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.
1 of 8
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"
2 of 8
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.
3 of 8
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.
4 of 8
- 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.
5 of 8
Writing for instruments and relationship between v
- Strings double vocal parts.
6 of 8
- Slow introduction and mock fugal exposition.
- He manipulates the material, in a through composed manner (no repeating sections).
7 of 8
8 of 8