He 'borrowed' it from a work by a contemporary, Giovanni Maria Ruggieri. The closing fugue ( Cum sancto spiritu) is in a more conservative style than the rest of the work and is in fact not originally by Vivaldi. The work opens with the kind of strong motoric rhythm that is reminiscent of Vivaldi's concertos but then shifts into the beautiful harmonic world of the Et in terra pax, a movement that wanders meditatively through unexpected keys. The orchestration, which may have been inspired by the roster of students at the school, calls for relatively limited forces - only a single oboe and a single trumpet (with no timpani) are added to the strings - and there are only three vocal soloists. It is a setting of a single section of a mass, but it is almost certainly a complete work and not a fragment, since it was not uncommon to write individual mass movements for specific occasions. In all likelihood, the present Gloria, in which all the vocal solos are for female voices, was written for the girls at the school. In addition to concertos, Vivaldi was asked to write a good deal of religious music for the accomplished musicians at the Ospedale della Pietà, the girls' orphanage in Venice where he served as music director. The Gloria, part of that Turin collection, received its twentieth-century premiere in 1930 and has remained the most popular of all Vivaldi's vocal works ever since. Suddenly, he was much more than a composer of violin concertos. But then, in the late 1920's their view of Vivaldi changed, when a large collection of his vocal music was discovered in Turin. Those were particularly interesting to scholars and musicians because of their influence on J.

When the modern-day Vivaldi revival began early in the twentieth century, attention focused mainly on the composer's concertos.

Vivaldi gloria rv589