![]() ![]() Here are the available Midi Files for this Work:-Įither your browser does not support inline frames or it is currently configured not to display inline frames. There is an excellent performance of this Work by the John Alldis Choir, under Vittorio Negri, on YouTube starting here. The Martens Files are further amended by the addition of added bars as shown in the Martens score plus consequential changes. These Midi Files were originally keyed in using the Everett-Oxford edition, and can be used both with that score and with the Malipiero-Ricordi score the Casella-Ricordi Files are amended versions of them, using essentially the same piano reduction but with the vocal parts appropriately modified. ![]() If I interpret his Preface aright, this is the Casella version with a dozen or so originally-excised bars put back in again. There is also a more recent Waltons Music version edited by Mason Martens. The Casella version is somewhat different, having fewer bars (measures) in several of the pieces, as well as a number of significant vocal and accompaniment note changes (though for the most part its accompaniment is much like the Malipiero one). ![]() The Malipiero and Everett versions are quite similar - they differ mainly in the piano reduction accompaniment. Three common ones are the Casella-edited Ricordi score, the Malipiero-edited Ricordi score, and the Everett-edited Oxford score. There are numerous versions of printed scores for Vivaldi's Gloria. ![]() Naïve's sound is wonderfully clear and crisp, but with plenty of warmth.Gloria Files "cleaned" Aug/11 and re-cleaned Jan/14 Antonio Vivaldi Gloria - RV 589 ( Vivaldi curiously appropriated and reworked a setting by Giovanni Maria Ruggieri for the final chorus, "Cum sancto spiritu," for both his versions.) Alessandrini also includes the pieces Vivaldi wrote as introductions to the Glorias, Ostro picta, armata spina for soprano solo for RV 589, and Jubilate o ameni Chori for contralto solo for RV 588. It's intriguing to hear the "famous" Gloria, RV 589, along with the more obscure but no less attractive RV 588. Mingardo brings a warm, grounded, true contralto sound to her solos, as well as a seamlessly smooth legato and refinement of phrasing. The members of the chorus who step into solo roles, sopranos Anna Simboli, Alena Dantcheva, Lia Serafini, and Monica Piccinini, and tenor Luca Dordolo, are all terrific. The 13-member chorus can sound full as well as intimate, and the youthful blend is especially appealing. Alessandrini's mastery in this repertoire is evident in the supple elegance of the performances, his keen sense of pacing, and particularly in the nuanced balance of the choral parts. This Naïve release, part of its Vivaldi Edition, features the singers and players of Concerto Italiano, led by its founder Rinaldo Alessandrini, and contralto Sara Mingardo. Vivaldi's two settings of the Gloria, both in D major and both from 1715, are no exceptions to that trend, and offer a spectacular showcase for soloists. Venetian liturgical music of the early 18th century tended to be indistinguishable from opera except that the texts were sacred rather than theatrical, allowing congregations to hear the same kinds of displays of flamboyant virtuosity they could expect in the opera house (and often with the same singers). ![]()
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