Antonio
ViVAldi ViV Aldi Gloria RV 589
Edited and Translated by
Clayton Westermann
Vocal Score Klavierauszug
SERENISSIM SERENISS IMA A MUSIC, MUSIC, INC. INC .
PREFACE The source o this edition o Antonio Vivaldi’s Gloria is Raccolta Renzo Giordano, Opere Sacre , Tome T ome I. . 90–129r in the Biblioteca Nazionale in Turin. Turin. The ull score, orchestra parts, part s, and vocal score are aithully represented as in Vivaldi’s original notation. Errors that may be ound in earlier editions have been rectifed. Because Baroque composers oten presided over perormances o their own works and because general stylistic practices were assumed to be understood, notation o the period seems clean in the absence o slurs, ornaments, dynamic indications, and even fgures or the basso continuo part. For this edition all such markings have been represented as in the original score, and suggestions or trills or dynamics which would normally be executed as standard procedure by Baroque musicians are indicated in brackets. Corrections and additions to the original fgured bass part are shown in brackets in order to acilitate perormance and are consistent with the instrumental and vocal parts. Editorial slurs have been included in the voice parts to satisy contemporary practice in indicating the prosody o the text, and those added or musical considerations are bracketed. The treble cle has been substituted or the original soprano, alto, and tenor cles in the voices, and hemiola brackets bracket s are shown to aid the perormer in recognizing the cross stress patterned patter ned by 3 groups o 2 beats imposed upon 2 measures o 3 beats (i.e. | ). ]
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Attention must be called to the rhythmic notation in the chorus “Domini Fili Unigenite.” This dotted rhythm (continuous ( continuous in the bass part) part ) seemed to convey a variety var iety o meanings to t o musicians during the Baroque period and contradictory interpretations have only increased since the eighteenth century centur y. Two extremes in treatment are 1) to equate Two equ ate the constant dotted rhythm to a swaying triplet t riplet division ( = ) or 2) to exaggerate the rhythmic articulation in French Overture tradition as double dou ble dot dotss ( = ). The There re is evid evidenc ence, e, how however ever,, that the dot dotted ted syst system em was a “Bar “Baroqu oquee sho shortrthand ha nd”” o orr mo more co comp mple lexx ra rati tioos su such ch as 3: 3:22 (i (i.e .e.. = ). Consideration o this interpretation, usually reerred to as “expressive rhythm” would suggest an uneven ratio o long to short notes in relationship to the character or expression o the music. ) 3
) 5
The orchestra calls or Tromba (Trumpet (Trumpet in C), Oboe, Violin I and II, Viola, Basso Continuo Continuo (Violoncello, (V ioloncello, Bass, and keyboard instrument). The entire group is utilized u tilized in Movements 1, 11, and 12. Otherwise the tromba are not used except or an oboe solo in No. 6. Clayton J. Westermann Huntington, NY August 15, 1967
PREFACE The source o this edition o Antonio Vivaldi’s Gloria is Raccolta Renzo Giordano, Opere Sacre , Tome T ome I. . 90–129r in the Biblioteca Nazionale in Turin. Turin. The ull score, orchestra parts, part s, and vocal score are aithully represented as in Vivaldi’s original notation. Errors that may be ound in earlier editions have been rectifed. Because Baroque composers oten presided over perormances o their own works and because general stylistic practices were assumed to be understood, notation o the period seems clean in the absence o slurs, ornaments, dynamic indications, and even fgures or the basso continuo part. For this edition all such markings have been represented as in the original score, and suggestions or trills or dynamics which would normally be executed as standard procedure by Baroque musicians are indicated in brackets. Corrections and additions to the original fgured bass part are shown in brackets in order to acilitate perormance and are consistent with the instrumental and vocal parts. Editorial slurs have been included in the voice parts to satisy contemporary practice in indicating the prosody o the text, and those added or musical considerations are bracketed. The treble cle has been substituted or the original soprano, alto, and tenor cles in the voices, and hemiola brackets bracket s are shown to aid the perormer in recognizing the cross stress patterned patter ned by 3 groups o 2 beats imposed upon 2 measures o 3 beats (i.e. | ). ]
]
]
Attention must be called to the rhythmic notation in the chorus “Domini Fili Unigenite.” This dotted rhythm (continuous ( continuous in the bass part) part ) seemed to convey a variety var iety o meanings to t o musicians during the Baroque period and contradictory interpretations have only increased since the eighteenth century centur y. Two extremes in treatment are 1) to equate Two equ ate the constant dotted rhythm to a swaying triplet t riplet division ( = ) or 2) to exaggerate the rhythmic articulation in French Overture tradition as double dou ble dot dotss ( = ). The There re is evid evidenc ence, e, how however ever,, that the dot dotted ted syst system em was a “Bar “Baroqu oquee sho shortrthand ha nd”” o orr mo more co comp mple lexx ra rati tioos su such ch as 3: 3:22 (i (i.e .e.. = ). Consideration o this interpretation, usually reerred to as “expressive rhythm” would suggest an uneven ratio o long to short notes in relationship to the character or expression o the music. ) 3
) 5
The orchestra calls or Tromba (Trumpet (Trumpet in C), Oboe, Violin I and II, Viola, Basso Continuo Continuo (Violoncello, (V ioloncello, Bass, and keyboard instrument). The entire group is utilized u tilized in Movements 1, 11, and 12. Otherwise the tromba are not used except or 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 .................13 3. Laudamus Te (Duet or Two Sopranos) ...................... ............................................ ...................................24 .............24 4. Gratias Agimus Tibi (Chorus) ..................... ........................................... ............................................ ............................30 ......30 5. Propter Magnam Gloriam (Chorus) ...................... ............................................ .......................................31 .................31 6. Domine Deus (Soprano Solo) ...................... ............................................ ............................................ ............................34 ......34 7. Domine Fili Unigenite (Chorus) ...................... ............................................ ............................................ ........................38 ..38 8. Domine Deus, Agnus Dei (Alto and Chorus) .................... .......................................... ............................49 ......49 9. Qui Tollis (Chorus) ................................................ .......................... ............................................ .......................................54 .................54 10. Qui Sedes ad Dexteram (Alto Solo) S olo) .................... .......................................... ...........................................57 .....................57 11. Quoniam Tu Tu Solus Sanctus S anctus (Chorus) ...................... ............................................ .......................................63 .................63 12. Cum Sancto Spiritu (Chorus) ........................................................................67
ORCHESTRA 2 Oboes (No. ( No. 8), Bassoon (opt.), Keyboard Violin I, Violin II, Viola, Violoncello, Dou ble 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, Raton, FL 33487 USA (800) 434 - 6340 www.kalmus-music.com www .kalmus-music.com
