Gratias Agimus Tibi: Vivaldi

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  • Created by: Katherine
  • Created on: 30-04-14 10:43

Context within work

  • 4th movement of Gloria.
  • Laudamus te ends in G major and this movement continues straight on in E minor. Smooth transistion.
  • It's a slow introduction followed by a fast fugal movement.
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Text and Text Setting

  • "We give thanks to because of your great glory."
  • Even though its joyful, its set in a minor key.
  • It's a syllabic setting except for the word "gloriam"
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Melody and Rhythm

  • Slow introduction: Adagio section
  • Uses repeated minims and two crotchet rhythms.
  • The soprano line uses a chromatic C# and conjuct movement.
  • Allegro: starts with 4 repeated crotchets and an ascending 4th followed by a fast quaver movement. this tune is used as a fugual subject.
  • This subject is manipulated throughout the movement. for ex: the altos have a rising 5th.
  • There is a counter subject against main tune in alto.
  • Soprano line at end uses a small sequence and more chromatic movement. Towards end, vocal parts become more chromatic.
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Tonality and Harmony

  • Slow intro: Eminor
  • Bar 1: First chord: C major in 1st inversion (chord VIb). Uses A7 in bar 3. Chromatic chord: surprising, uses Vd7.
  • Allegro: E minor but doesn't modulate to dominant as we would expect of a fugue. Starts on chord I.
  • Next chords, alternating between chords I and V. Moves through A in bar 12. Then through D major (bar 13), then B minor (bar 15).
  • After these keys, goes back to E minor.
  • Last chord of movement is a Tierce de Picardie.
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  • Adagio: homophonic.
  • Overall texture of Allegro is imitative and fugal.
  • Soprano starts with subject which is then heard by the altos, the tenors, then bass.
  • Once all parts come in, the texture becomes more contrapuntally dense. For ex: tenors and basses sing subject in parallel 3rds.
  • in the final fugal entry, Vivaldi uses stretto, creating excitement - entries closer together.
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Writing for instruments and relationship between v

  • Strings double vocal parts.
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  • Slow introduction and mock fugal exposition.
  • He manipulates the material, in a through composed manner (no repeating sections).
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Compositional Devices

  • Imitation
  • Stretto
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