Scribd Logo
Upload

Welcome to Scribd!

  • 9 views

    Partituur Gloria RV 589 Vivaldi 240608 001145

    Uploaded by

    avrilarmybts2013

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd

    Partituur Gloria RV 589 Vivaldi 240608 001145

    Uploaded by

    avrilarmybts2013
    9 views80 pages

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF, TXT or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    9 views80 pages

    Partituur Gloria RV 589 Vivaldi 240608 001145

    Uploaded by

    avrilarmybts2013

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 80

    Antonio

    Vivaldi
    Gloria
    RV 589

    Edited and Translated by


    Clayton Westermann

    Vocal Score
    Klavierauszug

    SERENISSIMA MUSIC, INC.


    PREFACE
    The source of this edition of Antonio Vivaldi’s Gloria is Raccolta Renzo Giordano, Opere Sacre,
    Tome I. ff. 90–129r in the Biblioteca Nazionale in Turin. The full score, orchestra parts, and vocal
    score are faithfully represented as in Vivaldi’s original notation. Errors that may be found in earlier
    editions have been rectified.

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

    Corrections and additions to the original figured bass part are shown in brackets in order to
    facilitate performance and are consistent with the instrumental and vocal parts. Editorial slurs have
    been included in the voice parts to satisfy contemporary practice in indicating the prosody of the
    text, and those added for musical considerations are bracketed. The treble clef has been substituted
    for the original soprano, alto, and tenor clefs in the voices, and hemiola brackets are shown to aid the
    performer in recognizing the cross stress patterned by 3 groups of 2 beats imposed upon 2 measures
    3
    of 3 beats (i.e. 4 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 the
    eighteenth century.

    Two extremes in treatment are 1) to equate the constant dotted rhythm to a swaying triplet
    division ( q k e = q 3 e) 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 5 q ). Consideration of this interpretation,
    )

    usually referred to as “expressive rhythm” would suggest an uneven ratio of long to short notes in
    relationship 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, and
    12. Otherwise the tromba are not used except for an oboe solo in No. 6.
    Clayton J. Westermann
    Huntington, NY
    August 15, 1967
    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 II, 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

    You might also like