Laudamus te | David Rayl | MusicSpoke

edited by David Rayl

Notes:

“The” Vivaldi Gloria (RV 589) is one of the most frequently performed choralorchestral works in the repertoire and is particularly popular justifiably so among high school, community, and church choirs. Many choral conductors are surprised to discover that there are, in fact, two extant settings of the Gloria by Vivaldi and even more surprised to discover some of the extraordinary music of the “other” Vivaldi Gloria (RV 588). Both works are scored for SATB chorus with strings and wind instruments (trumpet and two oboes for RV 588 and oboe and trumpet for RV 589) and share a common key (D major) as well as some similarities of construction. For example, both settings treat the “Laudamus te” as a duet for two sopranos and the final chorus of both settings (“Cum sancto Spiritu”) uses almost identical music.

Scholars have been unable to determine the Venetian institution for which Vivaldi composed RV 588 or its date of composition, although it is believed to have been written sometime between 1713 and 1717 when the composer was acting choirmaster at the Ospedale della Pietà, one of four Ospedali Grandi in Venice. The Pietà was founded as a hospice for the needy, but by the early eighteenth century had become a combination convent, orphanage, and music school, especially noted for its all-female choirs and orchestras that attracted tourists and patrons from around Europe.

The ”Laudamus te” from RV 588 was originally scored for two soprano soloists, violin(s), and viola(s) with basso continuo. Like its parallel setting in RV 589, this duet works equally well for treble choral ensembles. The relatively modest ranges (SI F#4-G5 and SII D4-F#5 with SII consistently lower SI) provides an accessible and musically satisfying introduction to Baroque music and makes this an ideal work for treble ensembles of all ages and ability levels. Performance by tenor-bass ensembles is also a viable option, though outside of what Vivaldi himself likely could have imagined.

This performing edition offers suggestions for a few dynamic markings and for breaths in the choral parts. It also assists conductors and ensembles in considering the premise that not all downbeats “are created equal” by suggesting stressed (  ) and unstressed (  ) downbeats derived from appropriate textual accentuation, which sometimes coordinates with and sometimes is at odds with the expected accentuation.

This choral gem has lain neglected because of the enormous popularity of its companion setting in RV 589. The present edition hopes to provide a small step toward correcting that oversight.

te,adoramuste,glorificamuste, muste,adoramuste,glorificamuste,

*Optionallowernotesmayreplaceupperoctaveifnecessary.

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.