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

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

and conductor of the Midland-Odessa (TX) Symphony Chorale.
gpysh@fpcmid.org
Masterwork— A Comparative Analysis
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590, is unpublished and housed in the Kreuz-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 first 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 first major piece
of Vivaldian church music to be recorded,
by Gregory M. Pysh
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 first, 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 identifies 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.
CHORAL JOURNAL Volume 51 Number 9 31
The ‘Other’ Vivaldi Gloria: Discovering a Lesser-known Masterwork—

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
five 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 difficult
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
inflections are introduced. The word-
setting is modified 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
modified, 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.

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32 CHORAL JOURNAL Volume 51 Number 9

A Comparative Analysis
Introductory Motets
The first 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 final movement’s “Pax in
terra” and “In coelo Gloria” foreshadow
the first 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. has been viewed as a composite of the end
org/choral-journal-april-2011). of the introduzione and the beginning of the
Gloria, dovetailed together. As seen in Figure
“Gloria in Excelsis” 1a, the soloist takes up the Gloria text in
measure 49, but it is not until measure 57
Composed in D major (the optimal
that the choral Gloria begins.Throughout the
trumpet key in eighteenth-century Italy)
rest of the movement, choral iterations of
in allegro tempi, both RV 589 and RV 588
the Gloria text alternate with solo passages
use the entire orchestra and are scored for
on the “Sonoro” text (Figure 2, www. acda.
SATB choir. RV 589 is set in 4/4 meter with
org/choral-journal-april-2011).
the familiar Vivaldian octave motive in the
Anyone wishing for liturgical or aesthetic
accompaniment. The violins, coupled with
reasons to excise the solo passages can do
the oboe and trumpet, play in sixteenth-note
so by judicious editing, allowing the Mass
thirds and tenths to accentuate the texture.
text to stand alone. We can infer that Vivaldi
The chorus sings in a primarily homopho-
anticipated this adaptation, as the harmonies
nic style, for which Vivaldi contrasts long
that come before and after each solo sec-
sustained passages with shorter phrases as
tion are identical to each other. Notations
indicated by the text (Figure 1).
placed in the autograph manuscript (though
The challenge of the first chorus of RV
not in the composer’s hand) indicate that a
588: begins with an alto solo on the “Sonoro
performance in this fashion was undertaken
modulamine” text, the material of which has
in Vivaldi’s time, thus establishing a historical
been identified as the third movement of the
precedent.
Introduzione RV 639; thus, this movement
CHORAL JOURNAL Volume 51 Number 9 33
 The ‘Other’ Vivaldi Gloria: Discovering a Lesser-known Masterwork—

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,
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.

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A bridge to the world over a B-minor key center with continuous
eighth-note pulse in the string orchestra. By
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the choral par ts, Vivaldi writes the chorus
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Festivals movements are rich with harmonic suspen-
Joint concerts sions, and Vivaldi concludes each composi-
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Sightseeing down” at the final 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-flat— C major— G7— F sus 9
♯
and 4— F major — B7— E minor. Figure 3
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34 CHORAL JOURNAL Volume 51 Number 9

A Comparative Analysis

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The most distinct musical features of RV “Laudamus Te”

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
♯ ing with each other to achieve a common
♯ ♯
minor — G minor seven—E minor — F
♯7 ♯
major — B major — F — F major 7—
♯7 ♯ sages that overlap in parallel thirds. Both
F — B minor — F sus 4–3— B minor. Figure
4 presents the opening choral entrance of
RV 588.
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 $595 per person
movements to “revive the ‘old’ meaning of
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CHORAL JOURNAL Volume 51 Number 9 35

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

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 first and
at the close, in each case with adventurous
modulations from G to E flat 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 first 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).

36 CHORAL JOURNAL Volume 51 Number 9

A Comparative Analysis

“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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CHORAL JOURNAL Volume 51 Number 9 37

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

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38 CHORAL JOURNAL Volume 51 Number 9

A Comparative Analysis
“Domine Deus, Rex coelestis”
For the first 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 figure, 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,
CHORAL JOURNAL Volume 51 Number 9
creating wonderful conversations between
the singers, and, in doing so, he contrasts ar-
ticulations of dotted-eighth/sixteenth-notes
with more legato lines.
In a most atypical style for this composer,
RV 588’s “Domine Fili Unigenite” is com-
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The ‘Other’ Vivaldi Gloria: Discovering a Lesser-known Masterwork—

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
Juliuu s Herford Prize Julius Herford Prize Julius Herford Prize Julius Herford Prize Julius Herford Prize Julius Herford Prize Julius vocal phrase, which are representative of
the entire work.
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“Qui tollis”
The textual settings are similar in con-
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struction in both Glorias, following almost

Prize Julius Herford Prize Julius Herford Prize Julius Herford Prize Julius Herford Prize Julius Herford Prize Julius Herford Prize

Application Information Call for Nominations note-for-note with the corresponding move-
Available on page 79. Information available on page 74. ment in Ruggieri’s Gloria. E minor is the key

40 CHORAL JOURNAL Volume 51 Number 9

A Comparative Analysis

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-

center for each piece and 4/4 the meter, are several measures where the sopranos
until the composer expands RV 589 into 3/2 sing unaccompanied.
time. In RV 589 the strings play with the ho-
mophonic choral parts in the characteristic Tempowatch.com
Vivaldi doublings (S=Vl1, A=Vl2 at the oc- “Qui sedes”
tave,T=vla, B=basso continuo).The orchestral Each Gloria here presents an alto solo in Know Your
scoring in RV 588 is more expansive, with triple meter, but Vivaldi writes very different Tempo As It
the addition of the two oboes, and with settings with unique orchestral colors. In RV Happens
the strings, who harmonize the voice parts
without doubling them. In both pieces, there
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CHORAL JOURNAL Volume 51 Number 9 41

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

niment in the rhythm of a siciliana. Vivaldi and the bass, marked “two violincelli soli,” having the keyboard tacet during this move-
scores three layers of orchestral sound: two along with the basso continuo. The orches- ment. This solo, while scored for alto, might
solo violins, usually in thirds; two solo violas tral timbre, texture, and rhythmic presence be sung by a bass (Figure 14).
who add a undulating sixteenth-note pulse; are such that the conductor might consider

“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
first movement to craft the twenty-
three measures of this piece, continuing
with the homophonic choral writing in
the chorus and the octave figures 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 thirty-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 figure in the bass (see m. 5 in
figure 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 first copied from
the model but then subsequently
changed; other text that he invented
for himself—in some instances while

42 CHORAL JOURNAL Volume 51 Number 9

A Comparative Analysis
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 sufficiently
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 Looking for a
than to re-work his own music, let Choral Journal article?
alone the music of others.4
The Choral Journal
From Ruggieri’s seminal work, Vivaldi kept
the original key and meter, but he reduced Index is now available
the due cori to a single choir, compressed on-line
the two viola parts to one, and utilized the
full resources of the Gloria orchestras. He
also transposed the oboe and trumpet Thousands of articles
lines into higher, more brilliant registers. The have been catalogue,
movements compare as illustrated in Table 1.
annotated and
cross-referenced
Conclusion
Anyone knowing only the Vivaldi setting Available FREE to ACDA
of the Gloria in the RV 588 edition would members - under the
rank it among the composer’s finest sacred
“Publications” tab at
www.acda.org
CHORAL JOURNAL Volume 51 Number 9 43
The ‘Other’ Vivaldi Gloria: Discovering a Lesser-known Masterwork

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

589 588
1–2 Fanfare for chorus and orchestra
1–16 nearly identical 3–18
17– 22 somewhat similar 19–25
23– 32 identical 26–35
32– 35 (orchestral interlude)
36– 45 identical 35–45
45– 49 similar 45–49
50– 52 similar 50–53
53– 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

vocal works. However, the great popularity
of RV 589 from its inclusion in the afore-
1 4
mentioned “Vivaldi week” performance in
1939 has obstructed the opportunity for
RV 588 to gain performances. Gloria RV 588
2
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
3
but also in the entirety of Vivaldi’s wonderful
oeuvre of choral music.
NOTES Vivaldi. (Firenze, Italy: Leo S. Olschki Editions,
1995): 336.
H. C. Robbins Landon, Vivaldi, Voice of the Baroque Paul Everett, “Vivaldi at work:The autograph of the
(Chicago: University of Chicago Press, 1993): Gloria RV 589,” Informazioni e studi vivaldiani,”
82. Vol 17, (1996): 75.
Michael Talbot, ed., Antonio Vivaldi: Jubilate, o
amoeni chori and Gloria RV 588, critical edition
(Milan, Italy: BMG Ricordi Music Publishing,
1990): 164.
Michael Talbot, The Sacred Vocal Music of Antonio

BIBLIOGRAPHY
BIBLIO
OGRAPHY

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.

44 CHORAL JOURNAL Volume 51 Number 9