E t i n t e r r a p a x
f r o m G l o r i a , R V 5 8 8
“The” Vivaldi Gloria (RV 589) is one of the most frequently performed choralorchestral works in the repertoire and is particularly popular justifiably so among high school, community, and church choirs. Many choral conductors are surprised to discover that there are, in fact, two extant settings of the Gloria by Vivaldi and even more surprised to discover some of the extraordinary music of the “other” Vivaldi Gloria (RV 588). Both works are scored for SATB chorus with strings and wind instruments (trumpet and two oboes for RV 588 and trumpet and one oboe for RV 589) and share a common key (D major) as well as some similarities of construction. For example, both RV 588 and 589 treat the “Et in terra pax” as a slower, imitative movement in B minor with expressive harmonies and chromatically inflected melodic lines, both set the “Laudamus te” as a spirited duet for two treble voices, and the final choruses (“Cum sancto Spiritu”) of both use almost identical music.
Scholars have been unable to determine the Venetian institution for which Vivaldi composed RV 588 or its date of composition, although it is believed to have been written sometime between 1713 and 1717 when the composer was acting choirmaster at the Ospedale della Pietà, one of four ospedali grandi in Venice. The Pietà was founded as a hospice for the needy, but by the early eighteenth century had become a combination convent, orphanage, and music school, especially noted for its all-female choirs and orchestras that attracted tourists and patrons from around Europe.
Beginning in the late 1980s, scholars began to question how the tenor and bass parts of these Gloria settings, and other works by Vivaldi and his contemporaries, were executed when performed by the all-female choirs of the ospedali. Performance practice specialists have proposed several solutions supported by the historical evidence but have yet to agree on a definitive answer. The present score employs one proposed approach, in which the tenor and bass parts are transposed up an octave, creating a stunningly effective SSAA texture similar to that of works for the ospedali by Hasse, Galuppi, Porpora, and others. As such it should be thought of as an arrangement that applies historically informed techniques but not as the “authentic” edition of this work. The score also offers suggestions for phrase shaping and for breaths in the choral parts.
This choral gem has lain neglected because of the enormous popularity of its companion setting in RV 589. The present score hopes to provide a small step toward correcting that oversight.