![]() In the Ryom-Verzeichnis catalogue, it is considered lost.Īs stated above, this Gloria for two cori (orchestras) was written by Giovanni Maria Ruggieri. There is no other source of information not even its possible key can be conjectured. Little information exists on this lost work other than its instrumentation (five voices and oboes in trombae) in the Kreuzherren catalogue. Qui sedes ad dexteram Patris (Contralto).Domine Deus, Agnus Dei (Contralto and Chorus). ![]() ![]() Problems playing this file? See media help. 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. The last movement, "Cum Sancto Spiritu", is essentially an "updated" version of movement present in both RV Anh. The "Qui Tollis" movement of RV 589 is rhythmically similar to the first few measures of RV 588 (and ultimately RV Anh. 23, with the use of repeating rhythmic figures underneath harmonic motion. The second movement is significantly more chromatic in RV 589, but nonetheless is texturally similar to the setting present in RV Anh. Motivic material present in the orchestral parts of either piece are also shared, including octave jumps in the opening motives of the piece. 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. Two introduzioni exist as explained above.Īs in RV 588, there exists evidence of influence by RV Anh. This piece, along with its mother composition RV 588, was composed at the same time during Vivaldi's employment at the Pietà. This is the better-known setting of the Gloria, simply known as the Vivaldi "Gloria" because of its outstanding popularity.
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