tthe ‘other’ vivaldi he ‘other’ vivaldi gglorialoria ... · choral journal volume 51 number...

Gregory M. Pysh is minister of music at First Presbyterian Church in Midland, Texas, Gregory M. Pysh is minister of music at First Presbyterian Church in Midland, Texas,

and conductor of the Midland-Odessa (TX) Symphony Chorale. and conductor of the Midland-Odessa (TX) Symphony Chorale.

[email protected]@fpcmid.org

The ‘Other’ Vivaldi The ‘Other’ Vivaldi GloriaGloria: Discovering a Lesser-known Masterwork— : Discovering a Lesser-known A Comparative Analysis

CHORAL JOURNAL Volume 51 Number 9 31

The ‘Other’ Vivaldi Gloria: Discovering a Lesser-known Masterwork— Masterwork— A Comparative AnalysisA Comparative Analysis

by Gregory M. Pysh

Antonio Vivaldi composed three settings of the Gloria from the Roman mass. One, RV 590, is unpublished and housed in the Kreuz-herren Library in Dresden, Germany. RV 589 is Vivaldi's most well-known choral composition, performed by countless choirs throughout the world; however, RV 588 is a delightful and most accessible setting for choirs of all abilities.

Why is RV 589 better known than the oth-ers today? One hypothesis, put forward by H. Robbins Landon in his book Vivaldi, Voice of the Baroque, focuses on the “rediscovery” of the

music of Vivaldi in the late 1930s.

The enormous popularity of the second Gloria in D (RV 589) derives, most probably, from two important factors: (1) It was one of the fi rst pieces of Vivaldian sacred music to be performed at the Chiesa dei Servi, as part of the Settimana Celebretiva di Antonio Vivaldi, produced by the Accademia Musicale Chigiana in Siena in September 1939; on that occasion, the pieces were selected and conducted by Alfredo Casella, who also edited all the church music performed. Casella even wrote the programme notes.The Gloria was also the fi rst major piece of Vivaldian church music to be recorded,

shortly after World War II. (2) The second factor, and the decisive one, is quite simply that this Gloria is possibly the most accessible and immediately comprehensible of all Vivaldi’s sacred music—the Four Seasons of its genre.1

Whichever of the two settings was writ-ten fi rst, it provided the blueprint for the other. Key centers are almost identical, as is the orchestration, with the exception of an additional oboe in RV 588. The textual plan is similar in each work, as are several of the compositions: Laudamus Te for two sopranos; Gratias agimus tibi for chorus in E minor, and the concluding double fugues of Cum Sancto Spiritu. In the Preface to the Ricordi orchestral score of RV 588, Michael Talbott identifi es a Gloria by Veronese com-poser Giovanni Maria Ruggieri as the source material for both works. Very little is known of Ruggieri’s life, although he published four collections of instrumental music and had twelve operas staged in Vienna between 1696 and 1712. Ruggieri’s Gloria, dated Sep-tember 1708, was found in Vivaldi’s personal collection of scores.

32 CHORAL JOURNAL Volume 51 Number 9

Scattered throughout the score one finds supplementary markings of various kinds in his [Vivaldi’s] hand, and a few small musical alterations. From the nature of these additions, one deduces that Vivaldi was associated with a performance of the work. Ruggieri’s setting employs two trumpets, two oboes, and two cori, each consisting of strings in fi ve parts(with divided violas) and singers generally in four parts. For his “Cum Sancto Spiritu” movements, Vivaldi made two entirely separate adaptations of the corresponding movement in Ruggieri’s setting. The adaptation was not a diffi cult operation, because Ruggieri employs his two cori in strict antiphony when

they do not perform in unison. In the version found in RV 589, bar 19 of Ruggieri’s original is omitted and bar 71 (which becomes bar 70 in Vivaldi’s movement) is considerably changed. Some reshaping of the lines takes place, and extra chromatic infl ections are introduced. The word-setting is modifi ed to its considerable advantage. In the version found in RV 588, the movement is preceded by a two-bar introduction in falsobordone style; and episode occupying bars 34–37 of the original is contracted to half a bar, while one and a half extra bars are inserted after bar sixty-four. The result is a movement with exactly the same number of total bars (79) as its source. In RV

588, Ruggieri’s underlaid text is modifi ed, but not in the same way as in RV 589.

Musically speaking, the adaptation of the fugue in RV 589 is, in most respects, the more successful. What suggests that RV 588 is indeed earlier is the fact, not previously noted, in Vivaldian literature, that in it Vivaldi makes borrowings from two other movements in Ruggieri’s setting: Qui tollis peccata mundi, and Gloria in excelsis.2

What follows is a comparative analysis of the textual settings in these two masterworks.

The ‘Other’ Vivaldi The ‘Other’ Vivaldi Gloria:Gloria: Discovering a Lesser-known Masterwork— Discovering a Lesser-known Masterwork—

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A Comparative AnalysisA Comparative Analysis

Introductory Motets

The fi rst point of comparison between RV 589 and RV 588 is that for both Glorias Vivaldi composed an introduzioni, solo mo-tets in two or more recitative and aria move-ments. Eight such introduzioni (RV 635–642) survive in Vivaldi’s opus, each one designated to precede one of his large-scale liturgi-cal works. These motets are non-liturgical, though their texts trope those of the works for which they have been fashioned. The Gloria RV 589 is preceded by Ostro picta, RV 642, and the Gloria RV 588 by Jubilate, o amoeni chori, RV 639. Web Table 1 shows the texts to RV 642 and RV 639. Note that in Ostro picta, the fi nal movement’s “Pax in terra” and “In coelo Gloria” foreshadow the fi rst two lines of the Gloria prayer. The connection between RV 639 and the Gloria text is less direct, but in particular, the line “et Deo immortali honores mille damus” recalls the Gloria’s purpose as a hymn of praise to

the triune God (Web Table 1, www. acda.org/choral-journal-april-2011).

“Gloria in Excelsis”

Composed in D major (the optimal trumpet key in eighteenth-century Italy) in allegro tempi, both RV 589 and RV 588 use the entire orchestra and are scored for SATB choir. RV 589 is set in 4/4 meter with the familiar Vivaldian octave motive in the accompaniment. The violins, coupled with the oboe and trumpet, play in sixteenth-note thirds and tenths to accentuate the texture. The chorus sings in a primarily homopho-nic style, for which Vivaldi contrasts long sustained passages with shorter phrases as indicated by the text (Figure 1).

The challenge of the fi rst chorus of RV 588: begins with an alto solo on the “Sonoro modulamine” text, the material of which has been identifi ed as the third movement of the Introduzione RV 639; thus, this movement

has been viewed as a composite of the end of the introduzione and the beginning of the Gloria, dovetailed together. As seen in Figure 1a, the soloist takes up the Gloria text in measure 49, but it is not until measure 57 that the choral Gloria begins. Throughout the rest of the movement, choral iterations of the Gloria text alternate with solo passages on the “Sonoro” text (Figure 2, www. acda.org/choral-journal-april-2011).

Anyone wishing for liturgical or aesthetic reasons to excise the solo passages can do so by judicious editing, allowing the Mass text to stand alone. We can infer that Vivaldi anticipated this adaptation, as the harmonies that come before and after each solo sec-tion are identical to each other. Notations placed in the autograph manuscript (though not in the composer’s hand) indicate that a performance in this fashion was undertaken in Vivaldi’s time, thus establishing a historical precedent.



this passage’s sudden focus on the virtuoso alto lacks necessary context (Figure 2a, www. acda.org/choral-journal-april-2011).

“Et in terra pax”In both works, this movement provides

dynamic contrast to the previous chorus. The composer’s control of texture, pace, and modulation produce a sincere plea for peace. Il prete rosso [“the red priest,” for Vivaldi’s red hair], crafts long, ruminative vocal lines over a B-minor key center with continuous eighth-note pulse in the string orchestra. By avoiding any instrumental doubling of the choral par ts, Vivaldi writes the chorus and orchestra as distinct ensembles. Both movements are rich with harmonic suspen-sions, and Vivaldi concludes each composi-tion with a decrescendo as the strings “wind down” at the fi nal cadence.

In RV 589, Vivaldi makes generous use of chromaticism. Prime examples are the chord changes from measure 60 to 69: D7—G minor—E-fl at—C

♯ major—G7— F

♯ sus 9

and 4—F♯ major—B7—E minor. Figure 3

is indicative of both the vocal and orchestral character of this piece.

Near the end of this movement, Vivaldi writes a passage in an anomalous texture of another kind that conductors adapting the movement might consider excising. At mea-sure 134 begins a seven-bar phrase indicated

for SATB soloists. While the soprano, tenor, and bass sustain measure-long chords, the alto sings a melisma in continuous sixteenth-notes. The decision could be made that with the “Sonoro modulamine” material removed,

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The most distinct musical features of RV 588 are the descending, “sighing” scale pas-sages in each voice part and the persistent eighth-note pulse in the orchestra. Vivaldi also uses chromatic chord progressions, such as those between measures 48 and 52 over a descending bass line: F

♯ major— f

♯

minor—C♯ major—a

♯ full diminished— B

major— G major—a♯ full diminished— F

♯

minor— G♯ minor seven—E minor—F

♯

major — B major—F♯ 7

— F♯ major 7—

F♯7—B minor—F

♯sus 4–3— B minor. Figure

4 presents the opening choral entrance of RV 588.

“Laudamus Te”In dynamic contrast with the solemnity of

the previous movement, “Laudamus Te” is, in both cases, a joyous duet for two sopranos. It might be said Vivaldi composed these movements to “revive the ‘old’ meaning of the concerto: the idea of two musicians vy-ing with each other to achieve a common purpose, in this case to proclaim God’s praises.”3 Each duet features imitative pas-sages that overlap in parallel thirds. Both are written in G major with energetic string accompaniments and melismatic passages

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for the singers. The duet in RV 589 is scored in 2/4 meter

in an allegro tempo. Vivaldi scores each singer equally, leaving neither to sing “solo” for any length of time. The strings (one violin, viola, and basso continuo) play fully at the fi rst and at the close, in each case with adventurous modulations from G to E fl at and back to G; they are written in octaves when supporting the voices. The example illustrates the spirit of this movement (Figure 5).

The RV 588 “Laudamus Te” is scored for violin, viola, and basso continuo in a 3/8 meter. Whereas the soloists in RV 589 oc-cupy the same tessitura, here the fi rst voice is structurally higher than the second one. This version provides opportunities for each singer to sing “solo” phrases. The opening and closing orchestral sections venture into minor keys—c minor in the opening and g minor in the closing—before returning to the original G major. Vivaldi also makes liberal use of hemiola at cadences throughout the movement. The example shows the opening phrases for the singers (Figure 6).


“Gratias agimus tibi” and “Propter magnam gloriam”

With respect to these texts, the two settings differ. In both works, Vivaldi uses a solemn, homophonic opening for the words “Gratias agimus tibi.” In RV 589, the composer ends “tibi” in a half-cadence on B major, then setting “Propter magnam gloriam” as a separate movement in an imi-tative style with abundant use of melisma. In RV 588, he maintains the homophonic texture through the “Propter magnam gloriam,” crafting a single section for both texts. Both settings are in E minor and 4/4 meter and are scored for SATB choir with strings doubling the voices: violin I doubling the choral altos at the upper octave, violin 2 doubling the sopranos, violas the tenors, and the basso continuo the bass voices (Figures 7 and 8).


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“Domine Deus, Rex coelestis”For the fi rst solo movement in each

work, Vivaldi scores RV 589 for soprano and RV 588 for tenor. In 589 Vivaldi crafts a Kirchen Arie in three phrases for the soprano with oboe obbligato (in the autograph: Violino solo o oboe solo) in a lilt-ing 12/8 meter in C major. The use of the oboe rather than the violin gives this piece a more pastoral sound. Long melismatic passages are scored for the soprano, sev-eral in duet with the oboe, and the singer has opportunity to add ornamentation throughout. The basso continuo features an octave pattern that adds to the pastoral accompaniment as illustrated in Figure 9. The opening vocal line is representative of this exquisite composition.

The text in RV 588 is cast in a com-pletely different style, with a largo tempo in 4/4 meter for solo tenor and string or-chestra in the key of G major. Vivaldi liber-

ally uses a dotted-eighth/sixteenth fi gure, and the tenor sings several melismatic passages. When the singer is scored in tandem with the violins in thirds, Vivaldi rests the continuo. The spirit of the composition is character-ized in the opening phrase (Figure 10).

“Domine Fili Unigenite”Vivaldi’s two settings of this text differ

substantially, although both employ SATB choir accompanied by strings. In RV 589, he writes a energetic allegro in 3/4 meter in the key of F major, with the strings written independently from the vocal parts, serving as the composer’s “rhythm section” with a dotted-eighth/sixteenth-note pulse through-out. The composer also crafts a bass line around a descending scale, in the manner of a chaconne. Vivaldi scores the voice parts in varied duet combinations throughout,

creating wonderful conversations between the singers, and, in doing so, he contrasts ar-ticulations of dotted-eighth/sixteenth-notes with more legato lines.

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posed in stile antico, in cut time in C major. The three phrases of the 36-measure piece are scored with the choir continu-ally doubled by the strings as in previous movements: sopranos by violin II, altos by violin I one octave higher, tenors by violas, and basses by the basso continuo. An illustration of this work is found in Figure 11.

“Domine Deus, Agnus Dei”For this text Vivaldi selects

minor keys in both works but gives each a distinct character. The setting in RV 589 is in d minor in 4/4 meter, and the composer contrasts the alto soloist with the full chorus, sup-ported by the strings. The chorus responds homophoniccally to the soloist in eight, short interjec-tions, most often completing the soloist text. The string orchestra doubles the chorus in the typical Vivaldian voicings, with the soloist supported only by continuo.

In RV 588, the composer crafts a solo similar in construc-tion to the Kirchen Arie of RV 589, Domine Deus, Rex coelestis. Scored in 2/4 meter in a minor, the soprano soloist sings a num-ber of melismatic passages, sev-eral with the obbligato oboe. The natural transparency of the ac-companiment (oboe and basso continuo) and allegro tempo give this piece forward movement throughout. Figure 12 includes a portion of the instrumental introduction and the opening

vocal phrase, which are representative of the entire work.

“Qui tollis”The textual settings are similar in con-

struction in both Glorias, following almost note-for-note with the corresponding move-ment in Ruggieri’s Gloria. E minor is the key


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center for each piece and 4/4 the meter, until the composer expands RV 589 into 3/2 time. In RV 589 the strings play with the ho-mophonic choral parts in the characteristic Vivaldi doublings (S=Vl1, A=Vl2 at the oc-tave, T=vla, B=basso continuo). The orchestral scoring in RV 588 is more expansive, with the addition of the two oboes, and with the strings, who harmonize the voice parts without doubling them. In both pieces, there


are several measures where the sopranos sing unaccompanied.

“Qui sedes”Each Gloria here presents an alto solo in

triple meter, but Vivaldi writes very different settings with unique orchestral colors. In RV

589, he scores a composition with several melismatic pas-sages in an allegro tempo. As the text refers to the Judg-ment Day, the composer adds extra sonic weight by uniting the violins, and by having the soloist sustain an f ♯ for three bars on the word “sedes” [sits]. Scored in b minor, the singer is accompanied by the strings (one violin, viola, and continuo), who make gener-ous use of hemiola in unison at cadences (Figure 13).

For RV 588, Vivaldi sets the text in a largo tempo in D ma-jor with a distinctive accompa-

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niment in the rhythm of a siciliana. Vivaldi scores three layers of orchestral sound: two solo violins, usually in thirds; two solo violas who add a undulating sixteenth-note pulse;

and the bass, marked “two violincelli soli,” along with the basso continuo. The orches-tral timbre, texture, and rhythmic presence are such that the conductor might consider

having the keyboard tacet during this move-ment. This solo, while scored for alto, might be sung by a bass (Figure 14).

“Quoniam tu solus Sanctus”

For the penultimate movement in both works, Vivaldi composes in a 4/4 meter and reunites the winds with the string orchestra. In RV 589, with the pos-sible intention of serving as an introduc-tion to the fugue that follows, he scores this piece in D major for full choir. The composer compresses the seventy-two measures of thematic material from the fi rst movement to craft the twenty-three measures of this piece, continuing with the homophonic choral writing in the chorus and the octave fi gures in the accompaniment. The reintroduction of the trumpet adds an additional color to the work.

In RV 588, Vivaldi writes a solo in G major similar to the previous tenor solo Domine Deus, Rex coelestis. The soprano (or tenor) soloist has several melismatic passages throughout the thir ty-six-measure composition. The orchestral introduction features the two oboists playing an obbligato in thirds and sixths, in addition to the full complement of strings, who play in unison octaves. The ostinato fi gure in the bass (see m. 5 in fi gure 15) is the prevalent rhythmic pulse of the movement.

“Cum Sancto Spiritu”Because both these movements are

similar to the one found in the Ruggieri Gloria, these compositions could be considered fraternal twins. It is possible to reconstruct how Vivaldi converted the Ruggieri double fugue with the identical text.

Vir tually all the evidence needed for this task may be discerned in the manuscript of RV 589: traces of notes that Vivaldi at fi rst copied from the model but then subsequently changed; other text that he invented for himself—in some instances while



copying the Ruggieri and in other cases afterward; text that makes sense in Ruggieri’s version but which Vivaldi rendered technically incorrect by adding contradictory notes in other voices; and instrumental doublings notated after the vocal parts had been completed and altered …. It is still not clear which of Vivaldi’s versions is the earlier, although on musical grounds one suspects it is that of RV 588….The whole point one supposes, is that the earlier version, whichever it was, was merely serviceable rather than ideal: Vivaldi was suffi ciently critical to know that he had to make a fresh attempt in order to achieve a better result…. He probably found it easier in many

instances to rely on his instincts for invention through fresh drafting than to re-work his own music, let alone the music of others.4

From Ruggieri’s seminal work, Vivaldi kept

the original key and meter, but he reduced the due cori to a single choir, compressed the two viola parts to one, and utilized the full resources of the Gloria orchestras. He also transposed the oboe and trumpet lines into higher, more brilliant registers. The movements compare as illustrated in Table 1.

Conclusion Anyone knowing only the Vivaldi setting

of the Gloria in the RV 588 edition would rank it among the composer’s fi nest sacred

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The ‘Other’ Vivaldi The ‘Other’ Vivaldi Gloria:Gloria: Discovering a Lesser-known Masterwork Discovering a Lesser-known Masterwork

BIBLIOGRAPHY

Books

Heller, Karl, translated Marinelli, David. Antonio Vivaldi, The Red Priest of Venice. Portland, Oregon: Amadeus Press, 1997.

Kolneder, Walter, translated Kurt Michaelis. Antonio Vivaldi, Documents of His Life and Works. New York: Heinrichshofen Edition, 1982.

Landon, H.C. Robbins. Vivaldi, Voice of the Baroque. Chicago: University of Chicago Press, 1993.

Talbot, Michael. The Sacred Vocal Music of Antonio Vivaldi. Firenze, Italy: Leo S. Olschki Editions, 1995.

Talbot, Michael. Vivaldi. Oxford: Oxford University Press, 2000.

Vivaldi, Antonio, ed. Talbot, Michael. Jubilate, o amoeni chori, RV 639/639a and Gloria, RV 588. Milan: BMG Ricordi Music Publishing,

1990.

Articles

Everett, Paul. “Vivaldi at Work: The autograph of the Gloria RV 589,” Informazioni e Studi Vivaldiani,” Vol 17: 68–87.

BIBLIOOOOOOOGRAPHY

vocal works. However, the great popularity of RV 589 from its inclusion in the afore-mentioned “Vivaldi week” performance in 1939 has obstructed the opportunity for RV 588 to gain performances. Gloria RV 588 is worthy of consideration for choirs and conductors who have great affection for RV 589. It is the author’s hope this article will stimulate interest not only in the other Gloria but also in the entirety of Vivaldi’s wonderful oeuvre of choral music.

NOTES

1 H. C. Robbins Landon, Vivaldi, Voice of the Baroque (Chicago: University of Chicago Press, 1993): 82.

2 Michael Talbot, ed., Antonio Vivaldi: Jubilate, o amoeni chori and Gloria RV 588, critical edition (Milan, Italy: BMG Ricordi Music Publishing, 1990): 164.

3 Michael Talbot, The Sacred Vocal Music of Antonio

Vivaldi. (Firenze, Italy: Leo S. Olschki Editions, 1995): 336.

4 Paul Everett, “Vivaldi at work: The autograph of the Gloria RV 589,” Informazioni e studi vivaldiani,” Vol 17, (1996): 75.

Table 1Comparison of “Cum Sancto Spiritu” movements in RV 588 and RV 589

589 588 1–2 Fanfare for chorus and orchestra 1–16 nearly identical 3–1817–22 somewhat similar 19–2523–32 identical 26–3532–35 (orchestral interlude) 36–45 identical 35–4545–49 similar 45–4950–52 similar 50–5353–55 (SATB and 4 beats orchestra) 53–55 (choral extension)55–64 quite similar 55–63 63–64 (orchestral interlude)64–78 quite similar 65–79