Talk:Gloria, RV 589 (Antonio Vivaldi)

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Gloria -> Gloria RV 589

I plan on releasing Vivaldi's first Gloria (Gloria, RV 588) sometime soon; a problem is is that the name may conflict with this title. With that being said, should this be moved/renamed from Gloria (Antonio Vivaldi) to Gloria RV 589 (Antonio Vivaldi) or something similar?


Comparison between the CPDL editions by Marmol/Casaus, and by Ursic

The two most popular commercial editions of the “Gloria” RV589 by A. Vivaldi are probably the one elaborated by Casella, and the one elaborated by Malipiero. Both are published by Ricordi. The Casella’s edition is probably the most common, while Malipiero’s edition is likely closer to the original manuscript. The main difference between the two editions is in “Et in terra pax hominibus”, where Casella introduced a 5-measure “cut” around measure 40. (Additional significant differences may also be present in the "Laudamus te", which is some 16 bars shorter in the versions available on CPDL than it is in an edition edited by Charles Westermann, which may be closer to the Malipiero version).

Two editions available at CPDL ([M&C] by Marmol and Casaus, [URS] by Ursic) appear referred to the Casella’s edition, as they both show the “cut” in “Et in terra pax hominibus”. In the following, a comparison is made between such CPDL editions, limited to the choral movements. For each difference, a cross-check has been then made with the edition by Casella published by Ricordi [CAS], as a third reference source.

The choir training/rehearsal aids available on the Choralia web site have been corrected in compliance with the list hereinbelow. Corrections are based on a 2/3 principle (i.e., when a difference exists in one edition while the other two are concordant, the version shown by the concordant editions is chosen).


Gloria

Soprano, measure 50: in [M&C] the first note of the measure is F(#), while it is C(#) in [URS] and [CAS].

Tenor, measure 43: in [M&C] the only note in the measure is B, while it is C(#), tied with the same note in measure 42, in [URS] and [CAS].


Et in terra pax hominibus

Tenor, measure 58: in [URS] the duration of the B(b) note should be 3/4 (a dot is omitted, which is present in [M&C] and [CAS]).

Tenor, measure 84: in [M&C] the only note of the measure is F, while it is G in [URS] and [CAS].

Bass, measure 10: in [URS] the duration of the G note should be 3/4 (a dot is omitted, which is present in [M&C] and [CAS]).

Bass, measure 27: : in [URS] the duration of the A note should be 3/4 (a dot is omitted, which is present in [M&C] and [CAS]).


Gratias agimus tibi

No difference.


Propter magnam gloriam

Soprano, measure 9: in [URS] there are two C natural notes, while they are C# in [M&C] and [CAS].

Bass, measure 14: in [M&C] the last note in the measure (G) is shown without a cautionary natural sign. Both [URS] and [CAS] show a cautionary natural sign to avoid ambiguity.


Domine Fili unigenite

No difference.


Domine Deus, Agnus Dei

Alto (solo), measure 7: in [URS] the last note in the measure (1/8) is A, while it is G in [M&C] and [CAS].

Alto (solo), measure 29: in [URS] the fifth note in the measure (1/8) is G, while it is B(b), in [M&C] and [CAS].


Qui tollis peccata mundi

Alto, measure 20: in [URS] the only note in the measure is G natural, while it is G# in [M&C] and [CAS].

Bass, measure 12: in [URS] the last two notes of the measure (1/4 each) are B, while they are A in [M&C] and [CAS].


Quoniam tu solus Sanctus

No difference.


Cum Sancto Spiritu

Soprano, measure 75: in [URS] the two first notes of the measure (1/2 each) are D, while they are B in [M&C] and [CAS].

Bass, measure 4: in [URS] the two last notes of the measure (1/2 each) are A, while they are C in [M&C] and [CAS].

Bass, measure 38: in [URS] the duration of the fifth, sixth and seventh note (all G) are 1/8, 1/8, 1/4 respectively, while they are 1/4, 1/8, 1/8 in [M&C] and [CAS].


Error/difference listing by --Massimo Capozza, a.k.a. ----Choralia 22:11, 22 September 2007 (PDT)