imslp89126 pmlp29257 vivaldi gloriavslr

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Vocal ScoreKlavierauszug

Antonio

VIVALDI

Gloria

RV 589

Edited and Translated by

Clayton Westermann


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PREFACE

The source of this edition of Antonio Vivaldis Gloria is Raccolta Renzo Giordano, Opere Sacre,Tome I. ff. 90129r in the Biblioteca Nazionale in Turin. The full score, orchestra parts, and vocalscore are faithfully represented as in Vivaldis original notation. Errors that may be found in earliereditions have been rectified.

Because Baroque composers often presided over performances of their own works and becausegeneral stylistic practices were assumed to be understood, notation of the period seems clean in theabsence of slurs, ornaments, dynamic indications, and even figures for the basso continuo part. Forthis edition all such markings have been represented as in the original score, and suggestions fortrills or dynamics which would normally be executed as standard procedure by Baroque musiciansare indicated in brackets.

Corrections and additions to the original figured bass part are shown in brackets in order tofacilitate performance and are consistent with the instrumental and vocal parts. Editorial slurs havebeen included in the voice parts to satisfy contemporary practice in indicating the prosody of thetext, and those added for musical considerations are bracketed. The treble clef has been substitutedfor the original soprano, alto, and tenor clefs in the voices, and hemiola brackets are shown to aid theperformer in recognizing the cross stress patterned by 3 groups of 2 beats imposed upon 2 measuresof 3 beats (i.e.

34 q q q | q q q ).

Attention must be called to the rhythmic notation in the chorus Domini Fili Unigenite.This dotted rhythm (continuous in the bass part) seemed to convey a variety of meanings to musi-cians during the Baroque period and contradictory interpretations have only increased since theeighteenth century.

Two extremes in treatment are 1) to equate the constant dotted rhythm to a swaying tripletdivision ( q k e = q

3e) or 2) to exaggerate the rhythmic articulation in French Overture tradition as

double dots (q k e = q k k x). There is evidence, however, that the dotted system was a Baroque short-hand for more complex ratios such as 3:2 (i.e. q k e = q k

5q ). Consideration of this interpretation,

usually referred to as expressive rhythm would suggest an uneven ratio of long to short notes inrelationship to the character or expression of the music.

The orchestra calls for Tromba (Trumpet in C), Oboe, Violin I and II, Viola, Basso Continuo

(Violoncello, Bass, and keyboard instrument). The entire group is utilized in Movements 1, 11, and12. Otherwise the tromba are not used except for an oboe solo in No. 6.

Clayton J. WestermannHuntington, NY

August 15, 1967

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CONTENTS

1. Gloria in Excelsis (Chorus) ............................................................................. 4

2. Et in Terra Pax (Chorus) ................................................................................13

3. Laudamus Te (Duet for Two Sopranos) .........................................................24

4. Gratias Agimus Tibi (Chorus) .......................................................................30

5. Propter Magnam Gloriam (Chorus) .............................................................31

6. Domine Deus (Soprano Solo) ........................................................................34

7. Domine Fili Unigenite (Chorus) ....................................................................38

8. Domine Deus, Agnus Dei (Alto and Chorus) ................................................49

9. Qui Tollis (Chorus) .......................................................................................54

10. Qui Sedes ad Dexteram (Alto Solo) ...............................................................57

11. Quoniam Tu Solus Sanctus (Chorus) .............................................................63

12. Cum Sancto Spiritu (Chorus) ........................................................................67

ORCHESTRA

2 Oboes (No. 8), Bassoon (opt.), Keyboard

Violin I , Violin I I, Viola, Violoncello, Double Bass

Complete orchestral parts compatible with this vocal score are available (Cat. No. A2732) from

E. F. Kalmus & Co., Inc.6403 West Rogers Circle

Boca Raton, FL 33487 USA

(800) 434 - 6340

www.kalmus-music.com


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