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Σε μια επιστολή προς τον χορηγό του μαρκήσιο Μπεντιβόλιο (Bentivoglio), ο Βιβάλντι αναφέρεται στις 94 όπερές του. From Wikipedia, the free encyclopedia A Vivaldi antenna or Vivaldi aerial or tapered slot antenna is a co-planar broadband- antenna, which can be made from a solid piece of sheet metal, a printed circuit board, or from a dielectric plate metalized on one or both sides.

Antonio Vivaldi wrote at least three settings of the hymn Gloria in excelsis Deo, whose words date probably from the 4th Century and which is an integral part of the Ordinary of the Mass. Two survive: RV 588 and RV 589. A third, RV 590, is mentioned only in the Kreuzherren catalogue and presumed lost. The RV 589 Gloria is a familiar and popular piece among sacred works by Vivaldi. It was probably written at about the same time as the RV 588, possibly in 1715.

Introduction [edit]

As with other choral pieces the composer, Vivaldi, wrote many introduzione (introductory motets) that were to be performed before the Gloria itself. Four introduzioni exist for these Glorias: Cur Sagittas (RV 637), Jubilate, o amoeni cori (RV 639) (the last movement of which is compositionally tied with the first movement of RV 588), Longe Mala, Umbrae, Terrores (RV 640), and Ostro Picta (RV 642).

Settings[edit]

RV 588[edit]

The lesser known of the two surviving Glorias, RV 588 was most likely composed during Vivaldi's employment at the Pio Ospedale della Pietà, known for its advanced choral ensemble. The first movement is interwoven with the last aria of RV 639, as explained above. The date of composition between this Gloria and RV 589 is still disputed, but both show compositional inspiration from each other. Download mac os x version 10.10.

RV 588 borrows extensively from a double orchestra-and-choir setting of the same text by Giovanni Maria Ruggieri (which will henceforth in this article be referred by its RV cataloguing number of RV. Anh. 23). Many movements show inspiration from this composition, and two movements ('Qui Tollis' and 'Cum Sancto Spiritu') are plagiarised from the original Ruggieri setting (although 'Qui Tollis' completely omits the second coro (chorus), and 'Cum Sancto Spiritu' is slightly modified). The first movement of RV 588 is also an extended version of RV Anh. 23, sans the second coro employed in RV Anh. 23, among other musical modifications. The second movements of both RV 588 and RV 589 ('Et in Terra Pax') both show chromatic patterns and key modulations similar to that of the second movement of RV Anh. Download mac 10.9 installer. 23.

Movements[edit]

1. Gloria in excelsis Deo (Chorus)
2. Et in terra pax (Chorus)
3. Laudamus te (Sopranos I and II)
4. Gratias agimus tibi (Chorus)
5. Propter magnam gloria (Chorus)
6. Domine Deus (Soprano)
7. Domine, Fili unigenite (Chorus)
8. Domine Deus, Agnus Dei (Alto, Chorus)
9. Qui tollis peccata mundi (Chorus)
10. Qui sedes ad dexteram Patris (Mezzo Soprano)
11. Quoniam tu solus sanctus (Chorus)
12. Cum Sancto Spiritu (Chorus)

RV 589[edit]

This is the better known setting of the Gloria, simply known as the Vivaldi 'Gloria' due to its outstanding popularity. This piece, along with its mother composition RV 588, was composed at the same time during Vivaldi's employment at the Pietà. Two introduzioni exist as explained in the aforementioned article.

As in RV 588, there exists evidence of influence by RV Anh. 23: the first movement's chorus shares similar key modulations to that of the first movement of RV 588, only modified to fit a duple meter instead of the triple meter of RV 588. Motivic material present in the orchestral parts of either piece are also shared, including octave jumps in the opening motives of the piece. The second movement is significantly more chromatic in RV 589, but nonetheless is texturally similar to the setting present in RV Anh. 23, with the use of repeating rhythmic figures underneath harmonic motion. The 'Qui Tollis' movement of RV 589 is rhythmically similar to the first few measures of RV 588 (and ultimately RV Anh. 23). The last movement, 'Cum Sancto Spiritu,' is essentially an 'updated' version of movement present in both RV Anh. 23 and RV 588, except extensively harmonically modified, becoming more chromatic than its predecessors, reflecting a maturity in Vivaldi's output and the emerging style of the late Italian Baroque.

Movements[edit]

1. Gloria (Chorus)
2. Et in terra pax (Chorus)
3. Laudamus te (Sopranos I and II)
4. Gratias agimus tibi (Chorus)
5. Propter magnam gloriam (Chorus)
6. Domine Deus (Soprano)
7. Domine, Fili unigenite (Chorus)
8. Domine Deus, Agnus Dei (Contralto and Chorus)
9. Qui tollis peccata mundi (Chorus)
10. Qui sedes ad dexteram Patris (Contralto)
11. Quoniam tu solus sanctus (Chorus)
12. Cum Sancto Spiritu (Chorus)

RV 590[edit]

Little information exists on this lost work other than its instrumentation (five voices and oboes in trombae) in the Kreuzherren catalogue. There is no other source of information; not even its possible key can be conjectured. In the Ryom-Verzeichnis catalogue, it is considered lost.

RV Anh. 23[edit]

As stated above, this Gloria for two cori (orchestras) was written by Giovanni Maria Ruggieri. This composition, probably for a Venetian church during a festival, is dated September 9, 1708 N.S. This Gloria provided much inspiration for Vivaldi's two settings and for other Glorias by other composers at the time, who may have used it in their settings.

Movements[edit]

1. Gloria in excelsis Deo (Chorus)
2. Et in terra pax (Seven Bass soloists)
3. Laudamus te (Chorus, Sopranos I and II, Tenor)
4. Gratias agimus tibi (Chorus)
5. Propter Magnam Gloriam (Chorus)
6. Domine Deus (Sopranos I and II and Bass from first coro, Sopranos III and VI and Bass from second coro)
7. Domine, Fili unigenite (Chorus)
8. Domine Deus, Agnus Dei (Chorus)
9. Qui tollis peccata mundi (Chorus)
10. Qui sedes ad dexteram Patris (Chorus and Soprano, Contralto, and Tenor)
11. Quoniam tu solus sanctus (Chorus)
12. Cum Sancto Spiritu (Chorus)

Popularity[edit]

The Glorias remained in a relatively unknown status, until RV 589's revival by Alfredo Casella during 'Vivaldi Week' in Siena (1939), along with the composer's setting of the Stabat Mater (RV 621). RV 589 enjoys well-founded popularity, performed at many sacred events, including Christmas. It has been recorded on almost one hundred CDs, sometimes paired with Bach's Magnificat (BWV 243), Vivaldi's own Magnificat settings (RV 610-611), or Vivaldi's Beatus Vir (RV 597). RV 588, however, has had little success and has only been published in few albums. Attempts to create more attention to RV 588 and other sacred Vivaldi works (most notably by The King's Consort) are underway.

As with many other pieces of the Baroque era, RV 589 (and its lesser known companion RV 588) have been performed in historically-informed instrumentation, even with the use of an all-female choir to simulate choral conditions at the Pietà. There are several different editions, and choirs need to exercise caution when combining different vocal and orchestral editions.

RV 589 has also been used in a number of films. The first movement featured in the 1996 Scott Hicks film Shine about pianist David Helfgott, as well as in the 2011 film The Hunter. An adaptation of the second movement was used with profound effect in the final climactic scenes of the 1985 Andrei Konchalovsky film Runaway Train.^[1]

Editions[edit]

• Vivaldi: Gloria in D RV 589, Stuttgart Carus-Verlag 1971

References[edit]

1. ^'Trevor Jones: Runaway Train'. maintitles.net. Retrieved 2010-01-23.

External links[edit]

• Free scores of this work in the Choral Public Domain Library (ChoralWiki)
• Gloria in D major, RV 589: Scores at the International Music Score Library Project
• Gloria, RV 589, performed by National Chamber Orchestra of Armenia on YouTube
• Gloria, RV 589, performed by University of North Texas College of Music on YouTube

Antonio Vivaldi (born Venice, 4 March 1678; died Vienna, 28 July 1741) was an Italiancomposer.^[1] He was the most important composer in Italy at the end of the Baroque period.

Vivaldi wrote more than 400 concertos for various instruments, especially for the violin. The scores of 21 of his operas, including his first and last, are still intact. His most popular work is the group of four violin concertos called “The Four Seasons”.^[2] Each concerto describes a season: Spring, Summer, Autumn, and Winter. He is believed to be the inventor of the ritornello form. He was very famous for his piccolo compositions, such as Il gardellino.

Early life[change | change source]

Vivaldi probably was taught to play the violin by his father, who was professional musician. He trained to be a priest, and because of his red hair, he became known as 'il prete rosso', which means 'the red priest.'.^[1][2] He did not work as a priest for very long, and in 1703, he began teaching violin to girls at an orphanage in Venice, the Pio Ospedale della Pietà.^[1] The name means 'Devout Hospital of Mercy.'.^[2] The girls were chosen because they showed exceptional musical abilities. They gave regular concerts, so as part of his duties Vivaldi wrote music for them to play.^[1] He lost the job between 1709 and 1711, when he was reappointed. He also took on the extra job of writing sacred music for the girls' choir. He continued teaching until 1716 when he was put in charge of all the music events.

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Composing[change | change source]

Vivaldi's music was becoming well known. During his break from teaching between 1709 and 1711 he wrote a large number of works including violin sonatas and concertos. In 1711 a collection of 12 concertos, L'estro armonico op.3, for one, two and four solo violins was published by Etienne Roger in Amsterdam.^[1] Top free graphic design software for mac. This made him famous throughout Europe, and musicians coming to Venice would visit Vivaldi for lessons. Further new publications of his music made him even more famous. The first of his many operas, Ottone in villa, was performed in 1713.^[1] His first oratorio, Juditha Triumphans devicta Holofernis barbaric, was performed by the girls from the Pietà in 1716.^[3]

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Travels[change | change source]

In 1718 Vivaldi left Venice and moved to Mantua, where he became the director of music for the governor, Prince Philip of Hesse-Darmstadt.^[1] He composed his famous 'Four Seasons' as well as several operas during this time.^[2] He went to Rome in about 1721, where he performed on several occasions for the Pope. While he was travelling, he continued to write music for the girls at the Pietà, over the years he sent them about 140 concertos.^[1] He went to a number of cities in Europe to have his operas performed including Vienna, Verona, and Prague. He often went back to Venice to rehearse his music with the girls.

Even though his music was popular, Vivaldi did not make a lot of money from his music. As newer musicians, and more modern styles became popular, he found it more difficult to earn a living.^[2] He moved to Austria to play for royalty but when the king died, he became poor and had no way to return home. He died, a poor man, in Vienna, on 28 July 1741.^[2]

References[change | change source]

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1. ↑ ^{1.01.11.21.31.41.51.61.7}Talbot, Michael. 'Vivaldi, Antonio.' Grove Music Online. Oxford Music Online. Oxford University Press, accessed December 15, 2015, (subscription required), http://www.oxfordmusiconline.com/subscriber/article/grove/music/40120
2. ↑ ^{2.02.12.22.32.42.5}Biography.com: Antonio Vivaldi - Priest, Educator, Composer - Biography.com, accessdate: December 26, 2015
3. ↑'Antonio Vivaldi: A Detailed Informative Biography.' Accessed December 15, 2015. http://www.baroquemusic.org/bqxvivaldi.html.

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