Antonio Lucio Vivaldi (4 March 1678 – 28 July 1741) was an Italian Baroque … Read Full Bio ↴Antonio Lucio Vivaldi (4 March 1678 – 28 July 1741) was an Italian Baroque musical composer, virtuoso violinist, teacher, and priest. Born in Venice, the capital of the Venetian Republic, he is regarded as one of the greatest Baroque composers, and his influence during his lifetime was widespread across Europe. He composed many instrumental concertos, for the violin and a variety of other instruments, as well as sacred choral works and more than forty operas. His best-known work is a series of violin concertos known as the Four Seasons.
Many of his compositions were written for the all-female music ensemble of the Ospedale della Pietà, a home for abandoned children. Vivaldi had worked there as a Catholic priest for 1 1/2 years and was employed there from 1703 to 1715 and from 1723 to 1740. Vivaldi also had some success with expensive stagings of his operas in Venice, Mantua and Vienna. After meeting the Emperor Charles VI, Vivaldi moved to Vienna, hoping for royal support. However, the Emperor died soon after Vivaldi's arrival, and Vivaldi himself died, in poverty, less than a year later.
Antonio Lucio Vivaldi was born on 4 March 1678 in Venice, then the capital of the Venetian Republic. He was baptized immediately after his birth at his home by the midwife, which led to a belief that his life was somehow in danger. Though the reasons for the child's immediate baptism are not known for certain, it was done most likely due either to his poor health or to an earthquake that shook the city that day. In the trauma of the earthquake, Vivaldi's mother may have dedicated him to the priesthood. The ceremonies which had been omitted were supplied two months later.
Vivaldi's parents were Giovanni Battista Vivaldi and Camilla Calicchio, as recorded in the register of San Giovanni in Bragora. Vivaldi had eight siblings: Iseppo Santo Vivaldi, Iseppo Gaetano Vivaldi, Bonaventura Tomaso Vivaldi, Margarita Gabriela Vivaldi, Cecilia Maria Vivaldi, Gerolama Michela Vivaldi, Francesco Gaetano Vivaldi, and Zanetta Anna Vivaldi. Giovanni Battista, who was a barber before becoming a professional violinist, taught Antonio to play the violin and then toured Venice playing the violin with his young son. Antonio was probably taught at an early age, judging by the extensive musical knowledge he had acquired by the age of 24, when he started working at the Ospedale della Pietà. Giovanni Battista was one of the founders of the Sovvegno dei musicisti di Santa Cecilia, an association of musicians.
During his lifetime, Vivaldi was popular in many countries throughout Europe, including France, but after his death his popularity dwindled. After the end of the Baroque period, Vivaldi's published concerti became relatively unknown, and were largely ignored. Even his most famous work, The Four Seasons, was unknown in its original edition during the Classical and Romantic periods.
In the early 20th century, Fritz Kreisler's Concerto in C, in the Style of Vivaldi (which he passed off as an original Vivaldi work) helped revive Vivaldi's reputation. This spurred the French scholar Marc Pincherle to begin an academic study of Vivaldi's oeuvre. Many Vivaldi manuscripts were rediscovered, which were acquired by the Turin National University Library as a result of the generous sponsorship of Turinese businessmen Roberto Foa and Filippo Giordano, in memory of their sons. This led to a renewed interest in Vivaldi by, among others, Mario Rinaldi, Alfredo Casella, Ezra Pound, Olga Rudge, Desmond Chute, Arturo Toscanini, Arnold Schering and Louis Kaufman, all of whom were instrumental in the revival of Vivaldi throughout the 20th century.
In 1926, in a monastery in Piedmont, researchers discovered fourteen folios of Vivaldi's work that were previously thought to have been lost during the Napoleonic Wars. Some missing volumes in the numbered set were discovered in the collections of the descendants of the Grand Duke Durazzo, who had acquired the monastery complex in the 18th century. The volumes contained 300 concertos, 19 operas and over 100 vocal-instrumental works.
The resurrection of Vivaldi's unpublished works in the 20th century is mostly due to the efforts of Alfredo Casella, who in 1939 organized the historic Vivaldi Week, in which the rediscovered Gloria (RV 589) and l'Olimpiade were revived. Since World War II, Vivaldi's compositions have enjoyed wide success. Historically informed performances, often on "original instruments", have increased Vivaldi's fame still further.
Recent rediscoveries of works by Vivaldi include two psalm settings of Nisi Dominus (RV 803, in eight movements) and Dixit Dominus (RV 807, in eleven movements). These were identified in 2003 and 2005 respectively, by the Australian scholar Janice Stockigt. The Vivaldi scholar Michael Talbot described RV 807 as "arguably the best nonoperatic work from Vivaldi's pen to come to light since […] the 1920s". Vivaldi's 1730 opera Argippo (RV 697), which had been considered lost, was rediscovered in 2006 by the harpsichordist and conductor Ondřej Macek, whose Hofmusici orchestra performed the work at Prague Castle on 3 May 2008—its first performance since 1730.
Many of his compositions were written for the all-female music ensemble of the Ospedale della Pietà, a home for abandoned children. Vivaldi had worked there as a Catholic priest for 1 1/2 years and was employed there from 1703 to 1715 and from 1723 to 1740. Vivaldi also had some success with expensive stagings of his operas in Venice, Mantua and Vienna. After meeting the Emperor Charles VI, Vivaldi moved to Vienna, hoping for royal support. However, the Emperor died soon after Vivaldi's arrival, and Vivaldi himself died, in poverty, less than a year later.
Antonio Lucio Vivaldi was born on 4 March 1678 in Venice, then the capital of the Venetian Republic. He was baptized immediately after his birth at his home by the midwife, which led to a belief that his life was somehow in danger. Though the reasons for the child's immediate baptism are not known for certain, it was done most likely due either to his poor health or to an earthquake that shook the city that day. In the trauma of the earthquake, Vivaldi's mother may have dedicated him to the priesthood. The ceremonies which had been omitted were supplied two months later.
Vivaldi's parents were Giovanni Battista Vivaldi and Camilla Calicchio, as recorded in the register of San Giovanni in Bragora. Vivaldi had eight siblings: Iseppo Santo Vivaldi, Iseppo Gaetano Vivaldi, Bonaventura Tomaso Vivaldi, Margarita Gabriela Vivaldi, Cecilia Maria Vivaldi, Gerolama Michela Vivaldi, Francesco Gaetano Vivaldi, and Zanetta Anna Vivaldi. Giovanni Battista, who was a barber before becoming a professional violinist, taught Antonio to play the violin and then toured Venice playing the violin with his young son. Antonio was probably taught at an early age, judging by the extensive musical knowledge he had acquired by the age of 24, when he started working at the Ospedale della Pietà. Giovanni Battista was one of the founders of the Sovvegno dei musicisti di Santa Cecilia, an association of musicians.
During his lifetime, Vivaldi was popular in many countries throughout Europe, including France, but after his death his popularity dwindled. After the end of the Baroque period, Vivaldi's published concerti became relatively unknown, and were largely ignored. Even his most famous work, The Four Seasons, was unknown in its original edition during the Classical and Romantic periods.
In the early 20th century, Fritz Kreisler's Concerto in C, in the Style of Vivaldi (which he passed off as an original Vivaldi work) helped revive Vivaldi's reputation. This spurred the French scholar Marc Pincherle to begin an academic study of Vivaldi's oeuvre. Many Vivaldi manuscripts were rediscovered, which were acquired by the Turin National University Library as a result of the generous sponsorship of Turinese businessmen Roberto Foa and Filippo Giordano, in memory of their sons. This led to a renewed interest in Vivaldi by, among others, Mario Rinaldi, Alfredo Casella, Ezra Pound, Olga Rudge, Desmond Chute, Arturo Toscanini, Arnold Schering and Louis Kaufman, all of whom were instrumental in the revival of Vivaldi throughout the 20th century.
In 1926, in a monastery in Piedmont, researchers discovered fourteen folios of Vivaldi's work that were previously thought to have been lost during the Napoleonic Wars. Some missing volumes in the numbered set were discovered in the collections of the descendants of the Grand Duke Durazzo, who had acquired the monastery complex in the 18th century. The volumes contained 300 concertos, 19 operas and over 100 vocal-instrumental works.
The resurrection of Vivaldi's unpublished works in the 20th century is mostly due to the efforts of Alfredo Casella, who in 1939 organized the historic Vivaldi Week, in which the rediscovered Gloria (RV 589) and l'Olimpiade were revived. Since World War II, Vivaldi's compositions have enjoyed wide success. Historically informed performances, often on "original instruments", have increased Vivaldi's fame still further.
Recent rediscoveries of works by Vivaldi include two psalm settings of Nisi Dominus (RV 803, in eight movements) and Dixit Dominus (RV 807, in eleven movements). These were identified in 2003 and 2005 respectively, by the Australian scholar Janice Stockigt. The Vivaldi scholar Michael Talbot described RV 807 as "arguably the best nonoperatic work from Vivaldi's pen to come to light since […] the 1920s". Vivaldi's 1730 opera Argippo (RV 697), which had been considered lost, was rediscovered in 2006 by the harpsichordist and conductor Ondřej Macek, whose Hofmusici orchestra performed the work at Prague Castle on 3 May 2008—its first performance since 1730.
Gloria in D RV 589: Propter magnam gloriam
Antonio Vivaldi Lyrics
We have lyrics for these tracks by Antonio Vivaldi:
Laudamus te laudamus te (laudamus te) benedicimus Te (benedicumus te) ad…
Sposa son disprezzata Sposa son disprezzata Fida, son oltraggiata Cieli che feci m…
Vivaldi: Concerto in G Minor Op. 10 No. 2 RV. 104 'La notte': V. Allegro Малая в Америке зовёт меня Игорь Игорь крутой, Игорь Крутой …
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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@joshscores3360
During the year 1713 there was a shift in Antonio Vivaldi's responsibilities as maestro di violino of Venice's Pio Ospedale della Pietà. Up until that point secular music had been his bread and butter, but he then turned his attention to the composition of sacred choral works, some of which became the finest treasures of his vast musical output. It was sometime during the next few years that Vivaldi put to paper the now-famous Gloria in D major for vocal soloists, chorus and orchestra (RV 589). It is remarkable to think that for two centuries after Vivaldi's death the very existence of this beloved work was unknown even to Baroque scholars, and that it was only rediscovered in the late 1920s. Having been long buried -- with a host of other unknown pieces in a pile of forgotten Vivaldi manuscripts -- the Gloria had its first modern performance in the fall of 1939. The rest, as they say, is history.
In composing, Vivaldi broke the standard Gloria text into 11 sections, each of which is given a discrete musical setting. All the vocal parts, from the two soprano and alto soloists right down to the tenor and bass, were originally written for women's voices, as no men were allowed at the all-female Pio Ospedale della Pietà (Vivaldi and the few other male staff were, of course, members of the priesthood); occasionally the bass part moves so low that even the remarkable female basses of the Pietà must have had to transpose up an octave. Just two wind instruments -- an oboe and a trumpet -- are added to the usual Baroque contingent of strings, and the basso continuo would probably have been played by organ.
A joyous tone is set at the very start of the Gloria, with jubilant shouts of "Gloria in excelsis Deo" from the chorus. "Et in terra pax hominibus bonae voluntatis" (section two) is sung in imitation to a less exuberant B minor backdrop; the violins add some pointed rapid-note gestures, quite similar in kind to those found in Vivaldi's many string concertos.
Vivaldi moves back to a rambunctious allegro, this time in G major, for the solo soprano duet of section three ("Laudamus te"); the start of section four ("Gratias agimus te") is slow, dignified, and entirely homophonic, but as the chorus moves on to sing "propter magnam gloriam" it becomes a fugal Allegro.
A wonderful Largo duet between the solo soprano and the solo violin follows ("Domine Deus, Rex coelestis"); the chorus joins again for the very joyful F major section six ("Domine Fili unigente").
The spacious Adagio of section seven ("Domine Deus, Agnus Dei") features both chorus and the alto soloist, who takes the spotlight once again, this time more gregariously, in section nine ("Qui sedes ad dexteram Patris"). Between these sections is the interlude "Qui tollis peccata mundi".
The penultimate portion of the Gloria (section ten, "Quoniam tu solus sanctus") takes the shape of a brief reprise of the broken-octave music from section one, while the stunning double fugue that ends the Gloria (section eleven, "Cum Sancto Spiritu") is in fact an arrangement by Vivaldi of a piece composed in 1708 by Giovanni Maria Ruggieri -- a piece also adapted by Vivaldi for use in his other, lesser-known Gloria RV 588.
(AllMusic)
@MCM214
Heard this in Venice this spring. Was too moving for words. It’s simply one of the great baroque choral works by the genius, Vivaldi. I don’t think music like this will ever be composed again.
@marktabla5434
Back in the '80's, our public high school choir was allowed to perform this and Schubert's Mass in G and end our concerts with Peter Lutkin's "The Lord bless you and keep you". Those days are probably long gone now.
@Briikaaz
I sang Gloria with my high school choir in the early 90s, but I don't know what they're singing in school now.
@rugby8-Philadelphia
A favorite since the first time i sang it almost 50 years ago!
😎😎😎
@MusicClasica
🙋♂️Saludos desde Valencia ! Gloria en re mayor rv 589 de Vivaldi ... es una maravilla , mil gracias por compartirlo 👏👏
@joshscores3360
During the year 1713 there was a shift in Antonio Vivaldi's responsibilities as maestro di violino of Venice's Pio Ospedale della Pietà. Up until that point secular music had been his bread and butter, but he then turned his attention to the composition of sacred choral works, some of which became the finest treasures of his vast musical output. It was sometime during the next few years that Vivaldi put to paper the now-famous Gloria in D major for vocal soloists, chorus and orchestra (RV 589). It is remarkable to think that for two centuries after Vivaldi's death the very existence of this beloved work was unknown even to Baroque scholars, and that it was only rediscovered in the late 1920s. Having been long buried -- with a host of other unknown pieces in a pile of forgotten Vivaldi manuscripts -- the Gloria had its first modern performance in the fall of 1939. The rest, as they say, is history.
In composing, Vivaldi broke the standard Gloria text into 11 sections, each of which is given a discrete musical setting. All the vocal parts, from the two soprano and alto soloists right down to the tenor and bass, were originally written for women's voices, as no men were allowed at the all-female Pio Ospedale della Pietà (Vivaldi and the few other male staff were, of course, members of the priesthood); occasionally the bass part moves so low that even the remarkable female basses of the Pietà must have had to transpose up an octave. Just two wind instruments -- an oboe and a trumpet -- are added to the usual Baroque contingent of strings, and the basso continuo would probably have been played by organ.
A joyous tone is set at the very start of the Gloria, with jubilant shouts of "Gloria in excelsis Deo" from the chorus. "Et in terra pax hominibus bonae voluntatis" (section two) is sung in imitation to a less exuberant B minor backdrop; the violins add some pointed rapid-note gestures, quite similar in kind to those found in Vivaldi's many string concertos.
Vivaldi moves back to a rambunctious allegro, this time in G major, for the solo soprano duet of section three ("Laudamus te"); the start of section four ("Gratias agimus te") is slow, dignified, and entirely homophonic, but as the chorus moves on to sing "propter magnam gloriam" it becomes a fugal Allegro.
A wonderful Largo duet between the solo soprano and the solo violin follows ("Domine Deus, Rex coelestis"); the chorus joins again for the very joyful F major section six ("Domine Fili unigente").
The spacious Adagio of section seven ("Domine Deus, Agnus Dei") features both chorus and the alto soloist, who takes the spotlight once again, this time more gregariously, in section nine ("Qui sedes ad dexteram Patris"). Between these sections is the interlude "Qui tollis peccata mundi".
The penultimate portion of the Gloria (section ten, "Quoniam tu solus sanctus") takes the shape of a brief reprise of the broken-octave music from section one, while the stunning double fugue that ends the Gloria (section eleven, "Cum Sancto Spiritu") is in fact an arrangement by Vivaldi of a piece composed in 1708 by Giovanni Maria Ruggieri -- a piece also adapted by Vivaldi for use in his other, lesser-known Gloria RV 588.
(AllMusic)
@vicky3396815
Thanks for the info. All I know is it is a glorious piece!
@kaitlinbilous4605
This comment should be higher to inform people of this masterpiece
@thesimplemusic1993
Your annotation very long and interesting. Your work in music story?
@joshscores3360
@@thesimplemusic1993 No, I copied it off of AllMusic.