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Unlversi^ M iodnlm s International 300 N. ZEEB ROAD, ANN ARBOR, Ml 48106 18 BEDFORD ROW, LONDON WC1R 4EJ, ENGLAND 8116596
G raumann , Ke f ih D avid
ANTONIO VIVALDI: PERFORMANCE EDITIONS OF NINE SACRED VOCAL WORKS ON LITURGICAL TEXTS PRESERVED IN THE RACCOLTA FOA-GIORDANO
The University o f Oklahoma D M A . 1981
University Microfilms Internstionsi 300X.ZeebRoad.AnnAibor.MI48106
Copyright 1981 by Graumann, Keith David Ail Rights Reserved THE UNIVERSITY OF OKLAHOMA
GRADUATE COLLEGE
ANTONIO VIVALDI: PERFORMANCE EDITIONS
OF NINE SACRED VOCAL WORKS ON LITURGICAL TEXTS
PRESERVED IN THE RACCOLTA FOA-GIORDANO
A DOCUMENT
SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the
degree
DOCTOR OF MUSICAL ARTS
BY
KEITH DAVID GRAUMANN
Norman, Oklahoma
1981 ANTONIO VIVALDI: PERFORMANCE EDITIONS
OF NINE SACRED VOCAL WORKS ON LITURGICAL TEXTS
PRESERVED IN THE RACCOLTA FOA-GIORDANO
APPROVED BY
nis Shrock, Chairman
Eh B u m s
^■rico
Jag Faulconer
Irvin Wagner ACKNOWLEDGEMENTS
The writer expresses sincere appreciation to those who have been of valuable assistance in the completion of this study:
To Professor Dennis Shrock for patient and skillful guidance;
To the other members of the Doctoral committee. Professors
Legh Burns, Eugene Enrico, James Faulconer, and Irvin Wagner, who offered valuable criticisms during the preparation of the document;
To the Commission for Cultural and Educational Exchange between
Italy and the United States for financial assistance in the form of a Fulbright-Hayes research fellowship;
To the Graduate College of the University of Oklahoma for additional travel and research funds;
Finally, to a completely supportive family who have been in valuable in every way, and especially to my future wife Ann, who has been a constant source of assistance and encouragement.
Ill TABLE OF CONTENTS
Page
Acknowledgements iii
Preface ^ ^ . vi
Chuter I
Introduction 1
The Raccolta Foa-Giordano ...... 7
Inventories of Vivaldi's Sacred Music ...... 10
The Inventory of the Present Study ...... 15
Inaccuracies of Four Inventories ...... 16
Modem Editions of Vivaldi's Sacred Music .... 20
Nine Unpublished Sacred Vocal Works by Vivaldi . . 24
Chronology...... 26
Discussion of the Nine Works
Laudate Pueri Dominum RV602 , ...... 27
Laudato Pueri Dominum RV603 ...... 30
In Exitu Israel RV604 ...... 32
Credidi RV60S ...... 32
Deus Tuorum Militum RV612 ...... 33
Gaude Mater Ecclesia RV613 ...... 33
Regina Coeli RV615 ...... 33
Salve Regina R V 6 1 8 ...... 34
Sanctorum Meritis RV620 ...... 35
Chapter IT Editorial Procedures
General Editorial Procedures ...... 37
iv Performance considerations . . , ...... 39
Specific editorial procedures
Laudate Pueri Dominum RV602, , , ...... 44
Laudate Pueri Dominum RV603...... 46
In Exitu Israel RV604 51
Credidi RV605 54
Deus Tuorum Militum R V 6 1 2 ...... 56
Gaude Mater Ecclesia RV613 ...... 58
Regina Coeli RV615 ...... 59
Salve Regina RV618 ...... 61
Sanctorum Meritis RV620 65
Selected Bibliography ...... 67
Appendices
A. An Inventory of the Sacred Vocal Music of Antonio Vivaldi ...... 76
B. Laudate Pueri Dominum RV602 ...... 103
C. Laudate Pueri Dominum RV603 ...... 182
D. In Exitu Israel RV604 ...... 260
E. Credidi RV605 ...... 286
F. Deus Tuorum Militum RV612 ...... 328
G. Gaude Mater Ecclesia RV613 345
H. Regina Coeli RV615 353
I. Salve Regina R V 6 1 8 ...... 362
J. Sanctorum Meritis RV620 ...... 430 PREFACE
Antonio Vivaldi was one of the most prolific composers of the Baroque era, composing an immense number and a wide variety of works.
The music of Vivaldi has become increasingly popular since the late
1950’s , and enjoys a world-wide audience today. However, many of
Vivaldi's works remain unpublished and therefore unavailable to contem porary performers and scholars.
The primary source of Vivaldi's original manuscripts is the
Raccolta Foà-Giordano preserved in the Biblioteca Nazionale di Torino.
Included among these manuscripts are 28 sacred vocal works on liturgical texts by Vivaldi. Of these, nine remain unpublished.
In a lecture delivered during the occasion of the tricentennial 2 of Vivaldi's birth, Peter Ryom called attention to the particular need for authentic editions of the vocal music of Antonio Vivaldi.
. . . numerose opere, in particolare nel settore della musica vocale, restano tutt'oggi inedite: si tratta dei melodrammi, di alcune composizioni sacre, di quasi tutte le cantata profane, ecc. . . . della massima importanza riuscire a mettere a disposizione dei musicisti, dei direttori d'orchestra e degli interpreti una serie di spartiti scientificamente attendibili, basati sulla conferraa degli studi critici. In altre parole, I'edizione che vorrei . . . vedere pubblicata deve innanzi tutto consentira- I'esecuzione autentica della musica di Vivaldi.
^Michelangelo Abbado, "Antonio Vivaldi nel nostro secolo," Nuova Rivista Musicale Italiana 1 (January-March, 1979):101.
Convegno Vivaldiano. Venezia, 1978.
^Peter Ryom, "La Situazibne della Musicologia Vivaldiana," Nuova Rivista Tvhisicale Italiana 1 (January-March, 1979): 118.
vx , , , numerous works, particularly in the sector of the vocal music, remain today unedited: To be treated are some operas, some sacred compositions, almost all of the secular cantatas, etc. . . . of the highest importance to arise is that to put at the disposal of musicians, orchestra directors, and interpreters a series of scientifically reliable scores, based on the confirmation of critical studies. in other words, the edition that I would like . . . to see published must above all allow the authentic execution of the music of Vivaldi.
There is no doubt as to the need for the remainder of Vivaldi’s works to be edited in order to make them accessible to contemporary performers and scholars.
The purpose of the proposed study is to make available performance editions^ of the nine unpublished sacred vocal works on liturgical texts by Antonio Vivaldi, preserved at the Biblioteca Nazionale di Torino. The works are diverse in both performance media and length.
Represented are smaller-scale works in single movements for vocal solo, strings, and basso continuo. Also represented are works on a larger scale including a work for two vocal solos, chorus, double chorus of strings, oboe, and basso continuo.
^Transcriptions following contemporary notational practices. See Chapter II for editorial guide lines. Vll ANTONIO VIVALDI: PERFORMANCE EDITIONS
OF NINE SACRED VOCAL WORKS ON LITURGICAL TEXTS
PRESERVED IN THE RACCOLTA FOA-GIORDANO
CHAPTER I
Although Antonio Vivaldi pursued the major portion of his career in Venice, he and his musical works enjoyed success throughout the musical world of Europe, Performances of his works occurred in places as far from his native Venice as Munich, Prague, and London.^
Contemporary publications of his works were produced not only in Venice by Giuseppe Sala and Antonio Bertoli, but also in Amsterdam by
Roger Marchand Libraire, Jeanne Roger, and Michele Carlo le Cene, and 2 in Paris by du Roy. Vivaldi himself is known to have traveled widely, including journeys to Darmstadt, Amsterdam, and Dresden, as well as 3 throughout the Italian feudal states. However, Vivaldi's success
^Robert Fort, Jr., "An Analysis of Thirteen Vesper Psalms of Antonio Vivaldi" (Doctoral dissertation. Union Theological Seminary, 1971), p. 16. 2 Francesco Dégrada, "Principali edizioni delle opere di Antonio Vivaldi pubblicate durante la vita dell' autore," in Antonio Vivaldi da Venezia All'Europa, ed. Francesco Dégrada and Maria Teresa Muraro (Milano: Electa Editrice, 1978), p. 101. 3 Walter Kolneder,"Profile Biografico di Antonio Vivaldi," in Antonio Vivaldi da Venezia all'Europa, ed, Francesco Dégrada and Maria Teresa Muraro (Milano: Electa Editrice, 1978), pp. 17,23. declined in the final few years of his life^, evidenced by the loss of 2 a vote of confidence from his primary employer in 1740 , by fewer performances of his works^, and by the termination of the publishing of his works.He left Venice for Vienna where he died an apparent pauper on July 28, 1741.^
Considering Vivaldi's success during his lifetime, it is interesting to note that his music was largely forgotten almost immediately after his death.^ Some music by Vivaldi's contemporaries such as Corelli, Marcello, and Pergolesi continued to be performed, but such is not the case with the music of Vivaldi. However, his name did continue to be mentioned sparingly by writers. Johann Joachim Quantz, in 1752, commented on the success and contributions of Vivaldi,
"(Vivaldi) was full of life, rich in invention and filling almost half the world with his concertos. . . . Vivaldi . . . carried the concerto
^Johann Joachim Quantz, Versuch einer Anweisung die Flote traversiere zu spielen (Berlin: Johann Friedrich Voss, 1752J, p. 309.
^Kolneder, "Profilo Biografico," p. 24. 3 For example, the last recorded performances in Venice of Vivaldi operas were in 1738, with the exception of a "pasticcio" in 1750 which also included music by Gasparini and Galuppi. See Agostino Girard and Giancarlo Rostirolla, "Catalogo delle opere di Antonio Vivaldi," Nuova Rivista Musicale Italiana 1 (January-March, 1979): 281.
^The last contemporaneous publication of Vivaldi compositions was a set of six cello sonatas published about 1740 in Paris by du Roy. See Dégrada, "Principali edizioni," P. 101.
^Hedy Pabisch, "Neue Dokumente zum Vivaldis Sterbetag," Osterreichische Musikzeitschrift 27 (1972): 82.
^Michael Talbot, Vivaldi (London: J. M. Dent and Sons, Ltd., 1978), p. 2. 7 Ibid., p. 3. to a major grade of formal refinement, and proposed in this mode a good t model." In 1761, Vivaldi's occasional libretist Carlo Goldoni lauded 2 the famous "Quattro Stagioni" (though in a later writing he dismissed 3 Vivaldi as a mediocre composer ). Charles Bumey wrote in 1789, "... the violinist and the composer of music for violin most popular . . . 4 was Don Antonio Vivaldi . . .". These writings reflect the fame that
Vivaldi enjoyed during his lifetime.
However, several important writings include no mention of Vivaldi.
The violin method of Leopold Mozart in 1756 ignored Vivaldi's com positions and opted instead for examples of compositions by Tartini.^
Likewise, the writings of Bettinelli in 1781 made no mention of Vivaldi^
Despite these few writings in the later eighteenth century, it is clear that the fame of Vivaldi and his music had experienced a considerable decline.
Knowledge about Vivaldi and his music may have slipped into relative oblivion until the present century had it not been for the
^Quantz, Versuch einer, p. 309. 2 Carlo Goldoni, Commedie, 13 vols. (Venice: Edizione Pasquali, 1761), 13:11.
_, Mémoires pour servir à l'histoire de sa vie et a celle son theatre. 3 vols. (Paris: Duchesne 1787), 1:287. 4 Charles Bumey, A General History of Music from the Earliest Ages to the Present Period (London: Printed for the author, 1789; Reprint ed., 2 vols. New York: Harcourt and Brace, 1935), 2:445.
^Walter Kolneder, "Antonio Vivaldi," Nuova Rivista Musicale Italiana 1 (January-March, 1979):5.
^Saverio Bettinelli, Opere (Venice: Zatta, 1780-1782). research of J, N. Forkel, the first biographer of Johann Sebastian
Bach. Results of Forkel’s research, first published in 1802, pron^ted a phase of rediscovery in the music of Vivaldi, Forkel noticed that certain keyboard works by Bach were actually transcriptions of Vivaldi violin concertos, which Bach had apparently utilized as compositional exercises,^ The quantity of these Bach transcriptions totaled 17 concertos for solo harpsichord, four for organ, and one for four 2 harpsichords and string orchestra. More recent research has shown that only ten of these transcriptions are from Vivaldi concertos; the others are based on compositions by at least five other composers.
However, from 1851, when the Bach works were first published^, until
1894^, long after the originals of the Vivaldi concertos were found^, they were all collectively described as concertos "after Vivaldi".
This designation implied that the Bach works were merely style imitations rather than actual transcriptions of Vivaldi works. Nevertheless, the
1 " J, N. Forkel, Uber Johann Sebastian Bachs Lèben, Kunst und Kunstwerke (Leipzig: Miiller-Blattau, 1802), p. 23.
^Talbot, Vivaldi, p. 4.
Walter Kolneder, Antonio Vivaldi, trans. Bill Hodges (Berkeley: University of California Press, 1970), p. 107. 4 Alan Kendall, Antonio Vivaldi (London: Chappell and Co., 1978), p. 104.
^16 Konzerte nach Violinkonzerte von Antonio Vivaldi, fur Klavier allein bearbeitet von Johann Sebastian Bach. (Leipzig: S. W. Dehn and F. A, Roitzsch, 1851), 6 Johann Sebastian Bach, Werke, Vol. 43 (Leipzig: Bach- Gesellschaft, 1894). 7 ..... Marc Pincherle, Vivaldi. Genius of the Baroque, trans. Christopher Hatch (New York: W. W. Norton and Co., 1957), p. 14, Vivaldi-Bach connection pronçted the Vivaldi revival.
Inçortant essays followed the Forkel work. In 1877, Julius
Ruhlmann identified several sources for the Bach transcriptions, but reported that the works of Vivaldi were almost completely lost.3
Phillip Spitta, in 1844, drew increased attention to Vivaldi, praising his treatment of form and describing the music as "full of fire and 2 expression". Paul Waldersee succeeded in confirming further originals in 1885.3
Arnold Sobering was the first, however, to realize properly the view of Vivaldi's known music in historical perspective. Sobering had many more Vivaldi manuscripts at his disposal than did his predecessors, and consequently was able to dedicate nineteen pages to
Vivaldi in his study, Geschichte des Instrumentalkonzerts. In it he described Vivaldi as "one of the most progressive musicians and most ingenious of the era". He also credited Vivaldi ". . .as exemplary for the shaping of the violin concerto as Corelli was for that of the sonata."*
Concurrent with the writings' of these essays, publications of
Vivaldi's concertos began to appear. The first, in 1872, was a violin
^Julius Rühlmann, "Antonio Vivaldi und sein Einfluss auf J. S. Bach," Neue Zeitschrift fflr Musik 63 (1867):45-57. 2 Phillip Spitta, Johann Sebastian Bach (Leipzig; Breitkopf and Hartel, 1884), pp. 411-412. 3 Paul Graf Waldersee "Antonio Vivaldi's Violinkonzerte unter besonder Berxicksichtigung der von J. S. Bach bearbeiteten," Vierteljahrschrift von Musikwissenschaft 1 (1885):356.
*Arnold Sobering, Geschichte des Instrumentalkonzerts (Leipzig: Breitkopf and Hartel, 1905), p. 96. concerto printed in Ferdinand David's "Die hohe Schule des Violinspiels", followed by a greatly modified version of a concerto for three violins and basso continuo published by E. Medefind in Berlin in 1878.*
The growing awareness of Vivaldi's sta^ture was exemplified in
1906 when the master violinist Fritz Kreisler, in an act of pretense, attributed one of his own compositions as being by Vivaldi. This composition was performed by many great violinists until 1935, when the 2 deception was finally exposed. Editions of verified Vivaldi works continued to appear. The Schott company published Vivaldi concertos in
1909, 1912, and 1920, some of which were edited by Tividar Nachèz and
Alfred Moffat.^*^
This early phase of Vivaldi rediscovery, that prior to 1926, was completed with the publication of a thematic catalogue by Wilhelm
Altmann in 1922 which contained all works by Vivaldi known at that time.^*^ Altmann lists 125 concertos and sonatas by Vivaldi. The
^Michelangelo Abbado, "Antonio Vivaldi nel nostro secolo," Nuova Rivista Musicale Italiana 1 (January-March, 1979):82. 2 Walter Kolneder, "Antonio Vivaldi," Nuova Rivista Musicale Italiana 1 (January-March, 1979):3-78.
^Ibid.
^Abbado, "Antonio Vivaldi," p. 83.
^Wilhelm Altmann, "Thematischer Katalog der gedruckten Werke Antonio Vivaldis nebst Angabe der Neueausgaben und Bearbeitungen," Archiv fur Musikwissenschaft 4 (1922):262-279.
®See Dégrada, "Principali edizioni," p. 101. A list of works published during Vivaldi's lifetime which do not appear in the Altmann catalog. majority of Vivaldi's tremendous output was as yet undiscovered.
The Raccolta Foà-Gibrdàno
The single most important phase of events in the rediscovery of
Vivaldi manuscripts occurred during the years 1926 to 1930. During
these years, the primary sources of Vivaldi's original manuscripts were
discovered and united in the collection entitled the Raccolta
Foa-Giordano, preserved in the Biblioteca Nazionale di Torino.^
Following is a summary of how this important discovery came about.
During the autumn of 1926 the clergy of the monastery of
San Carlo in the province of Alessandria approached the Biblioteca
Nazionale di Torino with a collection of archaic manuscripts and books
that they wished to sell. The collection consisted of ninety-seven 2 volumes , including manuscripts of works by G. Bemabei, G. Gabrieli,
A. Stradella, Antonio Vivaldi, and others. The director of the
Biblioteca Nazionale, Luigi Torri, became aware of the enormous value
of the collection. Since the library did not have adequate funds for
such, a large purchase, a patron was sought to purchase the volumes and
donate them to the library. Roberto Foà, a Torinese banker, provided
the necessary funds and donated the collection to the Biblioteca.
Upon acquisition of the collection in February of 1927,
Alberto Gentili, a professor of musicology at the Université di Torino,
was placed in charge of examining the works. Gentili discovered that
The most exhaustive account of these events is in Verona Gentili, "Le collezioni Foà e Giordano della Biblioteca Nazionale di Torino," Accademie e Biblioteche d'ltalia (.November-December, 1964]: 405-430, 2 Kolneder, Antonio Vivaldi, p. 3, states that there were 95 volumes. the volumes were numbered consecutively, but that many of the numbered volumes were missing. He deduced from his findings that at one time the collection probably had been much larger and had been divided.
Gentili, working with Torri, then began an intensive search for the remainder of the once intact collection. The two found that the collection had been presented to the monks of San Carlo by the heirs of the Marchese Marcello Durazzo (.1842-1922) of Genoa^ Torri and Gentili then began a systematic search, to find surviving members of the Durazzo family. Aided by Faustino Curio, an experienced archivist, they located one of the last surviving members of the Durazzo family, the Marchese 2 Giuseppe Maria Durazza (1880-1960), and learned that he had indeed inherited the remaining portion of the collection. He was at first reluctant to part with these remaining volumes, but after three years of negotiations, he agreed to sell the manuscripts. Another patron,
Filippo Giordano, a Torinese manufacturer, provided funds for this portion of the purchase. The transaction was completed in April of 1930, and the manuscripts were reunited as the Raccolta Foà-Giordano.
The Raccolta Foà-Giordano consists of more than 700 volumes.
Twenty-seven of these volumes contain works by Antonio Vivaldi, ^
^Marcello Durazzo had probably inherited the collection from the family of Giacomo Durazzo (1717-1794), patron of Gluck and the libretist, Calzabigi.
^Nephew of Marcello Durazzo,.
Spiero Damilano, "Inventario delle composizioni musical! manoscritte di Antonio Vivaldi esistenti presso la Biblioteca Nazionale di Torino," Rivista Italiana di Musicologia 3 (1968):109, By category, instrumental works are contained in eight volumes, operas in twelve, secular cantatas, serenatas, and arias in two, and sacred vocal compositions in five. Including fragments,these volumes 2 • 3 contain 318 instrumental works, 21 operas, 28 secular cantatas, 47 single arias, 3 serenatas, one oratorio, and 46 other sacred vocal compositions by Vivaldi,
It is presently known that 46 sacred vocal compositions in the
Raccolta Foa-Giordano are by Vivaldi. Early examiners of the collection, however, attributed other sacred vocal works found therein to Vivaldi.*
Only 46 contain either the name of Vivaldi and/or his monogram,^ and/or his monogram only, and/or are in his hand. By textual category, there are four Mass parts of the ordinary, 15 psalms, 3 Magnificats, 3 hymns,
3 antiphons, one sequence, 8 solo motets, and nine introductions to other liturgical compositions. Nineteen works employ chorus and
The procedure here employed in enumerating works is to include fragments, alternate versions, and introductions as separate works. See Fort, "An Analysis," p. 32, See also pages io-19 of this study for clarification of cataloguing. 2 Damilano, "Inventario," p. 109, cites twenty. 3 Mary Meneve Dunham, "The Secular Cantatas of Antonio Vivaldi in the Foà Collection" (Doctoral dissertation. University of Michigan, 1969), p. 51. One cantata appears in copy three times in the volumes. This may account for the enumeration of 30 cantatas by Damilano, "Inventario," p. 109,
*The collection contains two Gloria settings by G. M. Ruggieri, an Offertorium by A. Bemabei, and seventeen anonymous settings of sacred vocal works.
^See Fort, "An Analysis," p, 30, for a description and discussion of the Vivaldi monogram. 10
orchestra, 14 of which also include one or more solo voices. Twenty-five works are for one solo voice and orchestra, and two works are for multiple solo voices and orchestra.
Inventories of Vivaldi's Sacred Music
The determination of an accurate figure for an inventory of the sacred vocal music by Vivaldi preserved in the Raccolta Foa-Giordano is no small task, due to discrepancies in the abundance of attempts to catalogue the works. Compilers of early inventories faced the difficulty of organizing and authenticating the huge corpus of Vivaldi’s works which were mixed in with works by other composers. These compilers were not benefited by the strict non-subjective scholarly standards of today and the access to related scholarly efforts. Later inventories either failed to correct all inaccuracies of the earlier lists, or neglected to provide all essential information. Each attempt to catalog Vivaldi's sacred vocal music perpetuated inaccuracies, inconsistencies, and other weaknesses. The inventory presented in
Appendix of the present study is based upon personal examination of the actual manuscripts preserved in the Raccolta Foà-Giordano, upon recent studies by noted scholars, and by careful, objective evaluation
of the previous inventories. In order to understand the present
inventory, it is important to note inadequacies of the previous
inventories.
^Pp. 76-102. 11
The inventory appearing in La Scuola Veneziana^ in 1941
excludes the sacred vocal music except for the oratorio, "Juditha
Triuraphans". Three important inventories exclude the sacred vocal music entirely; the listing in Rinaldi's Antonio Vivaldi in 1943^,
the Pincherle volumes in 1948^, and Fanna's catalog in 1968.*
The first attempt at cataloging the sacred vocal music
appeared in Antonio Vivaldi: Note e Documenti^ in 1939. This anonymous
inventory numbers the works consecutively as they were ordered in the
five volumes.^ It gives the title of each work, and although not
accurately, the performing forces. It indicates the three works signed *7 by other composers and indicates some of those works which are unsigned.
However, it does not give page numbers within the volumes, does not
reflect that certain musical fragments are parts of other works [due to
Olga Rudge, "Opere Vocali attribuite a Antonio Vivaldi nell R. Biblioteca Nazionale, Torino" La Scuola Venéziana [Siena: Accademia Musicale Chigiana, 1941):74-78.
^a r i o Rinaldi, Antonio Vivaldi [Milano: Istituto d'alta Culture, 1943).
^arc Pincherle, Antonio Vivaldi et la müsiqüe instrumentale 2 vols, [Paris: Floury, 1948).
*Antonio Fanna, Antonio Vivaldi. Catalogo Numerico-Tématico delle Opere Strumentale (Milano: Edizioni Ricordi, 1968).
^"Opere vocali attribuite a Antonio Vivaldi nella R. Biblioteca Nazionale - Torino", Antonio Vivaldi: Note e documenti [Siena: Settimana Musicale, 1939):6S-66.
^Volume four of the Opere Sacre [Foà 40) was reassembled and rebound during the 1960*s.
^See footnote number 4, p. 9, 12
shuffling of the pages within the bindings), nor does it attempt to assign authorship to unsigned works.
A list appearing in 1945 by Mario Rinaldi is . . not merely innacurate and incomplete, but groups Vivaldi's works into fictitious opus numbers." Opus numbers are assigned by vocal performing forces employed in each work, rather than by their order of appearance within the volumes. The Rinaldi catalog shows no advantage over the earlier list, and in fact shares all the same weaknesses. Although the Rinaldi numbers were used for many years, they now "... are generally agreed to be of little value,"
An inventory by Agostino Girard, published in 1965 as an appendix 3 in Antonio Vivaldi by Remo Giazotto, appears to be based on the earlier
Rudge and Rinaldi catalogs. The works are again listed by title and performing forces. The inventory assigns no numbers to the works and it too makes no effort to assign authorship. It demonstrates no particular advantage over the earlier list upon which it was based.
The first list to make a substantial improvement upon the earlier lists was Damilano's inventory published in 1968.^ Damilano assigned a number to each work according to the order of the works in
^Talbot, Vivaldi, p. 12.
^Kendall, Antonio Vivaldi, p, 110, 3 Remo Giazotto, Vivaldi [Milano; Nuova Accademia Editrice, 1965), pp. 315-345.
^Piero Damilano, "Inventario delle composizioni musicali manoscritte di Antonio Vivaldi esistenti presso la Biblioteca Nazionale di Torino", Rivista Italiana di Musicologia 3 (1968):109-179. 13
the five volumes, and was the first to reflect the reordering of volume four (Foà 40) made during the 1960's. He gives the title of each work as it appears in the original manuscript and in some cases includes the incipit of the text. Advantages of this inventory over earlier attempts include the listing of the key of each work and the page numbers with recto-verso indications. Those works which have the Vivaldi monogram are designated "sigla". Works which are signed are designated "del
Vivaldi". Those works which are unsigned which Damilano felt may have been by Vivaldi are designated with Vivaldi’s name in brackets beside each, of these works. A second list by Damilano. included in the same inventory.^ gives the text incinit of each work in alphabetical order, the key, the volume and page numbers, and an annotation of the text, type of work, or composer.
A later inventory, "Die Kirchenmusik von Antonio Vivaldi" by Raimund Ruegge is the only published inventory confined exclusively
• 2 to the sacred vocal music. In addition to works preserved in the
Raccolta Foà-Giordano, Ruegge listed two additional works preserved in
Dresden, and one in Prague, He categorized the works according to performance medium and assigned his own numbers accordingly. He
included a text incipit, volume and page numbers, and performance forces
for each work. He.also listed a few then-published m o d e m editions.
Unfortunately, he did not indicate the key of each composition.
Ipp. 170-172. 2 Raimund Riiegge, "Die Kirchenmusik von Antonio Vivaldi", Sweizerische Musikzeitung 61 (1971);135-139. 14
A second inventory by Agostino Girard in the 1973 edition of
Giazotto*s Antonio Vivaldi offered considerable improvement over his earlier list,^ It listed works preserved not only in Torino, but also in Dresden, London, and Prague, Girard assigned numbers to the works according to the alphabetical order of the text incipit. The inventory includes the titles as they appear in the original manuscripts, performing forces, keys, volume and page numbers, the locations of the
Vivaldi monogram, and modern editions, if any. A weakness of the list is that no attempt is made to delete unsigned works not by Vivaldi.
Further, no indication is given concerning authenticity of the manuscripts.
The inventory that ”, . . passes the tests of conçrehensiveness, accuracy, and rationality incomparably better than it's predecessors” and that undoubtedly will achieve the widest use is Verzeichnis Der % Werke Antonio Vivaldi by Peter Ryom, This is the first thematic index to include a musical incipit for each of the vocal works, Ryom included works contained in 44 libraries and consulted all previous inventories. Also listed are those works known to have existed but which are now lost. Anonymous works and those by other composers preserved in the Raccolta Foà-Giordano are listed separately in an appendix.
1 Remo Giazotto, Antonio Vivaldi (Torino: Edizioni Rai Radiotelevisione Italiana, 1973), pp, 415-458,
^Talbot, Vivaldi, p, 12, ? Peter Ryom, Verzeichnis Der Werke Antonio Vivaldi (Leipzig; VEB Deutscher Verlag fflr Musik, 1974). 15
The inventory lists the vocal compositions by the text incipit and categorizes them according to their text type [liturgical, non- liturgical, etc.}» The location and type of each manuscript is given.
Ryom indicated works which exist in several versions as well as incomplete works. Introductions are listed as separate works.
While Ryora's inventory is the most thorough and useful ofany compiled, it does not include the following necessary information: the original titles, the performing forces, the volume and page numbers, and existing modem editions.
The Inventory of the Present Study
The inventory included in Appendix A of the present study, is intended to present more complete and correct information concerning the sacred vocal music of Vivaldi than is presented in any one previous inventory. The list attempts to rectify inaccuracies, inconsistencies, and other weakness found in the inventories by Damilano, Ruegge, Girard, and Ryom. Inventories compiled before these four, while being recognized for their evolutionary importance, are here considered to be of little value.
The present inventory assigns numbers to the works according to four categories:
I. Authenticated works by Vivaldi
II, Unauthenticated works
III. Lost works
IV. Other sacred vocal works preserved among the five volumes of Vivaldi sacred vocal works in the Raccolta Foà-Giordano
^See appendix A, pp. 75-102. 16
A sub-categorization of the authenticated works lists the compositions according to text type^: a. Mass Ordinary sections b. Psalms c. Other liturgical texts d. Motets e. Introductions f. Oratorios,
Alternate versions, incomplete works, and introductions are enumerated as separate works.
The Ryom, Ruegge, Girard, and Damilano numbers are given for each composition. Ryom's numbers are sure to pass into general 2 circulation. Therefore, they are quoted in reference to individual works throughout the present study-.
The present inventory gives the text incipit and the original title of each work (if the title or title page has been preserved). The key, performing forces, and number of movements for each work are
indicated. The locations [or the citations for lost works), and volume and page numbers or manuscript numbers for each composition are
included. When known, the type and format of the original manuscripts
are given. Further, many published editions are listed.
Inaccuracies of the Four Inventories
Damilano lists as uncertain five authenticated works by
Vivaldi: "Beatus Vir" RV 598, "Laudate Pueri Dominum" RV 603,
"Regina Coeli" RV 615, "Vestro Principi divino" RV 633, and "Jubilate
o amaeni" RV 639®, In addition the authenticated work, "Gaude Mater
Ecclesia" RV 613, is not attributed to Vivaldi. Damilano indicated four
^This approach originates with the Ryom inventory. The order of works within sub-categories follows that employed by Ryom.
^Talbot, Vivaldi, p, 13, 17
works which he believed to be by Vivaldi but which are not. Included are "Kyrie" RV Anh. 21, "gloria" RV Anh. 22, "Laudate Pueri Dominum"
RV Anh. 30, and "Nisi Dominus" RV Anh. 34. "Regina Coeli" RV 615, is listed for alto solo but the part is written in tenor clef; this presumably indicates that it is for tenor solo.^ "Longe male unibre terrores" RV 629, is listed by Damilano as "Recedite nubes et fulgura".
The Riiegge inventory of Vivaldi’s sacred music lists two works which are not by Vivaldi; "Dixit" RV Anh. 27, and "Lauda Jerusalem" 2 RV Anh. 35. Two works by Vivaldi are not listed: "Carae rosae respirate" RV 624, and "Vos aurae per montes" RV 634. Likewise, the version of "Magnificat" RV 610^, for double chorus is absent from the list. The unauthenticated work "Salve Regina" RV 617, is listed as certain by Ruegge. He also failed to mention the use of chorus in
"Laudate Pueri Dominum" RV 602, and mistakenly identified "Laudate
Pueri Dominum" RV 603, as fragmented. Ruegge did, however, draw attention to an example of poor Vivaldi scholarship. He reported a disc recording of an anonymous "Te Deum" (perhaps RV Anh. 38) which the 3 performer had falsely attributed to Vivaldi,
The only example in the sacred vocal music which suggests that a part written in tenor clef may be sung by an alto is in "Magnificat" RV 611. In it, the solo "Esurientes implevit bonis" is written in tenor clef but the name "Ambrosina" is written on it, indicating that it is to be sung by a female. See Fort, "An Analysis," p. 79. 2 "Credidi" RV 605, is a contrafactum of this work. Perhaps this relationship between the two works led Riiegge to mistakenly attribute the anonymous work to Vivaldi,
^Issued in 1965 by Phillips as #835301Ly. 18
The Girard inventory is more in agreement with the present inventory concerning those works which are authenticated. However, it does perpetuate many other inaccuracies. Girard states that "Dixit"
RV 594 is in C Major rather than in D Major. He mistakenly says that
"Credo" RV 591 includes soprano and alto solos. He fails to mention that "Beatus Vir" RV 597 includes soprano, tenor, and bass solos.
"Laudate Pueri Dominum" RV 603 is listed for alto solo rather than for soprano; the same work, also includes flute, which Girard does not mention.
The antiphon "Regina Coeli" RV 615, is listed for alto solo rather than tenor solo and is also called a "motet". Likewise, the hymn "Gaude
Mater Ecclesia" RV 613 is called a "motet". The two oboes employed in
"Gloria" RV 588 are not listed. Finally, Girard, as did Damilano, listed
"Longe mala umbre terrores" RV 629, as "Recedite nubes et fulgura".
Problems with information in the Ryom catalog are few. Ryom mistakenly stated that "Regina Coeli" RV 615, is incomplete. Confusion is generated by Ryom in his treatment of "Laudate Pueri Dominum" RV 602, and "Laudate Pueri Dominum" RV 603, The latter is a reworking of the former work for one solo soprano rather than two, and includes entirely new music for verse seven, Ryom, however, has divided the latter work into two entities. The new music for verse seven and the reworking of verse nine for flute rather than oboe are assigned the number RV 602, while the revision for one soprano rather than two is assigned the number RV 603. The present writer considers the revision for one soprano, the variation of verse nine, and the new music for verse seven to Be only one entity. 19
Another source concerning the enumeration of Vivaldi’s sacred vocal music is that of Robert Fort, Jr., "An Analysis of 13 Vesper
Psalms of Antonio Vivaldi contained in the Foà-Giordano Collection".^
Fort's dissertation was previously the only large-scale study confined ’ 2 exclusively to Vivaldi's sacred vocal music. In it, he discussed certain problems of authenticity in the sacred works preserved in the
Raccolta Foà-Giordano,^ Unfortunately, the discussion does not enable the reader to identify many of the works by title. Fort categorized
43 Vivaldi sacred works by text type, but does not name each individual work. However, much information is provided concerning Psalms by
Vivaldi. Fort enumerated 13 psalms by Vivaldi, rather than the 15 enumer ated by the present writer. He listed "Laudate Pueri Dominum" RV 602, and "Laudate Pueri Dominum" RV 603, as one work. A fifteenth Psalm,
"Domine ad adiuvandum" RV 593 (verse 2 of Psalm 69), was not listed by
Fort in the category of vesper Psalms.
Since World War II, no fewer than eight substantial biographies of Vivaldi and introductions to his music have appeared in print.*
^Robert Fort, Jr., "An Analysis of Thirteen Vesper Psalms." 2 Three doctoral studies have examined certain areas of the secular vocal music: Dunham, "The secular cantatas,"; Lewis Eugene Rowell, "Four Operas of Antonio Vivaldi" (Doctoral dissertation. University of Rochester, 1959); Helen Maurer, "The Independent arias of Antonio Vivaldi in Foà 28" (Doctoral dissertation, Indiana University, 1974).
^Fort, "An Analysis," pp. 30-41.
Mario Rinaldi, Antonio Vivaldi; Marc Pincherle, Antonio Vivaldi; Gian Francesco Malipiero, Antonio Vivaldi: II Prête Rosso (Milano: Ricordi and Co., 1958); Remo Giazotto, Vivaldi; Walter Kolneder, Antonio Vivaldi; Remo Giazotto, Antonio Vivaldi; Michael Talbot, Vivaldi; Alan Kendall, Vivaldi. 20
However, while they treat the instrumental music in great detail, none of them includes more than a brief section surveying the different types of Vivaldi sacred music. This is surely the result of the unavailability of Vivaldi’s sacred vocal music.
Modern Editions of Vivaldi’s Sacred Music
About one-half of the 46 sacred vocal works by Vivaldi preserved in the Raccolta Foà-Giordano are published in m o d e m edition.^ However, for the most part these editions represent questionable editorial practices. Further, publishing conpanies have tended to duplicate their efforts so that a small number of works are found in many different 2 editions.
Ricordi and Company of Milano has published a series of Vivaldi works which includes about ten editions of sacred works. Unfortunately, the editorial standards governing the series "... as well as the actual editing itself . , . fall short of this kind of publishing venture.
Examples of poor editing may be seen in "Dixit" RV 594, edited by Gian Francesco Malipiero.* Though the edition cites the source with volume and page numbers (many in the series do not), includes editorial tempo, dynamic, and articulation indications in parentheses, and
^Two works cited in several lists as published by Otos of Firenze appear not to be available, and perhaps have not yet been printed, 2 "Gloria" RV 589, exists in at least ten different m o d e m editions.
^Talbot, Vivaldi, p. IQ,
*Ricordi and Co., Milano, 1970, published as #131464. 21
provides basso continuo realizations, musical incipits are not included, nor is an itemization of editorial revisions. Further, the editor has occasionally randomly assigned solo voices to chorus parts and composed new cello and contrabass (yiolone] parts which differ occasionally from the basso continuo part.^
A further example of poor editing in the Ricordi series may be 2 seen in "Stabat Mater" RV 621, also edited by Malipiero. This edition includes no source citation, no editorial preface, no itemization of editorial revisions, nor any other editorial comments delineating
Vivaldi's and the editor's work. Similar weaknesses are found in editions published by Carisch of Milano and Harmonia of Hilversum.
A Lawson-Gould of New York publication entitled "Chamber Mass" 2 by Vivaldi edited by Vahe Aslanian, is a combination of two separate and distinct works: "Kyrie" RV 587, and "Gloria" RV 588. The combination of the two works, probably a financial opportunity on the part of the publisher, has been defended in the preface by the editor as a common practice during the 18th century. While the occurrence of a "pasticcio" was indeed common, the title of Aslanian's edition should
reflect this.
•Fort, "An Analysis," pp, llQ-112, includes a discussion of the use of basso continuo in the psalms by Vivaldi. In the absence of indications commonly placed on the manuscript by Vivaldi such "senza violone", one may probably assume that the entire basso continuo group (organ, cello, violone) is to play. Malipiero, however, has added and subtracted parts of the basso continuo group based on his own interpretation, and without special editorial comment.
^Ricordi, published as #131565,
Lawson-Gould Company, New York, 1964, published as #51141. 22
The original title page of "Gloria" RV 588, reads "Introduzione al Gloria ad Alto Solo con Istromti e Gloria à 4 con Istromti". However, the "Introduzione", or introduction, for alto solo had at some point been separated from the title page and "Gloria" RV 588. Consequently,
Aslanian's edition is without the introduction, and therefore incomplete.
Research has shown that the introduction in question is "Jubilate o amaeni" RV 639. Perhpas Aslanian thought that the introduction was integral with "Gloria" RV 588. This may be explained as follows.
The first section of RV 588 begins with a ritomello and alto solo, measures 1-46. The editor may have assumed that these beginning measures were the introduction referred to on the title page. In addition, these first measures for alto solo are a continuation of the text and are related musically to RV 639. Aslanian recognized a relationship between the initial section of RV 588 and RV 639, but perhaps having assumed that the opening measures were the introduction, did not recognize
RV 639 as the separated introduction. Instead, he assumed that the opening measures of RV 588 were a contrafactum of RV 639. Further, he identified RV 639, a non-liturgical sacred text setting, as a cantata.
Were it not for these errors, features of this vocal edition with keyboard reduction of the instrumental parts would be as satisfactory as other present editions. Even though the specific source and musical incipits are not included, a preface, text translation, and list of editorial revisions are given, and editorial additions are included in brackets.
Unfortunately, the full score version of this edition
(available only on rental) is unsatisfactory. No source, incipits. 23
preface, text translation, or list of editorial revisions are included.
It is interesting to note that while editorial additions are enclosed in brackets in RV 588; they are not in RV 587. A further example of poor editing may be seen here, RV 587 includes two "cori" of 4-part strings, set antiphonally. The editor, however, has combined the two cori into one integrated ensemble of 4 violin parts, 2 viola parts, and
2 basso continuo parts, making the antiphony almost impossible to decipher.
Universal Edition of Vienna had planned to publish the complete sacred vocal music of Vivaldi.^ However, upon the death of the general editor of the series, Renato Fasano, it was decided to discontinue the 2 series. Only about eight editions were published. An example in this series is "Credo" RV 591, edited by Fasano himself.^ This edition cites editorial revisions and gives prefatory notes. However, it does not cite the source with volume or page numbers, nor are musical incipits or a continuo realization included.
Editions of Vivaldi sacred works published by Edition Eulenberg of Zurich are more satisfactory. An example is "Lauda Jerusalem"
RV 609, edited by Jurgen Braun,^ The edition includes critical commentary and translations of the text. Editorial additions appear in brackets while revisions are listed in the preface. Unfortunately, volume and page numbers of the source, musical incipits, and basso
^Renato Fasano, La Musica Sacra di Antonio Vivaldi (Vienna: Universal Edition], 2 Letter from Universal Edition A,Q. to Keith D. Graumann, 5 December 1980,
Universal Edition, Vienna, 1969, published as Philharmonia #902.
^ E m s t Eulenberg, Zurich, 1969, published as #6553. 24
continuo realizations are not included.
In 1978, the directors of the Istituto Italiano Antonio Vivaldi announced that they intended to prepare general editorial guidelines for all modern editions of Vivaldi works; they proposed to publish the unedited instrumental works, the sacred works, and some of the more artistically significant operas in strict collaboration with, all other
European institutions. 1 No information as to the initiation or develop ment of this is known at this time.
Nine Unpublished Sacred Vocal Works by Vivaldi
Of the 46 previously mentioned sacred vocal works by Vivaldi preserved in the Raccolta Foà-Giordano, 29 employ liturgical texts. Of these, 20 are cited as published in various lists while 9 remain 2 unpublished. These nine, listed below, are presented in performance
editions in the appendix of the present study.
RV 602 "Laudate Pueri Dominum" [Psalm 112) in A Major for two soprano soloists, chorus, oboe, two cori of strings, and basso continuo.
RV 603 "Laudate Pueri Dominum" [Psalm 112) in A Major for one soprano soloist, chorus, flute, two cori of strings, and basso continuo.
RV 604 "In Exitu Israel" [Psalm 113) in C Major for chorus, strings, and basso continuo
RV 605 "Credidi" [Psalm 116) in C Major for chorus, strings, and basso continuo
^Abbado, "Antonio Vivaldi," p. 110. 2 See appendix A for location, original titles, and cross catalog listings. 25
RV 612 "Deus Tuorum Militum" (Hymn) in C Major for Alto and Tenor soloists, two oboes, strings, and basso continuo
RV 613 "Gaude, Mater Ecclesia" (Hymn) in B flat Major, for soprano soloist, strings, and basso continuo
RV 615 "Regina Coeli" [antiphon] in C Major for Tenor soloist, two trumpets, strings, and basso continuo
RV 618 "Salve Regina" [antiphon) in a minor, for alto solo, two oboes, strings, and basso continuo
RV 620 "Sanctorum Meritis" (Hymn) in C Major for Soprano soloist, strings, and basso continuo
As can be seen from the above list, the nine works are diverse in use of text and performance forces. By textual category, the nine include four psalms, three hymns, and two antiphons. Four works employ chorus and orchestra, two of which, also include solo voices. Four works employ one solo voice and orchestra and one work is for two solo voices and orchestra. Each of the nine employs strings and basso continuo. In addition, one uses two trumpets, two use two oboes, one uses one oboe, and one uses transverse flute.
Original manuscripts of the nine are preserved in four of the five volumes of Vivaldi sacred works. The Volumes are found in both oblong and bottom format, of nonuniform shape nor dimensions, in presumably 19th century bindings.1 Three of the nine works are preserved in Foà 40 while three works are preserved in Giordano 33.
Two works are preserved in Giordano 35 and the remaining work is
^Dunham, "The secular cantatas," p. 36. 26
preserved in Giordano 34 (the only sacred work in this volume).
Each of the nine is preserved in autograph score format, while two of the works also are preserved in non-autograph part format. Six of the works are signed by Vivaldi while three are not. The Vivaldi monogram appears upon only one of these works.
Chronology
None of Vivaldi's sacred vocal works are dated, and it is
therefore impossible to assign compositional chronology.^ However, it
is known that beginning about 1715, Vivaldi's responsibilities included
the composition of sacred vocal works for the Ospedale della Pieta during
the absence of the Maestro di choro, Francesco Gasparini. 2
Additionally, the present writer has observed that five sacred
vocal works preserved in the manuscripts share the same type of paper,
color of ink, and writing style: "Laudate Pueri Dominum" RV 602,
"Laudate Dominum" RV 606, "Laetatus Sum" RV 607, "Beatus Vir" RV 597,
and "Credo" RV 591. Further, Talbot cites five works sharing these
similarities, including three of the above, and two additional works;
'Jubilate o amaeni" RV 639, and "Gloria" RV 588.^ These observations
There are several general references citing performances at the Pietà. Only one reference cites the performance of a specific Vivaldi sacred vocal work: a letter of 1732 cites a "Laudate Dominum" (perhaps RV 606) performed during a transfer of Saint's relics to the Basilica San Marco in Venice. See Giazotto, Vivaldi, p. 221. 2 Cited in an entry in the Pieta records dated March 17, 1715, The entry is reproduced in Fort, "An Analysis," p. 76.
^Talbot, Vivaldi, p. 201. 21
show that a total of seven works share these visual similarities, inçlying that they may all have been composed at approximately the same time. Scholars can only hypothesize that "Laudate Dominum" RV 606 is the work on that text cited at San Marco in 1732, and therefore date the remainder of the seven around that year.
Discussion of the Nine Works
Laudate Pueri Dominum RV 602^
This setting of Psalm 112 is a large-scale work set in eight musical movements, the fourth of which is a ritornello stated again between movements six and seven. Verses of the psalm text are set either individually as movements or paired as one movement.
The work is scored for two soprano soloists, two cori of strings, the second of which includes solo oboe, and two SATB choruses.
However, Vivaldi scored parts only for the first chorus and indicated
on the bottom of the first page of score that the second chorus is to
sing with the first: "Tutti li ripieni del 2do Coro si canano dal 2 Pmo Coro".
The first movement, of 63 measures, is Allegro in common time
employing the full complement of voices and instruments except for the
solo oboe. The first 59 measures use the first verse of text in
antiphonal fashion between the first coro of strings with Soprano I and
the second coro of strings with Soprano II. The second verse of text
is declared by the chorus in block chordal fashion in measures 49-59.
^Analysis of RV 602, RB 603, RV 604, and RV 605 are provided in Fort, "An Analysis," pp. 221-234, 235-245, 246-262.
^Foa 4ff, page 208^\ 28
These ten measures are repeated twice on the same text in the course of the movements; as movement four and it's repitition between movements six and seven. The materials of the ten measures are also used in fragmented fashion in the final movement.
It is interesting to note the passage occurring in measures
6-8 (and repeated exactly in measures 8-10] of this first movement
(example 1). Occurring only in these measures, the motivic violin melody played by Violins I and II is remarkably similar to the recurring obligato figure employed by Violins I and II in "Laudate Dominum" RV 606
(example 2).
Example 1» Laudate Pueri Dominum RV 602 Ms. 6-8, Violins I-II
Example 2. Laudate Dominum RV 606 Ms. 34-36, Violins I-II
f
One can conjecture that Vivaldi was cognizant of the relationship between the two. This is not entirely improbable since attention has already been drawn to the fact that the two works share the same types of paper, color of ink, and writing style, and therefore may have been composed at approximately the same time.^
1 See pages 26-27 of the present study. 29
Th.e second movement of RV 602 is set for only the first coro of strings and Soprano I, and ençloys verse two of the text. Like the first movement, it is Allegro in common time.
The third movement, Andante, is in two parts which share essentially the same music: the first part sets verse four of the text using the first coro of strings and Soprano I, while the second part sets verse five using the second coro of strings and Soprano II.
Interesting notational features in the original manuscript of this move ment may be observed at each entrance of the sopranos. Vivaldi had placed the indication "organo solo piano" below the basso continuo part at each entrance and figured the part accordingly. However, although still legible, these indications have been erased and replaced with the indications "Senza organo". This of course explains why the basso continuo figures continue to appear although the organ does not play. 3 Movement five, 8 Allegro, is an extended setting of verse six in dialogue and duet between the two sopranos and cori of strings.
Movement six pairs verses seven and eight in a type of repeated binary form, using only Soprano I and the first coro. It demonstrates an interesting texture: when the voice is present it is doubled by Violins I and II in unison and is accompanied only by violas
in a basso continuo-like manner.
The Andante seventh, movement contains the only appearance of
the solo oboe. Accompanied only by the basso continuo of the second
coro. Soprano II presents the first verse of the "Gloria Patri" in
dialogue and duet with the solo oboe. The movement closes with a
cadenza-like passage for the oboe. 30
The final movement sets the "Sicut erat" of the "Gloria Patri” not uncommonly using essentially the same music as movement one. The two sopranos, accompanied by their respective cori, present the text in dialogue, interrupted by declamations of the chorus again using the text of verse two,
Laudate Pueri Dominum RV 603
This setting of Psalm 112 is a revision of RV 602, and uses y much of the same music. It appears immediately following the earlier work in Foà 40, and at one time had been interleaved between the pages of the first work.^ This revision is essentially an arrangement of
RV 602 for one soprano soloist rather than two, although, verses seven and eight are newly composed, and verse nine employs transverse flute rather than oboe. The second and fourth movements are drawn without alteration from RV 602.
In movement one, the two cori accompany the single soprano 2 soloist antiphonally. The interest provided by the alternation between the two sopranos in RV 602 is replaced by the alternation of forte and piano by the single soloist.
The alteration of Movement three involved the combination.of the two internal sections into one. Additionally, the cori of strings are here employed antiphonally rather than being in alternation between the two internal sections of the version in RV 602.
Microfilm copies of the two works received from Chomon-Perino Company of Torino were apparently made before Foà 40 was reassembled, and reflect this scrambled order,
^Fort, "An Analysis,” p. 229, 31
Great ingenuity is displayed in movement five. Vivaldi retained the antiphonal effects of the two sopranos in RV 602 by replacing Soprano II with SATB chorus. The florid melody has been altered somewhat, presumably to more easily enable the chorus sopranos to sing a part originally intended for a soloist. It is interesting to note that a four-note motive of the basso continuo that appears with each occurrence of the ritornello has been altered slightly in RV 603 from the way it appears in RV 602. The third note of the motive
(example 3] appears without exception as a lower neighbor tone in RV 602, while it generally appears as an upper neighbor tone in RV 603
[example 4).
Example 3. Laudate Pueri Dominum RV 602 Movement V, Ms. 1, Basso Continuo
E fiE i
Example 4. Laudate Pueri Dominum RV 603 Movement V, Ms. 1, Basso Continuo
All, L e i & I
Vivaldi has set entirely new music for movement six (verses
seven and eight). This allegro molto movement in I sets the text of
these verses twice. Verse seven is stated and after a ritornello, verse eight. Both verses are then repeated without intermittent ritomelli. 32
As previously mentioned, movement seven is very similar to that in RV 602, but employs transverse flute rather than ob^e. However, the cadenza-like closing for the solo instrument is abbreviated in RV 603.
The changes affected in the final movement are similar to those made in the first movement. That is, the antiphonal repititions between the two sopranos in RV 602 are replaced by the alternation of forte-piano repetitions by the solo soprano in RV 603.
In Exitu Israel RV 604
"In Exitu Israel" is a setting of Psalm 113 for chorus set homophonically, strings, and basso continuo. It is interesting to note that a text of such extraordinary length [29 verses) is set by Vivaldi in one movement. However, the length has been shortened somewhat by the 1 omission of verses five and six. Further, length has been reduced by the absence of text repetition and melismatic treatment except in the unison sequential closing section on the word "Amen".
Credidi RV 605
"Credidi", Psalm 115, is unique among the known sacred vocal music by Vivaldi. It is of the "prima prattica" style: a primarily polyphonic setting using SATTB chorus with strings "colle parti".
Further, it is a "contrafactum" of an anonymous setting of "Lauda 2 Jerusalem" RV Anh, 35, The work is set in one movement, although is sectionalized according to divisions of the psalm text.
^Vivaldi's omission of portions of text is not unusual as may be observed in RV 612, RV 613, RV 615, and RV 620. 2 Borrowing by Vivaldi is precedented. For example, the final movements of both RV 588 and RV 589 are borrowed from the final movement of "Gloria" RV Anh. 23 by G . M. Ruggieri. 33
Deus Tuorum Militum RV 612
This is a single movement setting for alto-tenor duet, two oboes obligato, strings, and basso continuo. Vivaldi has set only verses one, three, and five of the hymn text.^ The three verses are set strophically using the same music for each verse. Violins I and II play no independent parts, but singly double the oboes in tutti sections.
The original score of this work shares the same paper, color of ink, and writing style as the score of "Salve Regina" RV 618, and therefore perhaps was composed at approximately the same time.
Gaude Mater Ecclesia RV 613 2 This work is a setting of three verses of the Hymn a S. Domenico, for soprano solo, strings, and basso continuo. Following the opening ritomello, Vivaldi used a rather interesting two-part texture for the remainder of the work. Violins I and II double the soprano melody acconçjanied only by basso continuo. Observing the four-phrase nature of each verse of text, Vivaldi has set a repeated binary form interrupted by a recurring ritornello between each verse.
Regina Coeli RV 615
This setting of an antiphon for the Pasqual Mass is unique in being the only independent sacred work for tenor solo in the Vivaldi
literature. It is additionally uncommon because only one other sacred work employs paired trumpets ("Dixit" RV 594) and only two other sacred
1 Liber Usualis with Introduction and Rubrics in English (Tournai: Desclee and Cie,, 1953), p, 1126, 2 Stablein, Bruno, ed., Hymnem (Kassel: Barenreiter-Verlag, 1956), p, 123. 34
works are set in three movements (."Kyrie" RV 587 and "Domine ad adiuvandum" RV 593]. It's ternary large form is like many of Vivaldi's instrumental concent!: Allegro-Gravis-Allegro. The final Allegro is a partial da capo of the first movement, indicated by Vivaldi at the end 1 of the second movement: "Con Trombe D.C, al Segno # fino al Segno ". 2 Vivaldi chose to set only verse two of the text. The omission of the first verse may account for the indication in several inventories that the work is incomplete.
The first movement and its da capo are extremely virtuosic for both the solo voice and instruments, perhaps reflecting the nature of the first phrase of text: "Resurrexit, sicut dixit, alleluia". The contrasting slow movement, without trumpets and organ, displays suitable contrast on the text: "Ora pro nobis".
Salve Regina . RV 618
This antiphon setting is an extended work in six movements. It is scored for alto solo, two cori of strings, and basso continuo. Two oboes appear in the first coro only in movement four.
The Andante molto first movement begins with a fugato-like ritomello, the subject of which recurs throughout the movement.
Antiphonal effects possible between the two cori are not employed.
Rather, the second coro joins the first in forte sections. 3 The second movement. Allegro 8, provides suitable contrast to the
first in its energetic declamation of the text "Ad te clamamus".
^Giordano 34, page 78^.
^Liber Usualis. p. 275. 35
Compositional unification is noticeable by the frequent return to a descending unison passage on the text "exules Filii heue”.
The third movement. Larghetto in common time, scored only for the first coro, exhibits Vivaldi's abilities at text painting. He suggests an interesting sighing effect on the text "Ad te suspiramus"
[example 51,
Example 5. Salve Regina RV 618 Movement 3, Ms, 8-9, Alto
The full complement of the performance forces is employed only in move ment four. Here Vivaldi exploited the antiphonal effects of the two cori of strings. The oboes, while not antiphonal, participate alternately with both cori. In this movement, as in the second movement, an element
of unity is seen in the frequent passages of the voice and all instruments
in unison.
Movement five. Andante 8, is similar to the first and last movements of RV 602 and RV 603 in its use of antiphonal effects. The
second coro of strings often echoes the first chorus, many times in
strict imitation.
The final movement. Larghetto, in common time, reflects the
emotional content of the text "0 clemens, 0 Pia, 0 dulcis Virgo Maria",
in a highly illustrative manner. 36
Sanctorum Meritis RV 620
This work is similar in construction to "Gaude Mater Ecclesia"
RV 613. Verses one, three, and six only of the hymn^ are set somewhat strophically using essentially the same music for each verse. The opening ritornello is used to introduce each successive verse.
^Liber Usualis. p. 1159. CHAPTER ir
EDITORIAL PROCEDURES
General Editorial Procedures
1, Practices in contemporary notation are drawn from Gardner Read, Music Notation.
2, Each edition has been prepared by personal examina tion of Vivaldi’s original manuscripts preserved in the Biblioteca Nazionale di Torino over a nine-month period during 1979-1980. All editions were prepared from autograph, full scores. RV 613 and RV 620 are also preserved in part format.
3, Incipits precede each edition and represent as closely as possible the appearance of the original manuscripts.
4, All part lines have been retained throughout each score. No attempt has been made to reorder or to reduce the number of lines as parts diminish. Each line has been labeled preceding each composition or movement,
5, Each part is included on a separate stave throughout the scores with the exception of those compositions in which Violin I and Violin II are in unison through out the composition or movement,
6, All clefs have been modernized, using treble, alto, and bass clefs only,
7, All original tempo indications have been retained. Those suggested by the editor appear in brackets,
8, All original dynamic indications have Been retained, and placement is as in the original manuscripts. Those suggested by the editor appear in brackets,
9, Placement of accidentals has been modernized. During the time of Vivaldi, accidentals were
37 38
cancelled by any different successive note, while in the case of repeated notes, the bar-line did not cancel the accidental. Rather, in modern notation, only the bar-line or another accidental cancels the previous accidental,
10, All rests appearing in the original manuscripts have been retained. Missing rests within a measure have been inserted and enclosed in brackets. Missing rests involving an entire measure have been dealt with without special comment in the following manner. Whole rests are often used to indicate an entire measure of rest regardless of the time - signature; rests are inserted, when applicable, in the first full measure and in the final full measure of each movement or composition; rests are included in the full measures immediately preceding and immediately succeeding those measures which contain a pitch or pitches; no indication appears in all other empty measures, in order to provide ■ uncluttered appearances of the scores,
11, Slurs added by the editor have been indicated by a slash through the slur thusly:
12, Text spelling and punctuation have been modernized when possible to that of the 1953 edition of Liber Usualis. Variations from this standard are cited as they occur. Standard text translations or those made by the editor are included and cited.
13, All of Vivaldi's abbreviated notational devices such as "con la parte", "ut supra", and etc,, have been fully realized and noted as they occur.
14, Thorough bass figures have been retained. Those inserted by the editor appear in brackets. Those corrected by the editor have been properly cited. Basso continuo realizations have been provided by the editor and included as suggestions only. If no particular keyboard instrument is indicated in a manuscript, one has been suggested by the editor,
15, Sources are indicated in those sections of this paper relating specifically to each composition. All other editorial revisions, corrections, or additions are either included in brackets, or precisely noted in those sections of this paper relating specifically to each individual composition. 39
Performance Considerations
Size of the string ensemble. As previously mentioned, two of the seven works; "Deus Tuorum Militum" RV 612, and "Sanctorum Meritis"
RV 62Q, are preserved in individual instrumental and vocal part formats in addition to the autograph score formats. Enumeration of the numbers of individual string parts is the same for each of the two works as follows,
2 Violin I parts
2 Violin II parts
2 Alto Violetta pa,rts
2 Violoncello parts
1 Violone part
The approximate number of string players that may have been employed by
Vivaldi are suggested by enumerating a maximum of two players per part.
4 Violin I
4 Violin II
4 Alto Violetta
4 Violoncello
2 Violone
Basso Continuo. The normal basso continuo group employed by
Vivaldi in the sacred works includes violoncello, violone, and organ. 1 * 2
The use of organ as the keyboard instrument of the basso continuo group may be substantiated in five of the nine works. The following list
% e e p. 21 of the present study.
^ e only Vivaldi sacred work calling for other instruments for Basso Continuo harmonization is the oratorio "Juditha Triumnhahs" RB 644, which uses organo and two cembali. 40
cites one reference to "organo" in each of the five works.
"Laudate Pueri Dominum" RV 602
Ms, 21, Coro r, B.C.: "Org: solo"
"Laudate Pueri Dominum" RV 603
Ms, 23, Coro IT, B,C,; "Org: Solo e Po *'
"Deus Tuorum Militum" RV 612 A separate part is preserved for "organo".
"Regina Coeli" RV 615 Movement II, ms, 1, B.C.: "Senza Organo"
"Sanctorum Meritis" RV 620 A separate part is preserved for "organo".
Omamentation. The use of ornamentation indicated by signs in the nine works is confined to trills and appoggiaturas. Trills are common Both, in instrumental and solo vocal parts and are notated as "tr." placed above the note. Trills in Baroque music normally are placed on the beat and begin with the diatonic note above the primary note.^
Speed of the trill is flexible, based on the style and tempo of the composition, Vivaldi notated trills both with ending notes (example 6), and without Cexample 7}.
Example 6. Regina Coeli RV 615 Movement II, Ms. 27-28, Violins I-II
+r, /-B—W- A ) LW
^Robert Donington, A Performer's Guide to Baroque Music (New York: Charles Scribner's Sons, 1973), p. 178. 41
Example 7, Regina Coeli RV 615 Movement II, Ms. 23-24, Tenor
The only work of the nine that calls for trills on choral parts is "In
Exitu Israel" Ry 604. The unison cadence in measure 23 has a trill marked on all four choral parts (example 8)..
Example 8. In Exitu Israel RV 604 Ms, 23, SATB
All*»*#
T a - cob
To. - c#b
< ; 3a, - Cob
0 To. ? ccb
Notated appoggiaturas are rare in the nine works. However, they are used with, relative frequency in the expressive second movement of "Regina Coeli" RV 615. They appear with each occurrence of the three note motive shown in example 9, 42
Example 9. Regina Coeli RV 615 Movement II, Ms. 10, Violins I-II
Performance of the Baroque appoggiatura was flexible, but it normally occurs on the beat, taking as much as one-half of the rhythmic value of the note that follows [example 10).4
Example 10, Regina Coeli RV 615 Movement II, Ms. 10, Violins I-II, performance suggestion «.vtl by-ji-.
Articulation markings. Bowings and tonguing slurs are not consistently found.^ Vivaldi apparently did not find the notation of them necessary, and only inserted them when they differed from what would normally have been expected by the player. Further, Vivaldi often indicated bowings only on the first few appearances of a figure when in actuality he probably intended each appearance of the figure to be bowed in the same manner [example 11),
Example 11. Salve Regina RV 618 Movement III, M. 11-12, Violin I
^Ibid., p. 182 See Fort, "An Analysis," pp. 59-62 43
However, the expressive oboe solo [movement seven) of RV 602 is meticulously slurred throughout, as is the gravis second movement of
RV 615.
Other articulation markings occur only in two of the nine works.
The only notation of staccato is in movement two of ’’Salve Regina”
RV 618.1 Example 12 shows how Vivaldi used the combination of the slur and staccato to introduce the statement of the text by the alto
(example 13). It can be seen that the articulation of the Violin closely follows the syllabification of the text by the alto.
Example 12. Salve Regina RV 618 Movement II, Ms. 1-2, Violin I
Example 13. Salve Regina RV 618 Movement II, Ms. 19-20, Alto
M AfiL ta. clcu' ntiAS
The final articulation mark used by Vivaldi in the nine works is the
heavy horizontal stroke which appears over a slurred figure in
movement two of ’’Regina Coeli” RV 615 (exançle 14),
^The nature of Vivaldi’s handwriting makes it impossible to discern between dots and vertical strokes in the manuscripts. 44
Example 14. Regina Coeli RV 615 Movement II, Ms, 3-4, Violins I-II
É 5
LAUDATE PUERI DOMINUM RV 602
The source of this edition is Foa 40, 208^ -226^ found in the
Raccolta Foa-Giordano of the Biblioteca Nazionale di Torino. The work
is preserved in autograph, signed score format. The Vivaldi monogram
appears on the title page^
Psalm 112
1. Laudate Pueri Dominum: laudate nomen Domini.
2. Sit nomen Domini benedictum, ex hoc nunc, et usque insaeculum.
3. A solis ortu usque ad occasum, laudabile nomen Domini.
4. Excelsus super omnes gentes Dominus, et super caelos gloria ejus.
5. Quis sicut Dominus Deus noster, qui in altis habitat, et humilia respicit in caelo et in terra?
6. Suscitans a terra inopem, et de stercore erigens Pauperem:
7. Ut collocet eum cum principibus, cum principibus populi sui.
8. Qui habitare facit sterilem in domo, matrem filiorum laetantem.
9. Gloria Patri, et Filio, et Spiritui Sancto.
10. Sicut erat in principle, et nunc, et semper, et in saecula saeculorum. Ajnen,
Translation^
1. Praise the Lord, ye children: praise the name of the Lord,
^Translations of Psalms are by Robert Fort, Jr. 45
2, Blessed be the name of the Lord, from henceforth and forever.
3, From thé rising of the sun unto the setting, praiseworthy is the name of the Lord.
4, The Lord is high, above all nations, and his glory above the heavens,
5, Who is as the Lord our God, who dwells on high, and looks down on the low things in heaven and in earth?
6, Raising up the needy from the earth, and lifting up the poor out of the dunghill;
7, That he may place him with, princes, with the princes of his people.
8, Who makes a barren woman to dwell in a house, the joyful mother of children,
9, Glory to the Father, and to the Son, and to the Holy Spirit.
10, As it was in the beginning, is now, and ever shall be, world without end. Amen,
Editorial Revisions
Movement I - ■
Ms. 7-8, 9-10; Coro I: Violin II realized from the indication "Unisoni".
Ms, 56, beat 3: the original indication was "p?".
Ms, 59, beat 1: the fermata appearing in the tenor part has been deleted.
Movement III
Verse 4;
Ms, 5-11%, 14%-24; Viola realized from the indications "con il B,",
Ms, 4%, 14%, Basso Continuo: Vivaldi's original indications were "Organo Solo Piano" but were erased.
Verse 5:
Ms, 4%, 14, Basso Continuo: Vivaldi's original 46
indications were "Organo Solo" but were erased.
Ms. 4%-12%, 14*2-22: Viola realized from the indications "con il B.".
Movement EV
The Soprano I part has been added by the editor and exactly duplicates the Soprano II part.
Ms, 8-10: these measures have been written out by the editor. The original manuscript indicated a repeat of measures 5-7 by the signs: S .
Movement V
Ms. 78: Basso Continuo T and II have been reversed.
Movement VI
Ms, 18-30, 37-66; Violin I and II realized from the indications "con la te". p; Ms, 14: The repeat indication originally preceded the first beat of the measure and has been adjusted to compensate for the repeat indication in measure 31.
Movement VII -.
Ms, 6: The Basso Continuo figure on beat 4*2 originally appeared on beat 3.
Movement VIII
Ms. 32, beat 3*2, Soprano II: originally ^
Laudate Pueri Dominum. RV 603
The source of this edition is Foa 40, 288^ -249^ found in
the Raccolta Foa-Giordano of the Biblioteca Nazionale di Torino. The
work is preserved in autograph score format, but is untitled and unsigned.
Psalm 112
1, Laudate Pueri Dominum; laudate nomen Domini.
2, Sit nomen Domini benedictum, ex hoc nunc, et usque in saeculum. 47
3. A solis ortu usque ad occasum, laudabile nomen Domini.
4. Excelsus super omnes gentes Dominus, et super caelos gloria ejus.
5. Quis sicut Dominus Deus noster, qui in altis habitat, et humilia respicit in caelo et in terra?
6. Suscitans a terra inopem, et de stercore erigens Pauperem:
7^ Ut collocet eum cum principibus, cum principibus populi sui.
8. Qui habitare facit sterilem in domo, matrem filiorum laetantem.
9. Gloria Patri, et Filio, et Spiritui Sancto.
IQ. Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen.
Translation
1. Praise the Lord, ye children: praise the name of the Lord.
2. Blessed be the name of the Lord, from henceforth and forever.
3. From the rising of the sun unto the setting, praiseworthy is the name of the Lord.
4. The Lord is high, above all nations, and his glory above the heavens,
5. Who is as the Lord our God, who dwells on high, and looks down on the low things in heaven and in earth?
6. Raising up the needy from the earth, and lifting up the poor out of the dunghill:
7. That ke may place him with princes, with the princes of his people,
8. Who makes a barren woman to dwell in a house, the joyful mother of children.
9. Glory' to the Father, and to the Son, and to the Holy Spirit.
10. As it was in the beginning, is now, and ever shall be, world without end. Amen, 48
Editorial Revisions
Movement I
Measures 1-21 and 52 to the end are extracted without alteration from the first movement of RV 603.
Ms, 43-45*2, Coro I: Violin I and II realized from
the indications "Con la par;
Ms, 46-48, Coro II: Violins I and II realized from t© the indicates "Con la par: ".
Movement II
The entire movement is extracted without alteration from
RV 602,
Movement III
Ms. 8; A portion of the text was deleted from the original.
The final syllables of "Gloria" appear in measure 12, probably
indicating that Vivaldi intended the text to be inserted in
measure 8, This is confirmed by examining measure 8 of
movement three in RV 602.
Originally:
&
xt S. S Edited;
r f — ‘-*1 f— xf Su'pAy eoji'ios &!# - Ms, 3, bt, 4-ms, 12, bt, 3: Viola realized from the indication
"Con il Basso", 49
Ms. 15, bt. 3- ms. 29: Viola realized from the indication:
" 9 :".
Movement IV
The entire movement is extracted without alteration from
RV 602.
Movement V
Ms. 23-28, 33-39, SO, bt. 2-51, 66, bt. 2-73, Coro I:
Violin I. realized from the indications "Con la part®".
Ms. 28-32, Coro I: Violin I realized from the indication
"Con il canto".
Ms. 1-19, 42-44, 77-80, Coro I: Violin II realized from
the indications "Ut siçra".
Ms. 23-28, 50, bt. 2-51, Coro I: Violin II realized from
the indications "Con la part®".
Ms. 52, bt. 2-53, 75-76, CorO II: Violin I realized from
the indications "Ut Supra".
Ms. 28-32, Coro II: Violin I realized from the indication
"Con il canto".
Ms. 3-19, 28-32, 52, bt. 2-53, 75-76, 80-83, Coro II:
Violin II realized from the indications "Ut supra".
Ms. 28-32, 52, bt. 2-53, 75-76, Coro II: Viola and Basso
Continuo realized from the indications "Ut supra".
Movement VI
Ms. 6-12, 41-43, 75-77: Viola realized from the indica
tions: "p:Bas:". 50
Ms. 14: Basso Continuo figure ”7" moved from beat 1
to beat
Ms, 30-32, 49-53, 61-63; Violin I realized from the te indications "con la par; ",
Movranent VII
Tonguing slurs have been added to the flute part thusly:
" ", based on those in movement seven of RV 602.
Movement VIII
Measures 1-7^ have been extracted without alteration from
movement eight of RV 602,
Ms, 15-17, 31^2-33, Coro I; Violin I realized from the
indications "con la parî®",
Ms, 31Î2-33, Coro II: Violin II realized from the
indications "con la parî®". _ .
Ms. 18-20%, 34%-36, Coro II: Violin I realized from Il6 the indications "con la par: ",
Ms. 20-22, 24-25, Coro II: Violins I and II, Viola, and
Basso Continuo realized from the indications "Ut supra".
Ms. 34-36, Coro II; Violins I and II realized from the
indications "Ut supra",
Ms. 38, 44-45, Coro II: Violin II realized from the
indications "Ut supra",
Ms. 48, bt. 2%, Coro II, Violins I and II: originally "g#".
Ms. 48-49, Coro II: Violins I and II realized from the
indications "con la pari®". 51
Ms. 44-47, Coro I; Violin II realized from the indication
"Ut supra".
IN EXITU ISRAEL RV 604
The source of this edition is Giordano 33, 220^-229^ found in
the Raccolta Foa-Giordano of the Biblioteca Nazionale di Torino. The work is preserved in signed, autograph score format.
Psalm 113 ■
1. In exitu Israel de Egito, domus Jacob de populo barbaro.
2, Facta est Judea sanctificatio ejus, Israel potestas ejus.
3. Mare vidit et fugit; Jordanis conversus est retrorsum,
4, Montes exsultaverunt ut arietes: et colles sicut agni ovium.
.7, A facie Domini mota est terra, a facie Dei Jacob:
8. Qui convertît petram in stagna aquarura, et rupem in fontes aquarum.
.9, Non nobis Domine, non nobis: sed nomini tuo da gloriam.
10, Super misericordia tua et veritate tua: nequando dicant gentes: Ubi est Deus eorum?
11, Deus autem noster in caelo: omnia quaecumque voluit, fecit. .
12, Simulacra gentium argentum et aurum, opera manum hominum.
13, Os habent, et non loquentur: oculos habent, et non videbunt.
14, Aures habent, et non audient: nares habent, et non odorabunt.
15, Manus habent, et non palpabunt: pedes habent, et non ambulabunt: non clamahunt in gutture suo,
16, Similes iilis fiant qui faciunt ea: et omnes qui confidunt in eis.
17, Domus Israel speravit in Domino; adjutor eorum et protector eorum est,
18, Domus Aaron speravit in Domino: adjutor eorum et protector eorum est. 52
19. Qui timent Dominum speraverùnt in Domino: adjutor eorum et protector eorum est,
2D, Dominus memor fuit nostri: et benedixit nobis.
21, Benedixit domiii Israel: benedixit domui Aaron.
22, Benedixit omnibus qui timent Dominum, pusillis cum majoribus.
23, Adjiciat Dominus super vos: super vos, et super filios vestros.
24, Benedict! vox a Domino, qui fecit caelum et terram.
25, Caelum caeli Domino : terram autem dedit filiis hominum.
26, Non mortiiii laudabunt te Domine, neque omnes qui descendunt in infemum,
27, Sed nos qui vivimus, benediciraus Domino, ex hoc nunc, et usque in saeculum,
28, Gloria Patri, et Filio, et Spiritui Sancto.
29, Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen,
1. IVhen Israel went out of Egypt, the house of Jacob from a barbarous people: '
2. Judea was made his sanctuary, Israel hisdominion.
3. The sea saw and fled: Jordan was turned back.
4. The moutains skipped like rams: and the hills like the lambs of the flock,
7, At the presence of the Lord the earth was moved: at the presence of the God of Jacob:
8 , Who turned the rock into pools of water, and the stony hill into fountains of waters,
9, Not to.us, 0 Lord, not to us:but to Thy name give glory,
10. For Thy mercy, and for Thy truth's sake: lest theGentiles should say: Where is their God?
11. But our God is in heaven: he has done all things whatsoever he would.
12. The idols of the Gentiles are silver and gold, the works of the hands of men. 53
13, They have mouths and speak hot: they have eyes and see not,
14, They have ears and hear not: they have noses and smell not,
15, They have hands and feel not, they have feet and walk not: neither shall they cry out through the throat,
16, Let them that make them become like unto them: and all such as trust them,
17, The house of Israel has hoped in the Lord: he is their helper and their protector,
18, The house of Aaron has hoped in the Lord: he is their helper and their protector,
19, They that fear the Lord have hoped in the Lord: he is their helper and their protector,
20, The Lord has been mindful of us, and has blessed us.
21, He has blessed the house of Israel: he has blessed the house o f Aaron,
22, He has blessed all that fear the Lord, both little and great.
23, May the Lord add blessings upon you: upon you, and upon your children, - -
24, Blessed be you of the Lord, who made heaven and earth.
25, The heaven of heaven is the Lord's; but the earth he has given to the children of men.
26, The dead shall not praise Thee, 0 Lord: nor any of them that go down to hell,
27, But we that live bless the Lord; from this time now and evermore,
28, Glory be to the Father, and to the Son, and to the Holy Spirit.
29, As it was in the beginning, is now, and every shall be, world without end. Amen,
Editorial Revisions
Ms, 36, Basso continuo; the figure "V§" has been moved from beat
1?5 to beat 2, 54
Ms. 70, bt. 3, tenor: the rhythm was originally J D .
Ms, 71, bt. 2, Soprano, alto, tenor, bass: the rhythm was
originally / 7 3 ,
The editor suggests that the organ uses repeated eighth note figures rather than the sixteenth, note figures in measures 20-23, and instead of the figures in measures 73-77.
CREDIDI RV 605
The source of this edition is Foa 40, 145^^-154^ found in the
Raccolta Foa-Giordano of the Biblioteca Nazionale di Torino. The work is preserved in signed, autograph score format.
Psalm 115
1. Credidi propter quod locutus sum: ego autem hurailiatus sum nimis.
2. Ego dixi in excusse meo: Omnis homo mendax.
3. Quid retribuam Domino, pro omnibus quae retribuit mihi?
4. Calicem salutaris accipiam: et nomen Domini invocabo.
5. Vota mea Domino reddam coram omni populo ejus: pretiosa in conspectu Domini mors sanctorum ejus.
6 . 0 Domine quia ego servus tuus: ego servus tuus sum, et filius ancillae tuae,
7. Dirupisti vincula mea: tibi sacrificabo hostiam laudis, et nomen Domino invocabo,
8 . Vota mea Domino reddam in conspectu omnis populi ejus; in atriis domus Domini, in medio tui Jerusalem.
9. Gloria Patri, et Filio, et Spiritui Sancto.
10. Sicut erat in principio, et nunc, et sender, et in saecula saeculorum. Amen.
1, I have believed, therefore have I spoken: but I have been greatly afflicted,
2, I said in my consternation. Every man is a liar. 55
3. What shall I render to the Lord for all the things that he has rendered unto me?
4. I will lift up the cup of salvation: and I will call upon the name of the Lord.
5. I will pay my vows to the Lord before all His people: precious in the sight of the Lord is the death of His saints.
6 . 0 Lord, for I am Thy servant: I am Thy servant and the son of Thy handmaiden.
7. Thou hast broken my bonds: I will offer to Thee the sacrifice of praise, and I will call upon the name of the Lord.
8 . I will pay my vows to the Lord in the sight of all His people: in the courts of the house of the Lord, in the midst of Thee, 0 Jerusalem.
9. Glory be to the Father, and to the Son, and to the Holy Spirit.
10. As it was in the beginning, is now, and ever shall be, world without end. Amen.
Editorial Noÿe
The string parts of this edition have been realized according
to Vivaldi’s instructions on the first page of score:
Istroml^ II Li Primi si canano da’ Alti all’ 8va’ Alti
Li 2di dalli Canti
Le due Violette dalli due Tenori
Editorial Revisions
Ms. 2, bt, 3^2, Tenor I: originally Ms, 15, bt, 4,Alto: originally’e’. Ms, 26, ht, 1, Alto: originally ’e', Ms, 31, ht. 2,Bass: originally *e’, Ms, 35 bt, 4-36, bt, 2: Alto and Soprano reversed. Ms, 81, ht, 2, Tenor XI: originally ’d’. 56 Ms. 83, bt. 3, Basso Continuo; 6-5 instead of 4-3, Ms. 84, bt. 2, Tenor II: originally *d'. Ms, 85, bt, 4, Bass: originally *d'. Ms. 92,Basso Continuo; the figure *3* originally appeared on beat 1%. Ms, 135, bt, 1, Soprano; originally 'b - a*^, Ms-, 135, bt, 3, Soprano : originally *a - a*. Ms, 139, bt, 4%, Alto; originally 'fl|'. Deus Tuorum Militum RV 612 The source of this edition is Giordano 35, 126^-144^ found in the Raccolta Foa-Giordano of the Biblioteca Nazionale di Torino, The worTc is preserved in autograph score format, interleaved with copies of parts as follows; Title page 127^ Score 127^-128^, 2 Violoncello parts 126f, 129? Tenore 130f- 131? Organo 132^ Violone 133? 2 Alto Violetta parts 135?, 138? 2 Violin It parts 136?, 137? 2 Violin I parts 139?, 140? Hautbois II 141? Hautbois I 142? Hymn Text 1, Deus tuorum militum Sors et corona, praemium; Laudes canentes 57 Martyris, Absolve nexu crimtnîs. 3. Poenas cocurrit fortiter, Et sustulit viriliter; Fundensque pro te sanguinem, Aetema dona possidet. 5. Laus et perennis gloria Patria sit, atque Filio, Sancto simul Paraclito, In sempitema saecula. Amen, Translation^ 1. God, the portion, crown and prize of Your soldiers, we are singing a Martyr's praises; free us from the bondage of sin. .3, He passed through his tortures bravely and endured them manfully. He shed his blood for You and so obtained his eternal reward. 5. Let praise and lasting glory be to the Father and the Son, together with the Holy Paraclete, for endless ages. Amen. Editorial Revisions Ms. 13-21, 46-51: Violin I realized from the indications "Ut Supra". Ms. 14-21, 46-51: Violin 11 realized from the indications "Ut Supra". Ms. 23, Basso Continuo: The organo part (,p. 132^) appeared thusly: 11* are Ms. 69-77; Oboe I realized from the indication "Con L'Alto all' Alta". Ms. 70-77: Oboe 11 realized from the indication "Con il tenore". Ms. 89-90; The Oboe I part differs slightly from that indicated in the score, as follows: Hours of the Divine Office in Latin and English, 3 vols. (Collegeville: Liturgical Press, 1964), 2: 710-711. 58 Oboe II part: p. 141^ contains the following direction to the oboist: "Cantata bene perche non e fallata" (Play well because it is not a mistake) Gaude Mater Ecclesia RV 613 The source of this edition is Giordano 33, 60^-61^ found in the Raccolta Foa-Giordano of the Biblioteca Nazionale di Torino. It is preserved in autograph score format, but is unsigned and untitled. Text 1. Gaude, mater ecclesia, laetam agens memoriam, quae novae prolis gaudia mittis ad caeli curiam. 2. Praedicatorum ordinis Lux, et Pater Dominicus, Mundia fulget terminis civis effectus caelicus. 3. Trino Deo, et simplici laus, honam iustus et Gloriam, Qui nos prece Dominica Ducat ad Caeli gaudia. Translation 1. Rejoice, mother church iii glad remembrante of new children sent to heaven’s meeting place. 2. Eulogist in the company of light, and Father Dominico, heavens complete citizen in the shining boundary. 3. God in three, and one in praise, just men give honor and glory, we pray the Lord’s guidance to heavenly glory. Editorial Revisions Ms. 17-79: Violin I M d II realized from the indications "con la pî®". Ms. 33-34: Violin I and II and the Soprano part appeared thusly: 59 Ms. 16; Violin I and II, Viola, Soprano, and Basso Continuo appeared thusly; /TN +f. % m m Regina Coeli RV 615 The source of this edition is Giordano 34, 75^^78^ found in the Raccolta Foa-Giordano of the Biblioteca Nazionale di Torino. The work is preserved in autograph score format, but is untitled and unsigned. Only verse two of the text was set by Vivaldi. 60 Antiphon Text 2 . Resurrexît, sicut dixit, alleluia; Ora pro nobis Deum, alleluia. Translation 2. He has risen, as He said, alleluia: Pray" for us to God, alleluia. Editorial Revisions Movement I Ms. 3, bt. 1-2, 3-4, 12, bt, 3-4, Basso continuo: the rhythm was originally JJJJ . Ms. 16-17, 25-27: Trumpet I realized from the indication '*con la pî®". Movement II An A^ has been added in the key signature to agree with contemporary notational practices. Ms. 5, bt. 1, Violins: originally a Ij. Ms. 25, bt. 1, Violins: originally A^. Ms. 14-19, 21-24, 28, bt. 2-30, 32-47: Violins realized from the indications "con la parte". Ms. 26, Viola and Basso Continuo; the two parts contained an incorrect number of beats, appearing thusly: ^ 6 r4 vi‘s — r 61 Ms. 43, Tenor: the slur originally appeared as follows; &r«wi’S pro Salve Regina RV 618 The source of this edition is Giordano 33, 14^-34^ found in the Raccolta Foa-Giordano of the Biblioteca Nazionale di Torino. The work is preserved in signed, autograph score format. Antiphon Text 1. Salve Regina Mater misericordia; vita, dulcedo et spes nostra. 2. Ad te clamamus exsules filii Heue. 3. Ad te suspiramus gementes et fientes in haclacrymarum valle. 4. Eja ergo, advocata nostra, illos tuos misericordies oculos ad nos converte. ;5. Et Jesum benedictum fructum ventris tui, nobis post hoc exsilium os tende.. 6 . 0 Clemens, o pia, o dulcis, Virgo Maria. Translation 1. Hail thee. Queen mother of mercy; our life, our sweetness, and our hope. 2. To thee we cry cast away the sons of Eve. 3. To thee we sigh, moaning and weeping in this valley of tears. 4. Therefore we pray thee, our advocate, turn 62 thine eyes of mercy on us, 5. And Jesus blessed fruit of thy womb, show him unto us after this our banishment. 6 . 0 merciful, o gentle, o sweet Virgin Mary, Editorial Revisions Movement I An E^ has been added in the key signature to agree with contemporary notational practices. Ms. 1-22, 44-47, 55-62, 86-89, Coro II: Violin I realized from the indications "Ut supra", Ms. 1-22, 44-47, 57-62, 85-89, Coro II: Violin If realized from the indications "Ut supra". Ms. 1-22, 44-47, 56-62, 87-89, Coro II: Viola realized from the indications "Ut supra". Ms. 1-22, 44-47, 59-62, 87-89, Coro II: Basso Continuo realized from the indications "Ut supra". Ms. 63-67, Coro I: Violin II realized from the indications "Con I’alto". Ms. 64-67, 71-74, Coro I: Violin I realized from the indications "Con I’alto". Ms, 68-69, Coro I: Viola realized from the indication " p: B.". Ms, 40-42, Basso Continuo: the figures "§" have been moved from beats IS5 to beats 2 . 63 Movement ïï Ms, 8-a, 21-25, 34-38, 42-46, 66-70, 74, Coro I; Violin r realized from tHe indications " p; Ms, 19-20, Coro I: Violin I realized from the indications "con I’alto", Ms, 5-9, 21-25, 34-38, 42-46, 66-70, 75-81, Coro X; Violin II and Viola realized from the indications "Ut supra". Ms. 5-9, 21-25, 34-38, 42-46, 66-70, 75-87, Coro II; Violin I and II, Viola, and Basso Continuo realized from the indications "Ut supra". Movement III Ms, 20-21, 29-30: Violin I realized from the indication "Con I’alto", Ms. 3-5, 12, 17, 26-29: Viola realized from the indications " p;B,". Ms, 16: The alto part originally appeared as follows. - KtH vfcl • It, The editor has chosen the following as a possible solution. fr. V'utn v»l • h 64 Ms. 24; The alto originally appeared as follows. p val • Ix. 4^ fx Stt<* ^1* • Movement IV Ms. 12-15, 43-48, Coro I; Violin I realized from the indications "unisoni". Ms, 53-56, Coro I: Violin I realized from the indications "con I'alto". Ms., 26-34, 36-39, 57-58, 70-82, Coro I: Violin I and II, and Viola; Coro II; Violin I and II, and Viola realized from the indications " <);B. V. Ms. 26-34, 36-39, 70-82, Oboes I and II, Coro II: Basso Continuo realized from the indications " p;B. ", Movement V An has been added in the key signature to agree with contemporary notational practices. Ms, 35-37, 67-72, Coro II; Violins I and II, viola, and Basso Continuo realized from the indications "Ut supra", Ms. 62-65 Coro I; Violin I realized from the indication "Con I'alto". Movement VI An E^ has been added in the key signature to agree with contemporary notational practices. , 65 Ms. 18-19, Coro I: Violins I and II, and Viola, Coro II: Violins I and II, Viola, and Basso Continuo realized from the indications " Sanctorum Meritis RV 620 The source of this edition is Giordano 35, 113^^-125^ found in the Raccolta Foa-Giordano of the Biblioteca Nazionale di Torino. The work is preserved in signed, autograph score format along with copies of parts as follows: 2 Violin I parts 113f, 119^ 2 Alto Violetta parts 114^, 155^ 2 Violoncello parts 116^, 117^ Organo 118^ 2 Violin II parts 120^, 12l' Violone 122^ Soprano 123^ Score 124^'-125^ Hymn Text 1. Sanctorum meritis inclyta gaudia Pangamus, socii, gestaque fortia: Gliscens fert animus promere cantibus Victorum genus optimum. 3. Hi prote furias atque minas truces Calcarunt hominum, saevaque verbera: His cessit lacerans fortiter unguia, Nec carpsit penetralia. 6 . Te summa 0 Deitas, unaque poscimus, Ut culpas abigas, noxia subtrahas: Des pacem famulis, ut tibi gloriam Annorum in seriem canant. Amen. 66 Translation^ 1. Let us sing, fellow Christians, of the glorious joys that the Saints gained through their merits, let us sing of their heroic deeds. Our soul is eager and ready to tell in song the nohle line of warriors. 3. For Your sake they triumphed over men's rage and savage threats and cruel scourgings. The hook that fiercely tore them to bits effected nothing and left them their spirit unconquered, 6 . We beseech You, mighty God-head, one in essence, to take away Your servants’ guilt, remove all their sins and give them peace that they may sing praise to You for ever. Amen. Editorial Revisions Ms. 11, bt. 1, Violin II: the pitch is indistinguishable in the original manuscript. The editor has chosen 'f. }1s. 13-23, 25-27, 29, 31-34: Violin I realized from the indications "con la pf" or "Cop;". Ms. 13-36: Viola realized from the indication "Violetta con il B". Ms. 15: the entire measure was deleted in the organo part. Ms. 29; the organo part indicated 'g' instead of 'a'. Ms. 59, bt. 2, Soprano: the Soprano part was as written ; the score indicated; . hbid., pp. 770-771, SELECTED BIBLIOGRAPHY 67 68 SELECTED BIBLIOGRAPHY Articles Abbado, Michelangelo. "Antonio Vivaldi nel nostro secolo con particolare riferimento alle sue opere strumentali." Nuova Rivista Musicale Italiana 1 (January-March 1979); 79-114. Altmann, Wilhelm. "Thematischer Katalog der gedruckten Werke Antonio Vivaldi nebst Angabe der Neuausgaben und Bearbeitungen." Archiv fiir Musikwissenschaft 4 (1922) : 262-279. Antojicek, Thomas. ^Vivaldi In Osterreich." Osterreichische Musikzeitschrift (1978);128-134. Arnold, Dennis. "Instruments and Instrumental teaching in the early Italian conservatoires." Galnin Society Journal 18;72-81, ' "Orphans and Ladies: the Venetian Conservatories..... (1690-1797)." Proceedings of the Royal 3kisical Association 89 (.1962-1963): 31-47. . "Vivaldi’s Church Music; An Introduction." Early Music 2 (1973):66-74. Aslanian, Vahe. "A New Mass by an Old Master." Music Journal 19 (November-December 1961):19-20. Benzoni, Gino. "Venezia al tempo di Vivaldi," In Antonio Vivaldi da Venezia all'Europa, pp. 30-37. Edited by Francesco Dégrada and Marta Teresa Muraro. Milano: Electa Editrice, 1978. Burkley, F. "Priest-Composers of the Baroque: a sacred-secular conflict." Musical Quarterly 54 (February 1968);170-184. Cavicchi, A. "Inediti nell'epistolario Vivaldi-Bentivogliô.C Nuova Rivista Musicale Italiana 1 (1967):47-79. Damilano, Piero. ^'Antonio Vivaldi compose due Vespri?" Nuova Rivista Musicale Italiana 3 (July-August 1969): 652-663. 69 ' '' "Inventario delle composizioni musicali di Antonio Vivaldi esistenti presso la Biblioteca Nazionale di Torino." Rivista Italiana Di Musicologia 3 (1968): 109-179. Dégrada, Francesco. '^Attualita di Vivaldi." In Antonio Vivaldi da Venezia all'Europa, pp. 80-89.. Edited by Francesco Dégrada and Maria Teresa Muraro. Milano: Electa Editrice, 1978. Dégrada, Francesco. "Principali edizioni delle opere di Antonio Vivaldi pubblicate durante la vita dell'autore." In Antonio Vivaldi da Venezia all'Europa, p. 101. Edited by Francesco Dégrada and Maria Teresa Muraro. Milano: Electa Editrice, 1978. "Testimonianze e Guidizi su Antonio Vivaldi." In Antonio Vivaldi da Venezia all'Europa, pp. 90-94. Edited by Francesco Dégrada and Maria Teresa Muraro. Milano: Electa Editrice, 1978. Eller, Rudolf. "Vivaldi, Dresda, Bach." In Antonio Vivaldi da Venezia all'Europa, pp. 66-79. Edited by Francesco Dégrada and Maria Teresa Muraro. Milano: Electa Editrice, 1978. Fortune, Nigel. "Italian Seventeenth-Century Singing." Music and Letters (July 1954);206. Gallo, Rudolpho. "Antonio Vivaldi il Prete Rosso, la famiglia-la morte." Ateneo Veneto (Dicembre 1938):165-172. Gentili, Verona. "Le collezioni Foà e Giordano della Biblioteca Nazionale di Torino." Accademie e Biblioteche d'ltalia (November-December 1964): 405-430. Giazotto, Remo. "Antonio Vivaldi." Music and Letters 55 (April 1974) ; 482-484. "La guerra dei palchi." Nuova Rivista Musicale Italiana 1 (May-June 1967): 476-491; Girard, Agostino. "Catalogo delle opere di Antonio Vivaldi." In Antonio Vivaldi, pp. 413-525. Edited by Remo Giazotto. Torino: Edizione Radiotelevisione Italiana, 1973. Goodfriend, James. "Antonio Vivaldi." Stereo Review 29 (June 1972): 66. Jung, Hans Rudolf. "Die Dresdner Vivaldi-Manushripte." ArchiV fur Musicwissenschaft 12 (1955); 314-318. Kolneder, Walter. "Antonio Vivaldi, Gloria e Miseria, Oblio, Rinascita." Nuova Rivista Musicale Italiana 1 (January-March 1979):3-78. 70 ______. "Profile Biografico di Antonio Vivaldi." In Antonio Vivaldi da Venezia all'Europa, pp. 6-25. Edited by Francesco Dégrada and Maria Teresa Muraro. Milano: Electa Editrice, 1978. Lasocki, David. "Vivaldi and the Recorder." Recorder and Music Magazine, March, 1969, pp. 22-27. Minni, C. C. "Vivaldi: is Fame the Whim of Chance?" Music Journal 27 (October 1969):44. Moretti, Lino. "Le inconvenienze teatrali: Documenti inediti su Antonio Vivaldi Impresario." In Antonio Vivaldi da Venezia all’Europa, pp. 26-29. Edited by Francesco Dégrada and Maria Teresa Muraro. Milano: Electa Editrice, 1978. Muraro, Maria Teresa. "II Secolo di Vivaldi E II Melodramma: I Teatri, Le Scene." In Antonio Vivaldi da Venezia all'Europa, pp. 50-65. Edited by Francesco Dégrada and Maria Teresa Muraro. Milano: Electa Editrice, 1978. "Opere Vocali attribuite a Antonio Vivaldi nell R. Biblioteca Nazionale Torino." In Antonio Vivaldi: Note e documenti, pp. 65-66. Siena: Accademia Musicale Chiagiana, 1939. Pabisch, Hedy. "Neue Dokumente zu Vivaldis Sterbetag." Osterreichische Musikzeitschrift 27 (1972):82-83. Paumgartner, B. "Zum Cruxifixus der H-moll-Messe J. S. Bachs." Osterreichische Musikzeitschrift (1966): 500-503. Pincherle, Marc. "Vivaldi and the ospitali of Venice." Musical Quarterley 24 (July 1938): 300-312. Radcliffe, Phillip. "Arcangelo Corelli and Antonio Vivaldi." In The Heritage of Music, vol. 3, pp. 53-69. London: Oxford University Press, 1951. Robbins Landon, H. C. "The Red Priest of Venice." High Fidelity, August, 1960, pp. 30-35. Rostirolla, Giancarlo. "L'organizzazione musicale nell* Ospedale veneziano della Pieta al tempo di Vivaldi." Nuova Rivista Musicale Italiana 1 (January-March 1979):168-195. Rudge, Olga. "Catalogo tematico delle opere strumentali di A. Vivaldi esistenti nella Biblioteca Nazionale di Torino." Accademia Musicale Chigiana 17 (1939):47. 71 . "Il Chorus della Juditha Triumphans di Antonio Vivaldi." In ?fusîche Italiane Rare e Vive da Giovanni Gabrieli a Giuseppe Verdi, pp. 257-242. Edited by Adelrao Damerini and Gino Roncaglia. Siena; Arti.Grafiche Ticcî, 1961. "Letters of Antonio Vivaldi." The Listener, October, 1936, p. 834. Rudge, Olga. "Opere Vocali attribuite a Antonio Vivaldi nell R. Biblioteca Nazionale, Torino," In La Scuola veneziana, pp. 74-78. Siena; Accademia Musicale Chiagiana, 1941. Ruegge, Raîmund. "Die Kirchenmusik von Antonio Vivaldi." Schweizerische Musikzeitung 61 (1971): 135-139. Rühlmann, Julius. '-Antonio Vivaldi und sein Eînfluss auf J. S. Bach." Neue Zeitschrift fiir Musik 63 (1867): 45-47.- • Ryom, Peter. "La comparaison entre les versions différentes d'un concerto d'Antonio Vivaldi transcrit par J. S. Bach." Dànsk Aarbog For Musikforskning (1966):91-111. Ryom, Peter. "Le recensement des cantates d'Antonio Vivaldi." Dansk Aarbog for Musikforskning (1972):81-100. Selfridge-Pield, Eleanor. "Juditha in Historical Perspective." In Vivaldi Veneziano Europeo, pp. 135-153. Edited by Francesco Dégrada. Firenze: Leo S. Olschki Bditore, 1980. Selfridge-Field, Eleanor. "Vivaldi's Esoteric Instruments." Early Music 6 (1978): 332-338. Stevens, Dennis. "Where are the Vespers of Yesteryear?" Musical Quarterly (July 1961):315-33Q. Timberlake, Craig. "Ewiva Vivaldi: Still Vital After Three Hundred Years." l^îusic Educators Journal 64 (March 1978):68-71. Tozzi, Lorenzo. "Invito alia Sacralita Vivaldiana." Nuova Rivista Musicale Italiana 1 (January-March 1979):196-203. Waldersee, Paul Graf. "Antonio Vivaldis Violinkonzerte unter besonder Beruchsichtigung der von J. S. Bach bearbeiteten." Vierteljahrschrift von Musikwissenschaft 1 (1885):356. Zorzi, Ludovico, "II Cimento Dell'Invenzione: II Secolo di Vivaldi E II Melodramma (1650-1750)." In Antonio Vivaldi da Vénézia all'Europa, pp. 38-49. Edited by Francesco Dégrada and Maria Teresa îluraro. Milano: Electa Editrice, 1978. 72 Books Bettinelli, Saverio. Opere. Venezia: Zatta, 1780-1782. Brevarium Romanum. 4 vols. Regensburg: Pustet, 1937. Bryden, John R. and Hughes, David G. An Index of Gregorian Chant. 2 vols. Cambridge: Harvard University Press, 1969. Bumey, Charles. A General History of Music from the Earliest Ages to the Present Period. London: Printed for the author, 1789; reprint ed., 2 vols. New York: Harcourt and Brace, 1935. Caffi, Francesco. Storia della musica sacra nell gia cappella ducale di San Marco in Venezia dal 1318 al 1797. 2 vols. Venezia: G. Antonelli, 1854-1855. Casella, Alfredo. Le composizioni sacre e vocali di Antonio Vivaldi. Siena: Settimana musicale, 1939. Dégrada, Francesco and Muraro, Maria Teresa, eds. Antonio Vivaldi da Venezia all’Europa. Milano: Electa Editrice, 1978. Donington, Robert. A Performer’s Guide to Baroque Music. New York: Charles Scribner's Sons, 1977. String Playing in Baroque Music. New York: Charles Scribner's Sons, 1977. Fanna, Antonio. Antonio Vivaldi. Catalogo numerico-tematico delle opere strumentali. Milano: Ricordi and Co., 1968. Forkel, Johann Nikolaus, fiber Johann Sebastian Bachs Leben, Kunst und Kunstwerke. Leipzig: Müller-Blattau, 1802. Frigiolini, Clotilde, ed. Notes on Libraries in Italy. Rome: Commission for Educational and Cultural Exchange between Italy and the United States of America, 1968. Giazotto, Remo. Antonio Vivaldi. Torino: Edizione Radiotelevisione Italiana, 1973. ______. Vivaldi. Milano: Nuova Accademia Editrice, 1965. Goldoni, Carlo. Commedie. 13 vols. Venezia: Edizione Pasquali, 1761. _. Mémoires pour servir à l'histoire de sa vie et â celle son théâtre. 3 vols. Paris : Duchesne, 1787. 73 Grout, Donald J. A History of Western Music. New York: W, W. Norton and Company, Inc., 1973. Hours of the Divine Office in Latin and English. 3 vols. Collegeville: Liturgical Press, 1964. Jungmann, Rev. Joseph A. The Mass of the Roman Rite, Its origins and development. Translated by Francis A. Brunner. New York: Benziger Brothers, Inc., 1959. Kendall, Alan. Vivaldi. London: Chappell and Co., 1978. Kolneder, Walter. Antonio Vivaldi. Los Angeles: University of California Press, 1970. Liber Usualis with Introduction and Rubrics in English. Tournai: Desclee and Cie., 1952. Lochner, L. P. Fritz Kreisler. London: Rockliff, 1951. Malipiero, Gian Francesco. Antonio Vivaldi, II Prete Rosso. Milano: Ricordi and Co., 1958. ed. The Complete Edition of the Instrumental Works by Antonio Vivaldi. Catalog. Milano: Ricordi and Co., 1973. Mila, Massimo. Antonio Vivaldi. Due cantate inedite con due capitoli di M. Mila. Milano: V. Scheiwiller, 1978. Pincherle, Marc. Antonio Vivaldi et la musique instrumentale. 2 vols. Paris: Floury, 1948. Vivaldi, Genius of the Baroque. Translated by Christopher Hatch. New York: W, W. Norton and Co., 1970. Quantz, Johann Joachim. Versuch einer Anweisung die Flote traversiere zu spielen. Berlin: Johann Friedrich Voss, 1752. Rinaldi, Mario. Antonio Vivaldi. Milano : Istituto d ’Alta Cultura, 1943. _. Catalogo numerico tematico della composizione di Antonio Vivaldi. Rome: Editrice Cultura Modema, 1945. Ryom, Peter. Les Manuscrits de Vivaldi. Copenhague : Antonio Vivaldi Archives, 1977. Verzeichnis der Werke Antonio Vivaldis. Kleihe Ausgabe. Leipzig: Deutscher Verlag Fiir Musik, 1974. 74 Schering, Arnold. Geschichte des Instrümentalkonzerts. Leipzig; Breitkopf and Hartel, 1905. Selfridge-Field, Eleanor. Venetian Instrumental Music from Gabrieli to Vivaldi. Oxford: Blackwell, 1975. Smither, Howard E. A History of the Oratorio; The Oratorio in the Baroque Era - Italy, Vienna, Paris. Chapel Hill; University of North Carolina Press, 1977. Spitta, Phillip. Johann Sebastian Bach. Leipzig: Breigkopf und Hartel, 1884. Stablein, Bruno, ed. Hymnem. Kassel: Barenreiter-Verlag, 1956. Surian, Elvidio. A checklist of Writings on 18th-Century French and Italian Opera. Hackensack: Joseph Boonin, 1970. Talbot, Michael. Vivaldi. London: J. M. Dent and Sons Ltd. Publishers, 1978. Torchi, Luigi. La musica instrumentale in Italia nei secoli XVI, XVII, e XVIII. Torino: Bocca, 1901. Westrup, J. A. Bach Cantatas. Seattle: University of Washington Press, 1969. Worsthome, Simon. Venetian Opera in the Seventeenth Century. Oxford: Clarendon Press, 1954. York Breviary. 2 vols. Durham: Andrews and Co., 1880-1883. Unpublished Materials Dunham, Mary Meneve. "The Secular Cantatas of Antonio Vivaldi in the Foà Collection." Doctoral dissertation. University of Michigan, 1969. Fort, Robert E., Jr. "An Analysis of Thirteen Vesper Psalms of Antonio Vivaldi." Doctoral dissertation. Union Theological Seminary, 1971, Graumann, Keith D. "Antonio Lucio Vivaldi: Laudate Dominum and Laetatus Sum; Analysis and Performing Editions." Master of Music thesis. University of Oklahoma, 1978. Maurer, Helen. "The independent arias of Antonio Vivaldi in Foà 28." Doctoral dissertation, University of Indiana, 1974. 75 Rarig, Howard R, "The Instrumental Sonatas of Antonio Vivaldi." Doctoral dissertation. University of Michigan, 1958. Rowell, Lewis Eugene. "Four Operas of Antonio Vivaldi." Doctoral dissertation. University of Rochester, 1959. Siedler, Richard David. "The bassoon concertos of Antonio Vivaldi." Doctoral dissertation. Catholic University of America, 1973. APPENDIX A AN INVENTORY OF THE SACRED VOCAL MUSIC of ANTONIO VIVALDI 76 77 APPENDIX A An Inventory of the Sacred Vocal Music of Antonio Vivaldi Works listed in this inventory are contained or cited in manuscripts in the following libraries; Assisi: Biblioteca Contunale Brunn: Moravske Museum Dresden: Sachsische Landesbib1iothek London: Royal College of Music Milano: Biblioteca Braidense Prague: St. Veit-Archiv Rome: Biblioteca del Conservatario di Santa Cecilia Biblioteca Rostirolla Torino: Biblioteca Nazionale Venezia: Casa Goldoni Warsaw: Biblioteca Uniwersytecka The following lists are cited for each work in this inventory: RV Peter Ryom. Verzeichnis der Werke Antonio Vivaldis Leipzig: VEB Deutscher Verlag Fiir Musik, 1974. R Raimund Ruegge, "Die Kirchenmusik von Antonio Vivaldi" Schweizerische Musikzeitung 61 (1971):13S-139. G Agostino Girard, "Catalogo delle opere di Antonio Vivaldi" In Remo Giazotto, Antonio Vivaldi Torino, 1973. pp. 413-525. D Piero Damilano, "Inventario delle composizioni musicali di Antonio Vivaldi esistenti presso la Biblioteca Nazionale di Torino". Rivista Italiana di Musicologia 3 (1968): 109-179. 78 I. AUTHENTICATED WORKS A. Masses and Mass Ordinary Sections !.. Kyrie RV587 R9 GII.33 DIV.3 "Kyrie à 8 in due Chori Del Vivaldi" g minor. SATB/SATB; 2 Cori of Strings, B.C. 3 mvts. Torino: Foà 40, 10^^25^ Autograph, signed. Universal, 1969. Ricordi, 1970. Eulenberg. Peters. Lawson-Gould, 1964 (as part of "Chamber Mass*). 2. Gloria RV588 R7 G1I.22 DIV.4 "Introduzione al Gloria ad Alto solo con Istromti e Gloria à 4 con Istromti Del Vivaldi" D Major. SATB; S,S,A,T; Trpt., 2 Oboes,Strings, B.C. 11 mvts. Torino; Foà 40, 37^-58^ Autograph, signed, monogram. Jobert. I.M.C. Lawson-Gould, 1964 (as part of "Chamber Mass'*) , The introduction for this work is "Jubilate o amaeni" RV 639, 3. Gloria RV589 R6 G1I.23 DI.8 "Gloria à 4 con Istromti Del Vivaldi" D Major. SATB; S,S,A; Trpt., Oboe, Strings, B.C.12 mvts. Torino: Giordano 32, 90^^129^ Autograph, signed, monogram. Ricordi, 1941, 1966, 1970, Universal. Walton, 1961. Kalmus, 1967. Schirmer, 1973, 79 4. Credo RV591 RI 2 GH.12 DIV.7 "Credo à 4 con Istromî^ Del Vivaldi" e îninor. SATB; Strings; B.C. 4 mvts. Torino; Foà 40, 98^-fOS^ ' Autograph, signed, monogram. Ricordi, 1965, 1970. Universal, 1969. B.Psalms of David 5. Domine adadiüvandum RV593 RS GII.17 DV.2 "Domine in dueCori à 8 Con Istromî^ Del Vivaldi" Psalm 69 (verse 2) G Major, SATB/SATB; S; 2 Oboes, 2 Cori of Strings, B.C. 3 mvts. Torino: Giordano 35, 18^-29^ Autograph, signed, Carus? 6. Dixit RV594 R4 GII.16 DV.5 "Dixit in due Cori Del Vivaldi" Psalm 109 D Major. SATB/SATB; S,S,A,T,B; 2 Oboes, 2 Trpts., 2 Cori of Strings, B.C. 10 mvts, Torino: Giordano 35, 45^-88^ Autograph, signed, Ricordi, 1970, 80 7. Confitebor tibi RV596 RIB GII.IG DI.20 •’Confitebor à 3/ Alto, Tenore, Basso con Istromî^ e Hautbois Del Vivaldi" Psalm 110 C Major. Alto, Ten., Bass; 2 Oboes, Strings, B.C. 6 mvts. Torino: Giordano 32, 220^-242^ Autograph, signed. Otos, Firenze? 8 . Beatus Vir RVS97 R1 GIT.3 DIV.ll "Beatus Vir in due Cori a 8 / Con Istromî^ Del Vivaldi" Psalm 111 C Major. SATB/SATB; S,S,T; 2 Oboe, 2 Cori of Strings, B.C. 9 mvts. with recurring ritomello Torino: Foà 40, ISS’^-IBS'^' Autograph, signed. Ricordi, 1970. Universal. 9. Beatus Vir RVS98 R2 GII.4 DIV.12 untitled Psalm 111 B^ Major. SATB; S,S,A; Strings, B.C'.- One mvt. Torino: Foà 40, 186^-191* Autograph. Universal, 1969. Ricordi, 1970. 81 10. Làudàte Puéri Domirium RV600 R29 GII.44 DU.14 "Laudate'' Psalm 112 c minor. Sop.; Strings, B.C. 10 mvts.' Torino: Giordano 33, 186^-199^ Autograph, monogram. Carisch,. 11. Laudate Pueri Dominum RV601 R28 GII.41 DIX.8 "Laudate Pueri à Canto solo con Istrom?^ Del Vivaldi" Psalm 112 G Major. Sop.; Flute, Strings, B.C. 9 mvts. Torino: Giordano 33, 96^,114^ Autograph, signed, Ricordi, 1970. 12. Laudate Pueri Dominum RV602 R20® GII.42 DIV.14 "Laudate Pueri à 2 Canti in due Cori divers! con Ripieni, et Istromî^ Del Vivaldi" Psalm 112 A Major. SATB/SATB in one; S,S; Oboe, 2 Cori of Strings, B.C. 8 mvts. with recurring ritornello. Torino; Foà 40, 208^-226^ Autograph, signed, monogram. Edited Graumann, 82 13. Laudate Pueri Dominum RV603 R20 GII.39 DIV.15 untitled Psalm 112 A Major. SATB/SATB in one; S; Flute, ^ Cori of Strings, B.C. 8 mvts. with recurring ritomello. Torino: Foà 40, 228^-249* Autograph. Edited Graumann. A variant of RV602. 14. In Exitu Israel RV604 R14 GII.25 DII.16 "In Exitu Israel Ripieno Del Vivaldi" Psalm 113 C Major. SATB; Strings, B.C. One mvt, Torino; Giordano 35, 22ofm229^ Autograph, signed. Edited Graumann. 15. Credidi RV60S R13 GII.ll DIV.IO "Credidi à 5/ à Capella Del Vivaldi" Psalm 115 C Major. SATTB; Strings colle parti, B.C. One mvt, Torino; Foà 40, 145^-154^. Autograph, signed. Edited Graumann, A contrafactum of RV Anh. 35. 83 16. Laudàté Dôihinum RV606 R16 GII.38 DIV.18 "Laudate Dominum à 4 con Istromî^ Del Vivaldi" Psalm 116 d minor. SATB; Vins, in unison. Via., B.C. One mvt. Torino: Foà 40, 302^-305^ Autograph, signed. Augsburg, 1979. 17. Laetàtüs Sum RV607 R15 GII.34 DIV.17 "Laetatus à 4 con Istromî.^ Del Vivaldi" Psalm 121 F Major. SATB; Vins, in unison. Via., B.C. One mvt. Torino: Foà 40, 298^^301^ Autograph, signed, monogram. Augsburg, 1978. 18. Nisi Dominus RV608 $42 GII.48 DIV.16 "Nisi Dominus ad Alto Solo con Istromî^ // Del Vivaldi" Psalm 126 g minor. Alto; Strings, Viola d'amore, B.C. 9 mvts. Torino: Foà 40, 251^-297^ Autograph, signed Alto-B.C: part; other parts copied. Carisch, Universal, Ricordi, 1971 84 19. Lauda Jerusalem RV609 RIO GII.36 DIV.9 "Lauda Jerusalem in 2/ Cori Del Vivaldi" Psalm 147 e minor. SATB/SATB; S,S,; 2 Cori of Strings, B.C. One mvt.. Torino: Foà 40, 127^-144^ Autograph, signed, Eulenberg, 1969. Ricordi, 1973. C. Other Liturgical Texts 20. Magnificat RV610 Rll* GII.46.1* DV .6 "Magnificat con Istromti Del Vivaldi" g minor. SATB; S,S,A,T; 2 oboes. Strings, B.C. 9 mvts. Torino: Giordano 35, 89^-112^ Autograph, signed. Ricordi, 1959, 1964. Kalmus, 1969. Harmonia, 1963. 21. Magnificat RV610^ R— GII.46.2* D-- g minor. SATB/SATB; S,S,S,A,T; 2 oboes, 2 Cori of Strings, B.C. 9 mvts. Torino: Giordano 35 Autograph. Ricordi, 1961, Version of RV61Q. 85 22. Magnificat RVôlO^ R— GII.47 D— g minor. Orchestration same as RV61Q but adds 2 Clariîii. 9 mvts. Prague Non-autograph, copy. Version of RV610. 23. Magnificat RV611 Rll^ GII.46.2* D— g minor. New solos for RV610. Torino: Giordano 35 Autograph. Kalmus, 1969. Universal, 1960. 24. Deus Tuorum Militum RV6.12 R19 GIT. 14 DV .8 "Himno DeusTuorum Militum a 2 Alto, e Tenore Con Istrom:^ et Hautbois obligati Del Vivaldi" Hymn C Major. Alto, Ten.; 2 Oboes, Strings, B.C. (organo). One mvt. Torino : Giordano 35, 126^^144^ Autograph, signed, score; copied parts. Edited Graumann. 86 25. Gaude Mater Ecclesla RV613 R22 GII.21 DU .6 untitled ffymn Ï) B Major. Sop.; Strings, B.C. One mvt. Torino: Giordano 33, 60^-61^ Autograph. Edited Graumann. 26. Regina Coeli (Resurrexit) RV615 R47 GII.S8 Dili.5 untitled antiphon [verse 2 ) C Major. Ten.; 2 Trpts., Strings, B.C. [Organo). 3 mvts. Torino: Giordano 34, 75^*78^ Autograph. Edited Graumann. 25. Salve Regina RV616 R43 GII.60 DV.9 "Salve Regina ad Alto solo con Violini e Flauto traversiere in due Chori Del Vivaldi" antiphon c minor. Alto; 2 Flutes, 2 Cori of Strings, B.C. 6 mvts. Torino; Giordano 35, 145^^-162^ Autograph, signed. Ricordi, 1970, 87 28. Salve Regina RV618 R44 GII.59 DII.2 "Salve ad Alto Solo in 2/ Cori Del Vivaldi" antiphon g minor. Alto; 2 oboes, 2 Cori of Strings, B.C. 6 mvts. Torino: Giordano 33, 14^-34^ Autograph, signed. Edited Graumann. 29. Sanctorum Meritis RV620 R34 GII.61 DV.7 "Sanctorum Meritis // Himno a Canto solo con Istrom: Del Vivaldi" Hymn C Major. Sop.; Strings, B.C. One mvt. Torino; Giordano 35, 113^-125^ Autograph, signed, score and soprano part. Other parts copied. Edited Graumann. 30. Stabat Mater RV621 R4S GII.62 DII.3 "Stabat Mater ad Alto Solo Del Sgr. Don Ant? Vivaldi: Sequence f minor. Alto; Strings, B.C. 9 mvts. Torino: Giordano 33, 36^-52^ Copy affixed with Vivaldi's name. Carisch, 1970. Universal, 1969. Ricordi, 1970. 88 D. Motets- 31. Canta in Prato RV623 R21 GII.6 DI.ll "Motetto a Canto solo Del Sig. D. Antonio Vivaldi: anonymous Latin text A Major. Sop.; Strings, B.C. Torino: Giordano 32, 140^^149^ Copy affixed with Vivaldi’s name. Heugel, 1968. Carisch. Same text as RV636, 32. Carae rosae respirate RV624 R— GII.7 D— untitled anonymous Latin text e minor. Sop.; Violin, B;C. London: Royal College of Music, 31504 #3 Copy. 33. Claraê stêllae RV625 R36 GII.8 01.12 "Motetto Del Vivaldi" ("Per la Sigra Geltruda") anonymous Latin text F Major. Alto; Strings, B.C. Torino: Giordano 32, 150^-158^ Autograph, signed. 89 34. In furore giustissimae irae RV626 R23 6X1.26 DI,16 "Motetto à Canto solo con Istromti Del Vivaldi" anonymous Latin text c minor. Sop.; Strings, B;C. Torino: Giordano 32, 189^-198^ Partially autograph, signed. Heugel, 1968. 35. In turbato mare RV627 R24 GII.27 D— untitled anonymous Latin text G Major. Sop.; Strings, B.C. Dresden; 2389/E/2 Partially autograph. 36. Invicti Bellate RV628 R41 GII.28 DI.19 "Motetto ad Alto solo con istromti Del Vivaldi" anonymous Latin text G Major. Alto; Strings, B;C. Torino: Giordano 32, 213*-219^ Autograph, signed. Heugel, 1968. 90 37. Longe mala umbre terrores ' RV629 R3Ü GII.57 DI.14 "Motetto per ogni tempo à Canto solo con Istromti Del Vivaldi" anonymous Latin text (See RV640) g minor. Sop.; Strings, B;C. Torino: Giordano 32, 167^-177^ Autograph, signed. Heugel, 1968. Girard and Damilano both entitle this work as "Recedite nubes et fulgura", 38. Nulla in mundo pax RV630 R31 GII.53 DI.17 "Motetto Di D. Antonio Vivaldi" anonymous Latin text E Major. Sop.; Strings,:B;C. Torino: Giordano 32, 199^-208^ Partially autograph, affixed with Vivaldi's name. Heugel, 1968. Otos-Firenze? 39. 0 qui coeli terraeque RV631 R32 GII.54 DI.15 "Motetto à Canto solo con Istromti Del Sig. D. Antonio Vivaldi; anonymous Latin text IL E Major. Sop.; Strings,' B.C. Torino: Giordano 32, 179^-188^ Copy affixed with Vivaldi's name, Heugel, 1968. Peters. 91 40. Sum in medio tempestatum RV632 R35 GII.63 D - untitled? anonymous Latin text F Major, Sop.; Strings, B.C; Dresden: 2389/E/l Partially autograph. 41. Vestro Principi divino RV633 R46 GII.6 S 01.13 untitled anonymous Latin text F Major. Alto; Strings,:B;C. Torino; Giordano 32, 159^-166^ Autograph. 42. Vos aurae per montes RV634 R— G— D— untitled anonymous Latin text A Major. Sop.; B.C. Assisi: Biblioteca Comunale, #318/1 Autograph.. 92 E. Introductions to Other Sacred Works 43. Ascende laeta RV635 R25 GIT.l DV.3 "Introduzione al Dixit à Canto solo con Istromti Del Vivaldi" Introduction to Dixit (RV594?] A Major. Sop.; Strings, B.C. Torino: Giordano 35, 31^^36^ Autograph, signed, monogram. 44. Canta in Prato RV636 R26 GII.5 DV.4 "Introduzione al Dixit à Canto solo con Istromti Del Vivaldi'.’ Introduction to Dixit (RV594?) G Major. Sop.; 2 Violins, 2 Oboes, B.C. Torino: Giordano 35, 37^-41^ Autograph, signed. Same text as RV623. 45. Cur sagittas cur tela RV637 R37 GII.13 DI .6 "Introduzione al Gloria ad Alto solo con Istromti Del Vivaldi" Introduction to Gloria B^ Major. Alto; Strings, B.C. r r Torino; Giordano 32, 56 -62 Autograph, signed. 93 46. Filiàe mestae Jérusalem RV638 R39 GII.20 DII.5 "Introduzione al Miserere Del Vivaldi" Introduction to Miserere c minor. Alto; Strings, B.C. Torino: Giordano 33, 54^^59^ Autograph, signed. 47. Jubilate o amaeni RV639 R7 GII.29 DIV.4 "Introduzione al Gloria ad Alto solo con Istromti e Gloria à 4 con Istromti Del Vivaldi" CRV588) Introduction to "Gloria" RV588 D Major. Alto; Strings, B.C. Torino: Foa 40, 26^-36^ Autograph, signed, monogram. Schirmer. 48. Jubilate o amàéni RV639® R7 GII.30 DI.4 untitled Introduction to Gloria RV588 D Major. Sop.; Strings, B.C. T V Torino: Giordano 32, 44 -46 Partially autograph. Same text as RV 639. 94 49. Longe liiàlà, umbrae terrorès RV640 R38 GII.45 DIV.5 "Introduzione al Gloria ad Alto solo Del Vivaldi" Introduction to Gloria (RV588?, RV589?) g minor. Alto; Strings, B.C. Torino: Foa 40, 59f-62^ Autograph, signed. See RV629. 50. Non in pratis aut in hortis RV641 R40 GII.52 D U . 4 "Introduzione al Miserere con Istromti sordini Del Vivaldi" Introduction to Miserere F Major. Alto; Strings, B;C. Torino: Giordano 33, 48^-52 Autograph, signed. 51. Ostro picta armàta spina RV642 R27 GII.55 DI.3 "Introduzione al Gloria à Canto solo con Istromti Del Vivaldi" Introduction to Gloria (RV589?) D Major. Sop.; String, B;C. Torino: Giordano 32, 36^-42^ Autograph, signed. 95 F. Oratorios 52. Jiidith'a Triumphàns RV644 R8 GI.2 D. Cantate 11.65 "Juditha Tritnnphans/Devicta Holophernis barbarie/ Sacrum Militare Oratorium Hisce belli temporibus/ A Psalentium Virginum Choro/in templo pietatis canendum/Jacobi Cassetti Eq./Metrice votis ex- pressum/Piisimis ipsius Orphanocochii Praesi/dentibus ac Gubernatoribus/sub misse Dicatum/Musice exprèssum/ ab Abmod. Rev. D. Antonio Vivaldi/Venetiis, MDCCXVI/ Apud Bartholomaeum Occhiura, sub signo S. Dominici." Libretto by Giacomo Cassetti D Major SATB; S,S,A,A,A; 2 Flutes, 2 Oboes, Salmoe, 2 Claren, 2 Fagotti, 2 Trombe., Tinpani, Mandolin, 4 Tiorbe, Viola d'amore. Viola all'inglese. Viola da gamba. Strings, B.C., Organo, 2 Cembali. 30 movements. Torino: Foâ 28, 209^^-302^ Autograph, signed, monogram. Ricordi, 1971. II, UNAUTHENTICATED WORKS 1. Sacrum RV586 complete Mass C Major Warsaw Copy 2. Credo RV592 Mass section G Major Warsaw Copy 96 3. Dixit Dominus RV595 Psalm 109 D Major Prague Copy 4. Laudate Dominum RV614 Offertorium F Major. SATB; 2 Violins, 2 Corni, B.C. Warsaw Copy 5. Salve Regina RV617 R33 antiphon F Major, Sop.; Strings, B;C. Briinn Copy 6 o Ad corda reclina RV646 ’’Concertas Italiens’’ F Major Warsaw Copy 7. Eja voces plausum date RV647 e minor Warsaw Copy Contrafactum of an aria in the opera ’’Orlando” RV727, Act 11, #2. 97 8 . Ihr Hiininel nun RV648 "Concertus Italicus" Major Warsaw Copy III. LOST WORKS 1. Gloria RV590 "Gloria a 5 roc Oboe Trombae D#" Katalog Kremherren 2. Beatus Vir RV599 Psalm 111 Katalog Kreuzherren 3. Salve Regina RV619 Canto solo, 2 Flauti, Violoncello, Ciolae, Organo concert Katalog Kreuzherren, and Mercure de France 1727 4. Te Deum RV622 Mercure de France, October, 1727 5. La Vittoria RV— Oratorio Performed Vicenza, 1713 Libretto preserved in Casa Goldoni, Venezia. 6 . Moyses Deus Pharaonis RV643 Oratorio Libretist: Giacomo Casetti? Performed Venice, 1714 Libretto preserved in Conseryatario Santa Cecilia, Rome. 98 7. L’Aborazione delle tre Re liiagl RV645 al bambino Gesu Performed Milano, 1722. Libretto preserved in Bibliotecca Nazionale Braidense, Milano. 8 . Jephte RV-- Oratorio with one aria by Vivaldi. Performed Firenze, 1719. Libretto preserved in Rostirolla, Rome. IV. OTHER SACRED VOCAL WORKS PRESERVED AMOUNG THE FIVE VOLUMES IN THE RACCOLTA FOA-GIORDANO CONTAINING VIVALDI SACRED VOCAL WORKS 1. Kyrie RVAnh.20 R— GII.31 DV.IO Anonymous d minor. SATB/SATB; Strings, B.C. 3 mvts. Torino: Giordano 35, 163^-187^ 2. Kyrie RVAnh.21 R— GII.32 DI.l Anonymous F Major. SATB; Strings, B.C. Torino: Giordano 32, 2^^15^ 3. Gloria RVAnh.22 R— GII.24 DI.2 Anonymous C Major. SATB: Trumpet, Strings, B.C. Torino: Giordano 32, 15^-35* 99 4. Domine Deus Agnus Dei RVAnh.22^ R— GÎI.19 DI.5 Anonymous, verse of Gloria C.RVAnh.22) C Major. SATB; S.; Strings, B.C. Torino: Giordano 32, 48^-55^ 5. Gloria RVAnh.23 R— G— DIV.6 Giovanni Maria Ruggieri "Gloria per due Chori di me Gio. Maria Ruggieri C.V. 1708, 9 settembre Ven." D Major. SATB/SATB; 2 Cori of Strings, B.C. 11 mvts. Torino: Foa 40, 62f-96^ 6 . Gloria RVAnb.24 R—— G—— Ql.7 by Giovanni Maria Ruggieri "Gloria à 4 voci e 5 Strumenti di Gio. Maria Ruggieri Mesa di Agosto" G Major. SATB;Strings, B.C. 10 mvts. Torino: Giordano 32, 64^-89^ 7. Domine ad adiuvandum RVAnh.25 R— GII.17 DU.10 Anonymous Psalm 69 F Major. SATB; Strings, B.C. Torino: Giordano 33, 121^^127^ 8 . Qui habitat in adjutorio RVAnh.26 R— GII.56 Oil.13 Anonymous Psalm 90 F Major. SAB; 2 Violins,:B.C. Torino: Giordano 33, 178*-184^ 100 9. Dixit Dominus RVAnh.27 R3 GII.IS 011.7 Anonymous, 1708 Psalm 109 "Dixit 1708" F Major. SATB; Sop.; Tromba, Strings, 2 Oboes, B.C. Torino: Giordano 33, 64^-94^^ 10. Beatus Vir RVAnh.28 R— GII.2 DII.12 "Beatus à voce sola e 5 Istromti" anonymous Psalm 111 A Major. Sop.; Strings, B.C. Torino: Giordano 33, 164^^177^ 11. Laudate Pueri Dominum RVAnh.29 R— GII.43 DTI.11 "Laudatte à 5 voci e 5 Strumenti Adi' 22 Settembre 1690 Venetia" Anonymous Psalm 112 a minor. SSATB; Strings, B.C. Torino; Giordano 33, 129^^163^ 12. Laudate Pueri Dominum RVAnh.30 R— GII.40 DIV.13 "Laudatte à voce solla et 5 Strumenti" Anonymous Psalm 112 a minor. Sop.; Strings, B.C. Torino; Foa 40, 192^-207? 101 13. Laetàtus Sum RVAnh.31 R— GII.35 DIV.8 "Laetatus à voce sola con Violini Adi' 10 Settembre 1691" Anonymous Psalm 121 A Major. Sop.; Strings, B.C. Torino: Foa 40, 106^-121^ 14. Nisi Dominus RVAnh.23 R— GII.49 DV.l "Nisi Dominus à 5 con 5 Strumenti" Anonymous Psalm 126 A Major. SSATB; Strings, B.C. Torino: Giordano 35, 2^-14^ 15. Nisi Dominus RVAnh.33 R— GII.51 011.15 "Nisi Dominus à 3 con 5 Strumenti" Anonymous, incomplete Psalm 126 F Major. SAB; Strings, B.C. Torino; Giordano 33, 200^^219^ 16. Nisi Dominus RVAnh.34 R— GIT.50 DIV.19 "Nisi Dominus à voce sola e 5 Strumenti" Anonymous Psalm 126 G Major. Sop.; Strings, B.C. Torino; Foa 40, 306^-320^ 102 17. Lauda Jerusalem RVAnh.35 R17 GII.37 DIX.9 Anonymous Psalm 147 C Major, SATTB; B.C. Torino: Giordano 33, 115^^120^ Vivaldi borrowed portions of this work for "Credidi" RV605. 18. Ad te Levavi RVAnh.36 R— G— DI.9 by J. A. Bernabei, 1701 "Offertorium in prima domenica Adventus 4 vocibus pleno Choro ad Capellam" "Josephi Antonii Bernabei, 1701" Offertory d minor, SATB; Organo, E.G. Torino: Giordano 32, 130^-135^ 19. Confessio et pulchritudo RVAnh.37 R— GII.9 DI.IO "In festo sancti Laurentii Introitus" Anonymous, Introit e minor. SATB; B.C. Torino; Giordano 23, 136^-159^ 20. Te Deum RVAnh.38 R— GII.64 DII.l "Te deum laudamus" Anonymous D Major. SATB; B; Strings, B.C. Torino: Giordano 33, 2^-11^ This work has falsely been attributed to Vivaldi on Phillips recording number 835301LY. 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At-1 Za* * cob t ->h=T:à TTf mm 267 ^ 1 *ci««WLr*tit p * " frwrv #A sf*^* m%, & ' ijwhmM) ^ hLL- pAiM im foA • fàs a . - ^«ut^rÙM. A4m ri9 * k#^ W— Srf-J, m Q*î e*H*K*r+ît ^ " t r * # m sfa^- ha. a-^aa-rtuM, Jtf f*t- ^«n Îh fan- t w a * /V#h ho - Li* 3 Η J 3 - J 3 —J — Q ui COM' w p'tit pt* ft*#)* *fk^" how a ^HÔ-run^ *t Tu- pom'm fow l'a» ow* ^ua-run, /Voa ho - h»J J- Qaî con-Muo'+î^* pA* ttwoih ha a-ijaa-rum, xf ru* pamia f?h* iû% a - ^lULrruM, A^otn no • fciV 268 36: bê* mt* lit» h»H no*bî m Do* inî* HA Mon Ko-bî Do* mi* nx Mei% no'kf#; foJ. Mo* Mii»mi f % * o d x * t î - o w ,(# MÎ* ax*Mi* cor-di*ou f u * o. â!t w ËW # bo*M%!» MX MOK M O 'liV t Xftdi n o • M#*n% * tu * 0 dx ^\o * * &M.Su*pATmNAx->*i-con*dî*x 4’u.* (t Ajf j = Æ U ^ # i — f H* H 3 * 269 ■3Sz #W 3 # Æ m i p p y*" f t* - f t fu * 0 .) HA-<^UftH- # ¥ MZm. •MZÊtzaai. O KA-r«- + A - t * + U - A * MA" ^UAM-JL# -cmMit" ^«n-f«<; (1“ bi Att b&-W A- a - f ZU>tt« au-tâM M®* " ftf 1% )(f- U . # , #,,#, w ^ £ i =4 J ^ fc 1* IÎ3 » * 270 aîff - /o! om-nî*'a.^w«.A*ckM‘^«A vo>UnV fc. *“ cft, îi-nt*-Ift-tffc ^M-ti- u>«ar-y»»ivm«i'*-«• raw. c&A " kl OM-nî* 0 . ^**&-C4WyuLWe l»-!t •fa. cit. Sî- mu* k'cro.wwcv*yu tiwat c* a* hicm^ • c a c • /o t on*H r-«, ^uM.-CMMv^ucM-fu-it fo . - c i t . £i* ma* U< cr«> ^A-f>- u n « - y » ‘k* * ct A - u - c&c - /»! em*ht*a. wl**ît/'f* t. £î*n<.* k*cfc yu*K* uk c*W* rw.M, 7 _Ë_ 4 3 271 m % >---- ;rpTpf:Z-- ffaal#/ f»--.- n ~ f "q L _ ^ r g - î % = ^ f S = ? = = 4 = ^ -0 w-_-w._ _ ^ __ '\"“rmû — 1 4 y = Vh-^-- m—r'M M MM ' tÊ-- :-- \-m-- e~a-- R— c-a—1h Tl ■--■— 1— û-f^ = 4 = ' 'd t rr=p P . ^ L S 1.— F— ^1— 0* ^*r«. mâ'M'Mm ho > Ml - w&LMm, Os hL-b«nt, &t noH lo»yk&A» fart o*eu*io( (iC-ktHt, IW*k Vf OA • .■:.---nri ---- M" -ilS:— J éd J:JJ:d-~d=— ^ -- ?--- ?__ z_. -**—«— «i -- m . f-- 0>fA-r«.M»'HU1iM fle> Ml « HU«. *t MM le - ^«4W fuM at no« 4 '-fff-r— r— — i.. 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Earn«.>d*X'f1' ow-aï-bus^ut Do-mî-im.mj ^ j r = ^ j £ Xs*ra-*«.|t Mt'ëlix'ît «Lo* ma*î A- a.* ho*. Bt-ht* H'Wwf Do-wf-MUM^ pu,- Xs-ra*Jtl& kt» mt"it do - MK-# a* rort, diK-Jt OM*ni-bus^t*î fi>ou) Xs-ha-Jils bjL-h4-diVil* do - wo-i B* a* ron. Ro-iUL-dix if oM-nî-but^ui 'fi'-mant'Do-mi-oum^ p%- fïlîj------:----- r.------? —b-xl—---- J ^ = = = = i = J 4 3 7 b H, tab, jce» Vi VO 280 # D#' M*- mo^ fa-w f c«A*Iun^ f«r>r«nyc^iSi.r<' r*OM. Cajt*lum c m -Ii 5o»fni* Ho: f%r>ram aii'tim cttrdlif ft-fris Ko*(ltt De-mi* no^^ai f«*«4f CM'lum^tAHru^jt t^ r * rom* Ca4-lum coâ*ïî Do-mi-no» f&r»r&m ou-tun d*-iif fr-lî-î* fco-urf- o Do-mi* A0,^«> fi-ei'f «•oJwrijf'lir-rtttâ'f r&M. CwJwm ca*-// &e-ini‘- mo: tmfNm oo-tem ho-mi< EEj m D«-ini- Wj^uî fj-cft cu ?* ‘ I \ ‘ f i t 00 eg g * f t [#* i:r s O lïï j æ u i L J i 282 n m Vi-vi-muf ba-M.* Ai-ci*(nUtbo-tni - Mj AH W.(wncJ)huK«:t u(*^tH SOA* c% - lum . 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' 3TK 3UC W i H ~H+ tt* p J A I B k --{j* s T# I# B c - j i T > I r 4 1 4+ ri* -I h i H «M- Ü.J. u * v I il *-r a 338 m fu(M Ml"' If’ inm t$ri *f e* « k# * MK, pfjL. mi'« um: r:rJi-^arr:^i-’—4*r fTTitf-r^U’-tiu.-’-^Ift ■ ' v i' ■ -ri ■ -/i'-» * &T-r -Parr-^Tr— lIfz zjn • • rum wi'« If • fum f«Tf a+ e»« h» • *>u , mf « um: f u r - ' -n '^ ■ ^ •rrfr-r—txrz—J.f—S U ^ l t u^ lit- Vi* • -^i' ■U~ -’- -t±-f~t- -TAU -Wrt— ~ fri' f 1?^ ■" n f— lycc W a f 1 = | : ------Jt = ^ 4 = P = y L _ j —_ — J-— LJ----- z_J 6 f . 5 339 e » ' M4W £stnrd*Mi fo *r-T" wgf lAUk’dAt e» " fA( 35»ar*t*.'v*• Q ttJt-— p rti ■ ■ t c - t— 340 baniŸir. fy. É a P i M i ^ 341 B m 342 s- X&L en'» mi 3iK=rpof:cti= 3Jr— , fftXCfelC =8:*—f*. r»-na:-- Aa- 343 i 344 _D__C m m m /TS m w /A P /A 3 : # 0- s i P /7\ ÉÏ m LU.nt.S- APPENDIX G GAUDE MATER ECCLESIA RV 613 345 346 <âre.udA, C AndouK^xl ■ [M ri' rn' •Jff* IV. 0 tr . 3 3 m 347 itL P n\ m m 3= m I -é-- r w [11 rtJ C$J m DU X(>* c U > fi'> *k, /** Ë ^ = z-zr2— v 348 ^ukdk MO > VnA |>ro* lie Trr w yvL • d ,h §, mif- h ’s e i . r o t« t« • fi] 349 [f_>fe=ÿsEe:==mW#====;i3-R.'t'f \\.^,n i.fT r"% '^ 'à^=FFFr=J=^E=^^==J ■ "—■iF ;v"n 4W------ |W # = :p ^ 1-....., r-r^T-^ ■ II' Lf ^ a LT /i CH • ri • &M. PrM.* d-i • c% ' +&• • . 1 j k-i -j . j------Ï-----f --- i------"K:— 4 ^ — ■-■ 1 3 -JF=MI----- ^ L_— JM-- ■ — i- 1 ^ - . ■ 1 {====llf= 3=^ ^ - ^ - 'i 4------#1-- > --- M — P ^uM o r - «t<**»î* L u x , * t P«. - +.». ^dbfc # » c« 350 M M iZIBz:. +:: =:-: :r :.i= z jr g q ^ ^ ,-ti^,"':-rVp^-irf h-w '— : - :".rir_y_, iÿ f— J i_ y -.. £tr3 N +K. '" ■—p # ' LjW =p=a5_+_. 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W m tr, = f c i i r | H M = ï = = = 5 Ï T = S r f É E r-y^-ÆB-r-r — - ~ n - /— »i— J-»--- J-,— ----- 4 M = 4 kft. *' US k o ^ n « m / • *k*" tüf * + G ) o - V i - a * M , ~ 9 ----- IT T ^ m . [» f « w 352 El y. r-ÎL 1- 1;^ - ' jzuËi 'rr rfT rrr r rtT' r rrr rrr ri ♦r. ^ig-^fT^rr-TfE Qui ÿios prti4.> c-A bo> rMi* - ni* co. du.* c&t &d C-I l J U ■ ^l5lsjsj^^sj:drz^s^ > l^i l-j: g y— (# ■0— — y m r « m [$] ra fp. +T, ^ «»— ■ I J:-£!jrr|rvTii»zrJ^^V-* . — •• f • -I * a = É iSi 4», fmif’ . 13 l'I^EgsR agS 'S zIr^ g =^las^^glgjs w 3 É ra [« 9v /I 6 d APPENDIX H REGINA COFLI RV 615 353 s X H t y 355 El 356 -J------=------f~f'Tf"ffff~ffff~\ 4——1— ^ ^ J J j ^ rU> - ...rrF = m = Lu ....-- .1^ . . , , f f. f=*b=j ------;------ *_.«___—------#1------k--- - ï ---- r-' --- L^jzzj^zj^-i J , 1 J n » â S 6 5 « U-U-ia.t R&. - *ttr-fx-*it-, m # # 357 0 \^T------^ ^ V ^z^^-iLfatài=atl-fcfcü-fcbü- ^ 1 -.^ 1 [ z A = : J„|. J * ' * f" * "" ___ ^ 'T *— S YUL » - : - j r ^ --7.J i ^ : = q | ^ = = : g l3S===^=%:S== IC 358 Offc l^o tvobil uaaimuc: Or^fcKO SftHicOyKft ID ■ * rffzfffzffjzZ ! -Jt/Tk— *- - --- n k h ------1 ------:------:------1 1 _ f = f — 1 k : \ = - ...... 1 ~"::i..:,: . 1 . ■,.i..:j i ....;-i-.:_ :i r- r r ; — “ • 0 *u«n •» ( ' - i ~ t i •(*** • A i f ' r i' ■ J ■'■ — 'J ' 1------i— - .— ------H—— - - f— ------J------J------J -----J _ i-----J—J----- J----- J_J------J------J------1----1 " ' j----jj —4^^ 1— f ^ . | pjtj. •- 4 — :.*■ -T—=*.q%T3i - « r ~ “i ' î — —'— T^?“ - ou «4 J * iMn .T(j jiq . ou oij -uj g # m S i m m E9 « W '-- 0--- » i ■0 r ü 6SE |,U nr^ri^-r - = — - = = = . ^ ) •4tf >4 - - " — 3^ q -|,-' -..-4^|b) —: I----1—lit~l" "i 'j J # * 1 ^ ' -^-f-J- ^ 1 f f î l ~ l 1 p ...... r ~ n ' r 1-----:------1------:------:------— — W l - m *uin * f.W * -«u '* •1 I 09e 361 y^ïV'"f“"b# — ¥— J^~ "Pf T~-*~f ~~~j —1 ff fjj-f ÿuOw" lZZT— --- Qi' "■ H_jyi4 yrV, -----■ ■ 1 1- ,-.-j.--V — 1 I - -.— i- r ■ *""la-- 1""(. J“ -- 1~tff #za rf P~tf f “j--- j~~J 'fj* *■“& ,'f-jjtl— «0 • Vi/j P» Mr — f — - - -■ ■ - —- ^--J: _K 4L. (^ È i È 3 à = % # ►ft, frt l ^ g g g = èw m tr. P ## -..-tr!------— 1 1)0* • àiS " #&i fr Mft - fci’rfbft. • itm.J jbL i É C#K Tr#"^* p. C. Afi #■ fiV)^ (L& >*ga» /T\ APPENDIX I SALVE REGINA RV 618 362 363 _SeLlvA C e r.I W 3 5 Ü kz2 £ ^ e/6# a m B #K i3F=i4#^W ^^ lïfcïï# CtufiMtoA S VhriiK-TB- È teî K Bfrffi CohtiN»* 364 -A*— — -fp--^ - — 1 . .---^-H4.--LL ...... -■ ...-. 4 = 4 /4------41»------ Lit...■ [— - J ------i— I--...... . -...... 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Mfc - f4>. n ^ n ri n., n ]::=k h±ft±=db:#:fc|d:zizlzjzgfjF Cj'J _A -r=^£n_* ^ —f-5—------^f- -#f=P # ? ? ? % av»' = _ f * r m f-----1 WZ T f f — s-'-iLkL j._lr^ ' k tJ hc^Ti»,z;T-H n -fr& czcj -::g__. 8}. LS-JJ S-U "« .„ fl S’::" h g I-3 -^ 4 L 3 " g .. ^ ----- * ■ _|_l—j— % %— (--c |!.f.'.f f " 368 AH 369 m 370 — — “ W . lU’ÿ'ftK M&. f4r,vi’- É EE $ m 371 c * - 372 tqpcr ~~~T^ 373 m à 1 /(*.' irf ift'-f*,iul* e x - t<: * l a * m V m : 1 -S.. m : a # i T ^ I lÜDO.. p' r ; 4 5 < U W -4+ -ff T# ■n '-■H •M+ r4+ + H --H % -H. -ht Tm 1 ttn I g 375 «fcfzfcfrftf t w M = M a Sfcl* V* fâ-^!- Dd /fc • +*r j VI» fk,d»l' T f [rt # gcq3Epppj!^3^ S #W# rîTittii i P 376 Q... | 7. : - -f V ti c* - - i'. i m # K J lÉ^ 11 377 % [k>. TV >-• ■»-- •— jr A^l•f*.^J vi'-tâ, ^tt|-e*'i*, v>-f*, Aul* C 4 /#, Sfifus-frt.} 5*1'vx J /|u)wt‘frâ, f*l a A Î ►Ti ‘f ! # # # m - 1'*5 *■'*•*+ *«w 8AC 379 vt S 380 -A-É-d-É-i-é--' j#Lz. 381 Ad eloLVMamuf C«^.X 3 5 i K Tf1 m m. m W :A#< m zS'dE: m H ** B^ilo lC#*4thkO w Suf» CovitmitD m ■os» I ' i? @ 0 - :|ji ■>r S' h t m în Tf la c: : i J::i c: “ 1 m 11 H 383 f frfT T -- -Y--' Tf r lft£ - t w ------K---- f" ^ ' f ----f ------Il---- ?--■ -T .^ z:ïg -c-g r = : ------^ - f ^ t -:=: =p = -,-H ^= :^ _♦, ...... - f — - , = J 4fV-l i *J . J __ :_ n i- ---- L- s f ' J , ------1 -,, 1 ------1— ------= l ------1 - = 1 r^qJv -T ,-j ...... , . 1 1 J ------^ w - r- r t - * ! t - i - - = - TT—rr4 -r^ -- —l.-^.- - - Z ^ ^ . 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