Introduction [Jubilate], RV 639 (Op. 108/1) and Gloria (Op. 109/7), RV 588 Cover Image

Introduction [Jubilate], RV 639 (Op. 108/1) and Gloria (Op. 109/7), RV 588: Orchestra Accompaniment, Harpsichord Part

$15.00 USD
$15.00 USD
Skip to product information
Introduction [Jubilate], RV 639 (Op. 108/1) and Gloria (Op. 109/7), RV 588 Cover Image
Introduction [Jubilate], RV 639 (Op. 108/1) and Gloria (Op. 109/7), RV 588: Orchestra Accompaniment, Harpsichord Part

Introduction [Jubilate], RV 639 (Op. 108/1) and Gloria (Op. 109/7), RV 588: Orchestra Accompaniment, Harpsichord Part

By Antonio Vivaldi / arr. Clayton Westermann

Item: 36-A586946
$15.00
Shipped

One moment…

Related Items

Introduction [Jubilate], RV 639 (Op. 108/1) and Gloria (Op. 109/7), RV 588: Cantata/ Oratorio, Orchestra Accompaniment, Conductor Score

$30.00
View

Introduction [Jubilate], RV 639 (Op. 108/1) and Gloria (Op. 109/7), RV 588: Orchestra Accompaniment Conductor Score & Parts

$55.00
View
Description
Antonio Vivaldi (1678-1741) likely composed three settings of the hymn Gloria in excelsis Deo, though only two have survived. It was common for Vivaldi to write introductory motets to be performed before the Gloria itself. For RV 588, the last movement of the Introduction (Jubilate, o amoeni cori, RV 639) is connected thematically to the first movement of the Gloria itself. This Urtext edition has been translated and edited by Clayton Westermann and includes a preface to explain the manuscript sourcing and editorial approach. Instrumentation:0.2.0.0: 0.1.0.0: Str (2-2-2-1-1 in set): Continuo: Soli SAT: Mix Chor. Vocal/choral scores not included.

Introduction [Jubilate], RV 639 (Op. 108/1) and Gloria (Op. 109/7), RV 588: Orchestra Accompaniment, Harpsichord Part isn't in MakeMusic Cloud just yet...but it could be. Let us know you'd like to see it, and you'll help shape what comes next. In the meantime, start a free trial and dive into thousands of interactive titles your students can play along with today.

Request This Title

Tell us you want it.

Start Your Free Trial

Explore everything that's ready to play right now.
Sample Pages

No sample pages found.
Sample Audio
No sample audio found.
Sample Video
No sample videos found.
Additional Details
Series: Kalmus Choral Library
Publisher: Keiser Productions, Inc.
ISBN10: 8-88-852752-4
ISBN13: 979-8-88-852752-8
UPC: 659359722332
SKU: 36-A586946
Instrumentation: 0.2.0.0: 0.1.0.0: Str (2-2-2-1-1 in set): Continuo: Soli SAT: Mix Chor

More about this title

About the Composer: Antonio Vivaldi

Antonio Vivaldi (1678-1741) was a Venetian priest and virtuoso violinist whose prolific output shaped the Baroque concerto and established the ritornello form as a cornerstone of instrumental music. His sacred vocal works, including multiple settings of the Gloria, reveal a composer equally at home writing for the church as for the concert hall, often blending operatic drama with liturgical function.

Vivaldi's connection to the Ospedale della Pietà, a Venetian orphanage for girls, allowed him to write demanding sacred music for trained vocal and instrumental ensembles. His settings of the Gloria became cornerstones of the choral repertoire, prized by directors for their dramatic contrasts, accessible vocal lines, and orchestral vitality. The pairing of an introductory motet with a Gloria reflects the liturgical practice of his era, yet the thematic connection between movements shows his sophisticated compositional thinking.

Why we love this

The thematic link between the final movement of the Introduction and the opening of the Gloria gives this pair architectural elegance; performing them together creates a satisfying sense of musical inevitability. This Urtext edition by Clayton Westermann provides the harpsichord continuo part with scholarly accuracy, essential for conductors seeking authentic textures and editorial transparency in works where manuscript sourcing matters.

What to expect

Radiant and ceremonial, with moments of intimate tenderness in the soli sections balanced against brilliant orchestral ritornelli. The music channels the grandeur of sacred Venice, full of dramatic gesture and textural contrast, inviting the continuo player into a collaborative partnership with singers and strings.

Who it's for

Harpsichordists and continuo players in choral and orchestral programs performing Vivaldi's sacred music, as well as conductors and music directors assembling period-informed performances of Baroque liturgical works. This part is essential for ensembles seeking authentic sound and structural integrity in the Gloria repertoire.

How to get the most out of it

  • Balance the continuo gently in the soli passages (SAT); the harpsichord should support but not obscure the singers' lines.
  • Observe the manuscript's articulation and slurring carefully; Vivaldi's bowing marks shape phrasing for both strings and the harmonic foundation.
  • Shape the ritornello returns with slight dynamic inflection; repetition in Baroque music gains freshness through subtle variation in weight and character.
  • Coordinate with the basso continuo cellist and bassist to ensure rhythmic precision in the continuo figures, especially in faster movements where harmonic rhythm accelerates.

How to use it

Pair this Introduction and Gloria as a single liturgical unit, or perform the Gloria independently if programming constraints require it. The thematic connection between movements rewards audiences who hear them consecutively, making this pairing ideal for a sacred music concert or choral festival focused on Vivaldi's church music.

Skills your students will build

  • Baroque continuo realization and harmonic language
  • Coordination with basso continuo instruments (cello and double bass)
  • Reading and executing figured bass notation
  • Supporting vocal soloists and chorus with appropriate harmonic foundation
  • Adapting harpsichord articulation and dynamics to orchestral context

You May Also Like