Laudamus Te (from Gloria): 2-Part Choral Octavo

Russell Robinson's 2-part setting gives young singers immediate access to a work that typically requires more advanced choral skills, yet preserves the musical substance and character of Vivaldi's original. The arrangement maintains enough textural interest and harmonic color to feel like genuine Vivaldi rather than a watered-down version, making this a genuine stepping stone to the complete Gloria rather than a shortcut.

Jubilant and ceremonial, with the brightness and forward energy characteristic of Baroque sacred music at its most festive. The piece moves with purpose and lift; even in moments of gentler texture, there is a sense of celebration and formal dignity that lifts singers' musicianship beyond the page.

Young choirs and developing singers seeking a Baroque masterwork that sits comfortably within their technical range, as well as conductors building a diverse choral library that includes genuine repertoire rather than only simplified teaching pieces. The 2-part voicing makes it accessible to middle school singers and to high school ensembles early in the fall rehearsal season.

• Shape each phrase with forward motion; Baroque phrasing thrives on gentle crescendos that build through the measure rather than sudden shifts in volume.
• Balance the two parts so that neither dominates; young singers often push the melody too hard at the expense of harmonic support, which weakens the overall texture.
• Articulate consonants clearly without losing legit singing tone, especially on repeated text syllables. This clarity is essential to the Baroque style.
• Listen carefully to the harmonic rhythm beneath the melody line. When your singers understand where the chord changes happen, entrances and releases become more confident.

This works beautifully as a concert opener or as a bridge between contemporary choral works and the larger Baroque repertoire your ensemble may tackle later. It also fills a natural programming slot for school festivals, competitions, and sacred music programs where you want something recognized and substantial without overwhelming developing singers.

• Baroque articulation and phrasing conventions
• Two-part harmonic listening and blend
• Latin diction in a liturgical context
• Reading accidentals and navigating minor key signatures
• Sustaining longer melodic lines with appropriate breath placement