Laudamus te (Chorus, Sopranos I and II, Tenor).This Gloria provided much inspiration for (RV 588 and RV 589), and for other Glorias at the time: the last movement was commonly used in other settings of the Gloria. This composition, probably for a Venetian church during a festival, is dated SeptemN.S. 23Īs stated above, this Gloria for two cori (orchestras) was written by Giovanni Maria Ruggieri. In the Ryom-Verzeichnis catalogue, it is considered lost. There is no other source of information not even its possible key can be been conjectured. Domine Deus, Agnus Dei (Contralto and Chorus)Īlmost no information exists on this lost setting other than evidence of its instrumentals (five voices and oboes in trombae) in the Kreuzherren catalogue.The last movement, "Cum Sancto Spiritu," is essentially an "upgraded" version of Ruggieri's movement - that is to say, updated to fit the standards of the emerging late Baroque style, with the addition of accidentals not present in RV Anh. The "Qui Tollis" movement of RV 589 is rhythmically similar to the first few measures of RV 588 (and ultimately RV Anh. 23 in that the second movement of both employ the use of repetitious semiquavers underneath choral progressions. The second movement is much more dramatic in RV 589, but nevertheless shares with RV Anh. The first movement's chorus shares similar key modulations to that of the first movement of RV 588, only modified to fit a duple meter instead of the triple meter of RV 588 the orchestral motifs are also shared, including octaval jumps in the primal motives of the piece. RV 589 is more mature and original than its predecessor, however evidence of obvious inspiration (and plagiarism) still exist. Two introduzioni exist as explained in the aforementioned article. This piece, along with its mother composition RV 588, was composed at the same time during Vivaldi's employment at the Pieta. This is the better known setting of the Gloria, simply known as the Vivaldi Gloria" due to its outstanding popularity.
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