Vivaldi's Gloria: Performance Critical Analysis

Introduction

Vivaldi's Gloria is regarded as one of the well-known pieces of choral music written in 1708. The piece under review takes approximately two and a half minutes, and it is propelled from the first notes of the orchestral introduction. The Gloria piece is surrounded with Kyrie, Credo, as well as Magnificat settings. It is important to comprehend that the preceding piece comprises twelve movements as well as orchestration of strings, continuo, trumpet, and oboe. What is more, both polyphonic and homophonic styles are witnessed in work at hand (Shapiro). On the same note, the piece presents harmonic suspensions, melismas, as well as the flow of chromatic melodic lines. With that said, the current paper addresses different aspects of Vivaldi's Gloria. Some of the factors focused in the article include the artists, the period of the composition, existing historical components about the piece, the instrumentation, the genre, significance of the composition, musical elements, as well as quality of performance to mention a few.

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The composer of Gloria is Antonio Vivaldi who was one of the representative composers in Baroque. Nevertheless, different scholars present various dates of the composition of the piece mentioned above. Besides, for the recital, chamber singers included 23 individuals who were the members of Concert Choir. The preceding choir has been training concentrating on clean and light tone with non-vibrato style.

Kyrie, Credo, as well as Magnificat, surround the Gloria piece. To begin with, the Kyrie opens with a lengthy expressive orchestral introduction. On the same note, the choir adds Vivaldi's richly subtle as well as chromatic vocal lines. In particular, the first Kyrie is technically for two choirs; however, Vivaldi varies groupings. Additionally, the lively Christe was written for four female soloists but it is sung by all the choir's sopranos as well as altos. Notably, from the opening note as well as the brisk speed adopted it is evident that in the piece Kaljuste will be taking no prisoners.

It is important to comprehend that wonderfully sunny nature of the piece mentioned above has distinctive melodies as well as rhythms. The piece at hand is characterized of all Vivaldi's music; therefore, giving the song an immediate not forgetting universal appeal. In this case, it is evident that the opening movement is a joyous chorus that is accompanied with both the oboe obbligato and trumpet. What is more, it is important to comprehend that the comprehensive orchestral introduction plays a critical role in creating simple double motives including octave leaps as well as a quicker quaver that operates as a ritornello (Yeon). On the same note, the choir enters in chorale-like form, which declaims the text in regular rhythms. Explicitly, this contrasts with the orchestral ritornello that has most of the melodic interest of the movement.

The RV 589 is considered an excellent fashion of Gloria that is well-recognized as Vivaldi's Gloria because of its outstanding popularity. In particular, the piece at hand accompanied with RV 588, was composed at the same period during the composer's employment at the Pieta. In fact, RV 589 enjoys well-founded as well as performed at several sacred events such as Christmas. On the same note, the piece under review has been recorded on many CDs and at some point paired with Bach's Magnificat (Saskatoon). On the same note, RV 589 has been performed in historically informed instrumentation with the utilization of an all-female choir to stimulate choral conditions at the Pieta. It is important to comprehend that there exists numerous editions and choirs require to exercise caution when combining various vocal not forgetting orchestral versions.

It is noteworthy that et in terra pax is as private as well as meditative as the opening Gloria is exuberant as well as the composer utilizes chromatic harmony to increase expression. On the same note, the Laudamus te is known as joy incarnate that posts a repeated instrumental refrain sandwiched between the available vocal sections. What is more, the ensuing Gratias agimus tibi is six bars but plays a vital role in evoking praise to God via chordal movement (Talbot). In addition, balanced against a lovely instrumental tune, seamless soprano solo Domine Deus showcases the gentle and tender side of God.

Conclusion

It is clear that Vivaldi wrote the presented work for two trumpets, choir, three soloists, as well as strings. In particular, the song opens with fast-paced music punctuated with octave leaps the violins that are considered the composer's opening concert movement and the choir adds the richness of the text. Overall, it is important to understand that all the vocal parts ranging from two sopranos as well as alto soloists to the tenor and bass were originally meant for women' voices. The piece at hand presents a joyous tone that is set at the start of the song and possesses jubilant shouts of Gloria in Excelsis Deo from the chorus. In simple terms, the piece at hand is an important classical music that one can enjoy to listen as well as analyze.

Works Cited

Saskatoon Opera. "Vivaldi's Glorious Gloria." Saskatoon Symphony Orchestra. 8 Feb. 2016. http://saskatoonsymphony.org/vivaldis-glorious-gloria/. Web. 16 July 2018.

Shapiro, Alan. "Vivaldi's Gloria: Severe and Good Natured." Alan Shapiro Music. http://alanshapiromusic.net/music-education/vivaldis-gloria-severe-and-good-natured/. Web. 16 July 2018.

Talbot, Michael. Vivaldi. Routledge, 2017.

Yeon, Hwang. "Analysis and Rehearsal consideration on Antonio Vilvaldi's Gloria: RV 589." Kansas State University. 2004. http://krex.k-state.edu/dspace/handle/2097/13802. Web. 16 July 2018.