis deodorant SATB Allegro 4/4 D major
2 Et in terra pax SATB Andante 3/4 B minor
3 Laudamus te S (duet) Allegro 2/4 G major
4th Gratias agimus tibi SATB adagio 4/4 E minor
5 Propter magnam gloriam tuam SATB Allegro alla breve E minor
6th Domine Deus, Rex coelestis S (solo) largo 12/8 C major
7th Domine, Fili unigenite SATB Allegro 3/4 F major
8th Domine Deus, Agnus Dei A (solo), SATB adagio 4/4 D minor
9 Qui tollis peccata mundi SATB adagio 4/4 -> 3/2 D minor
10 Qui sedes ad dexteram Patris A (solo) Allegro 3/8 B minor
11 Quoniam tu solus sanctus SATB Allegro 4/4 D major
12 Cum Sancto Spiritu SATB Allegro alla breve D major

Instrumentation: two sopranos , alto , four-part mixed choir ( SATB ), oboe , trumpet , strings (2 violins , viola ), basso continuo .

The performance lasts approx. 30 minutes.

The work passes through a wide circle of keys in which a certain symmetry is followed. Vivaldi shows the full range of his mastery between festive, sublime corner movements and delicate, transparently orchestrated solo passages. In the introductory Gloria in excelsis Deo , the choir is accompanied by festive trumpet fanfares. The following Et in terra pax in B minor, also set for choir, is characterized by a dramatic structure with surprising harmonic turns. After the duet for two sopranos Laudamus te and the choir section Gratias agimus tibi , the soprano aria Domine Deus , optionally accompanied by an oboe or violin, contrasts with the rhythmically moving choir section Domine Fili unigenite . The altarie Domine Deus, Agnus Dei in D minor with cello accompaniment is interrupted by surprising interjections from the choir, which also takes on the following Qui tollis peccata mundi . After another altarie Qui sedes , again in B minor, the choir repeats some elements of the opening movement in the Quoniam and closes with the fugitive Cum Sancto Spiritu , in which a weighty theme is contrasted with a dance-like counter-subject .

The wealth of contrasts and musical means seems to follow the inner logic of a large-scale, multi-movement concerto grosso far more than to be inspired by the structure and content of the text. The inner unity that Vivaldi achieves through the interlocking of the motifs of the numbers and the consistently high compositional level make this Gloria one of the most important sacred vocal compositions of the early 18th century.

Vivaldi's Gloria compositions

As far as we know today, Vivaldi set the Gloria fair text to music at least three times. RV 588 was composed around the same time as RV 589 and contains numerous borrowings from a Gloria setting by Giovanni Maria Ruggieri . The date when both works were composed is uncertain, as Vivaldi's autographs have not survived. Both works are assumed to have been made around 1715 during Vivaldi's first period at the Ospedale della Pietà in Venice . A third Gloria RV 590 is listed as lost in the Ryom directory .

Impact history

Like all of Vivaldi's sacred works, the Gloria RV 589 was completely forgotten almost two centuries after the composer's death, until Alfredo Casella and his Stabat mater RV 621 in September 1939 during a Vivaldi week at the Accademia Musicale Chigiana in Siena was performed again. Soon afterwards, musicologists like Marc Pincherle emphasized the closeness of the work to the music of Johann Sebastian Bach . Since then, the work has enjoyed increasing international popularity and has also been recorded many times on CDs.

The first movement in Shine by Scott Hicks about the pianist David Helfgott and in The Hunter can be heard as film music . A arranged version of the second sentence stresses effectively the final Todesfahrt in the thriller Runaway of Andrei Kontschalowski .

Recordings (selection)

  • A. Vivaldi: Gloria, RV 589 / Magnificat, RV 611 / Ostro picta. Andrea Ihle and Elisabeth Wilke (soprano), Annette Markert (alto); Halle madrigalists, virtuosi saxoniae, Ludwig Güttler (conductor).
  • A. Vivaldi: Stabat Mater / Gloria, RV 589. Hanna Herfurtner and Joowon Chung (soprano), Andreas Scholl (alto); Salzburg Bach Choir, Bach Consort Vienna, Rubén Dubrovsky (conductor). Gramola (live recording).
  • A. Vivaldi: Gloria, RV 589 / Magnificat, RV 610a. Le Concert Spirituel, Hervé Niquet (conductor).
  • A. Vivaldi: Gloria, RV 588 & 589. Patrizia Kwella and Elizabeth Priday (soprano), Catherine Wyn-Rogers, (alto); Oxford Christ Church Cathedral Choir, Hanover Band, Stephen Darlington (conductor). Nimbus Records.
  • A. Vivaldi: Gloria ; JS Bach: Magnificat. Oxford Schola Cantorum, Northern Chamber Orchestra, Nicholas Ward (conductor). Naxos.
  • A. Vivaldi: Gloria / Magnificat. Patrizia Biccire, Deborah York (soprano), Sarah Mingardo (alto); Akademia - Ensemble Vocal Regional de Champagne-Ardenne, Concerto Italiano, Rinaldo Alessandrini (conductor). Opus 111.
  • A. Vivaldi: Gloria / Dixit Dominus. Gemma Bertagnolli (soprano), Sara Mingardo (alto); Concerto Italiano, Rinaldo Alessandrini (conductor). Naïve.

literature

Web links

Individual evidence

  1. ↑ a b "Music Today", May 10, 2012
  2. ↑ Bärenreiter Urtext: text accompanying the piano reduction
  3. ↑ Robert Hugill: Antonio Vivaldi (1678-1741) (English)
  4. ^ Klaus Pietschmann: Gloria in D major RV 589. In: Silke Leopold, Ullrich Scheideler: Oratorienführer. P. 743.
  5. ^ Klaus Pietschmann: Gloria in D major RV 589. In: Silke Leopold, Ullrich Scheideler: Oratorienführer. P. 742.
  6. ↑ Trevor Jones: Runaway Train (English)