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Which Vivaldi Gloria is which?

Date: Sat, 04 Jan 1997 10:49:05 +0000
From: Bob Eaton
To: choralist
Subject: Vivaldi Gloria

I have noticed over time a farily significant number of questions or
comments regarding Vivaldi's Gloria. I am aware of TWO "Glorias" by
Vivaldi. The 'familiar' one, my edition a G Schirmer edited by
Herrman with no RV number and another Gloria with
Introduction-Jubilate for Alto solo RV 639 and RV588- the Gloria
itself. Anyone else had any experience with the later? I have
performed both and found the less familiar one published by Kalmus
K09919, edited Westermann, quite refreshing! Just am intriqued that
it is seldom mentioned.

Date: Thu, 24 Apr 1997 15:59:59 -0400
From: (Lee G. Barrow)
Subject: Re: Editions of Vivaldi "Gloria"

>Several months ago I remember seeing a lot of talk about the problems one
>encounters when preparing Vivaldi's "Gloria."

Since this has come up several times recently, I am sending my response to
the entire list.

The first modern edition of the Vivaldi "Gloria", published by Ricordi and
handled by G. Schirmer in the U.S., was an "elaboration" by Alfredo
Casella. It can be found in many choral libraries. Unfortunately, it
includes many cuts, mistakes, and changes of notes and chords; I discuss
these in my article in the November 1980 issue of the _Choral Journal_.
The available orchestral parts and full scores do not match the Casella

Most other editions are faithful to the original, including a 1970 one by
Ricordi edited by Gian Francesco Malipiero and a 1973 G. Schirmer edition
edited by William Herrmann (at last check, both publishers still offered
and even encouraged the use of the older edition). Walton (ed. Martens),
Kalmus (ed. Westermann), and others also have good editions. The best bet
is to purchase an edition other than the Casella edition; however, if you
already own the latter it is possible to give an accurate performance by
incorporating the corrections outlined in my article.

on September 25, 2003 10:00pm
There are different Vivaldi Glorias. RV588 and RV589, RV588 being the famous one which most groups perform. RV589 is not performed as much but, in my opinion, it is a better work. It is much more difficult though, especially for the soloists.There might even be a third. Check the Groves for a more exact answer.
on January 17, 2007 10:00pm
The message from Tom, I venture to suggest, is incorrect inasmuch as the RV589 Gloria is the more well-known. This is the one for strings, single trumpet, single oboe, continuo, SSA solists and SATB choir.
on July 28, 2013 6:56pm
This is the famous one: 
Antonio Lucio Vivaldi
Born 4 March 1678 (Republic of Venice) – Died 28 July 1741 (Vienna, Austria)
Gloria in D Major, RV589 for four-part chorus, soprano and alto soloists, oboe, trumpet, strings, and continuo (c1713)
First modern performance 1939
This was the first of Vivaldi’s choral works to be recorded (just after WWII)
(from notes I wrote for the Berkshire Choral Festival)
Most manuscripts of Vivaldi’s vocal and sacred choral music survive because they were collected by Count Giacomo Durazzo, Genoese Ambassador to Vienna from 1764-1784. Vivaldi’s music remained largely unknown until Durazzo’s collection (including the Gloria heard tonight) was acquired by the National Library in Turin (copies in both in the Mauro Foà and Renzo Giordano collections, acquired respectively in 1927 and 1930). American ex-pats Ezra Pound and Olga Rudge researched music for concerts of Vivaldi’s music in Rapallo and Venice, and Rudge (a well-respected violinist) edited many of the Turin manuscripts to create performing scores. In 1938, she founded the “Centro di Studi Vivaldiani” and wrote a groundbreaking article on Vivaldi for the 1940 New Grove Dictionary of Music & Musicians. Pound and Rudge helped pianist Alfredo Casella to put together his famous Siena “Vivaldi Week” in 1939, where the Gloria RV589 received its first modern performance. By the late 1960s, Dutch musicologist Peter Ryom established the standard modern catalogue of Vivaldi’s works, from which scholars now include “RV” numbers.
The first performance of this Gloria at the Pietà is documented in 1715, but Vivldi’s autograph manuscript hints at the existence of one or more prior versions, due to the variety of older paper and inks used. It became a popular repertory piece at the Pietà for over a decade, and shares its structure and final movement with his ‘other’ Gloria, RV588 (the two works probably matured in parallel). The Gloria heard tonight was also featured in a special mass celebrating the 1716 victory of the Venetian Republic over the Ottoman Empire.