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International
300 N. ZEEB ROAD, ANN ARBOR, Ml 48106
18 BEDFORD ROW, LONDON WC1R 4EJ, ENGLAND
8116596
G raum ann , K e f ih D avid
ANTONIO VIVALDI: PERFORMANCE EDITIONS OF NINE SACRED

VOCAL WORKS ON LITURGICAL TEXTS PRESERVED IN THE
RACCOLTA FOA-GIORDANO
The University o f Oklahoma D M A . 1981
University
Microfilms
Internstionsi 300X.ZeebRoad.AnnAibor.MI48106
Copyright 1981
by
Graumann, Keith David
Ail Rights R eserved
THE UNIVERSITY OF OKLAHOMA
GRADUATE COLLEGE
ANTONIO VIVALDI: PERFORMANCE EDITIONS
OF NINE SACRED VOCAL WORKS ON LITURGICAL TEXTS
PRESERVED IN THE RACCOLTA FOA-GIORDANO
A DOCUMENT
SUBMITTED TO THE GRADUATE FACULTY
in partial fulfillment of the requirements for the
degree
DOCTOR OF MUSICAL ARTS
BY
KEITH DAVID GRAUMANN
Norman, Oklahoma
1981
APPROVED BY
nis Shrock, Chairman
Eh Bums
^■rico
Jag Faulconer
Irvin Wagner
ACKNOWLEDGEMENTS
The writer expresses sincere appreciation to those who have
been of valuable assistance in the completion of this study:
To Professor Dennis Shrock for patient and skillful guidance;
To the other members of the Doctoral committee. Professors
Legh Burns, Eugene Enrico, James Faulconer, and Irvin Wagner, who
offered valuable criticisms during the preparation of the document;
To the Commission for Cultural and Educational Exchange between
Italy and the United States for financial assistance in the form of
a Fulbright-Hayes research fellowship;
To the Graduate College of the University of Oklahoma for
additional travel and research funds;
Finally, to a completely supportive family who have been in
valuable in every way, and especially to my future wife Ann, who
has been a constant source of assistance and encouragement.
Ill
TABLE OF CONTENTS
Page
Acknowledgements iii
Preface ^ ^ . vi
Chuter I
Introduction 1
The Raccolta Foa-Giordano .................... 7
Inventories of Vivaldi's Sacred Music ......... 10
The Inventory of the Present Study ............ 15
Inaccuracies of Four Inventories .............. 16
Modem Editions of Vivaldi's Sacred Music .... 20
Nine Unpublished Sacred Vocal Works by Vivaldi . . 24
Chronology................................ . 26
Discussion of the Nine Works
Laudate Pueri Dominum RV602 , ............ 27
Laudato Pueri Dominum RV603 ................ 30
In Exitu Israel RV604 ..................... 32
Credidi RV60S ............................ 32
Deus Tuorum Militum RV612.................. 33
Gaude Mater Ecclesia RV613 ................ 33
Regina Coeli RV615 ....................... 33
Salve Regina R V 6 1 8 ....................... 34
Sanctorum Meritis RV620 .................... 35
Chapter IT Editorial Procedures
General Editorial Procedures . . . . . . ....... 37
iv
Performance considerations . ., ............. 39
Specific editorial procedures
Laudate Pueri Dominum RV602, , , ........... 44
Laudate Pueri Dominum RV603. . . . . . 46
In Exitu Israel RV604 51
Credidi RV605 54
Deus Tuorum Militum R V 6 1 2 .................. 56
Gaude Mater Ecclesia RV613 .................. 58
Regina Coeli RV615 ......................... 59
Salve Regina RV618......................... 61
Sanctorum Meritis RV620 65
Selected Bibliography ......................... 67
Appendices
A. An Inventory of the SacredVocal Music

of Antonio Vivaldi ....................... 76
B. Laudate Pueri Dominum RV602 ................ 103
C. Laudate Pueri Dominum RV603 ................ 182
D. In Exitu Israel RV604 ...................... 260
E. Credidi RV605 ............................. 286
F. Deus Tuorum Militum RV612.................... 328
G. Gaude Mater Ecclesia RV613 345
H. Regina Coeli RV615 353
I. Salve Regina R V 6 1 8 ..........................362
J. Sanctorum Meritis RV620 .................... 430

PREFACE
Antonio Vivaldi was one of the most prolific composers of
the Baroque era, composing an immense number and a wide variety of works.
The music of Vivaldi has become increasingly popular since the late
1950’s , and enjoys a world-wide audience today. However, many of
Vivaldi's works remain unpublished and therefore unavailable to contem
porary performers and scholars.
The primary source of Vivaldi's original manuscripts is the
Raccolta Foà-Giordano preserved in the Biblioteca Nazionale di Torino.
Included among these manuscripts are 28 sacred vocal works on liturgical
texts by Vivaldi. Of these, nine remain unpublished.
In a lecture delivered during the occasion of the tricentennial

2
of Vivaldi's birth, Peter Ryom called attention to the particular need
for authentic editions of the vocal music of Antonio Vivaldi.
. . . numerose opere, in particolare nel settore della

musica vocale, restano tutt'oggi inedite: si tratta
dei melodrammi, di alcune composizioni sacre, di quasi
tutte le cantata profane, ecc. . . . della massima
importanza riuscire a mettere a disposizione dei
musicisti, dei direttori d'orchestra e degli interpreti
una serie di spartiti scientificamente attendibili,
basati sulla conferraa degli studi critici.
In altre parole, I'edizione che vorrei . . .
vedere pubblicata deve innanzi tutto consentira-
I'esecuzione autentica della musica di Vivaldi.
^Michelangelo Abbado, "Antonio Vivaldi nel nostro secolo,"

Nuova Rivista Musicale Italiana 1 (January-March, 1979):101.
Convegno Vivaldiano. Venezia, 1978.
^Peter Ryom, "La Situazibne della Musicologia Vivaldiana,"

Nuova Rivista Tvhisicale Italiana 1 (January-March, 1979): 118.
vx
, , , numerous works, particularly in the sector of
the vocal music, remain today unedited: To be
treated are some operas, some sacred compositions,
almost all of the secular cantatas, etc.
. . . of the highest importance to arise is that to
put at the disposal of musicians, orchestra directors,
and interpreters a series of scientifically reliable
scores, based on the confirmation of critical studies.
in other words, the edition that I would like
. . . to see published must above all allow the
authentic execution of the music of Vivaldi.
There is no doubt as to the need for the remainder of Vivaldi’s works
to be edited in order to make them accessible to contemporary performers
and scholars.
The purpose of the proposed study is to make available
performance editions^ of the nine unpublished sacred vocal works on
liturgical texts by Antonio Vivaldi, preserved at the Biblioteca Nazionale
di Torino. The works are diverse in both performance media and length.
Represented are smaller-scale works in single movements for vocal solo,
strings, and basso continuo. Also represented are works on a larger
scale including a work for two vocal solos, chorus, double chorus of
strings, oboe, and basso continuo.
^Transcriptions following contemporary notational practices.

See Chapter II for editorial guide lines.
Vll
CHAPTER I
Although Antonio Vivaldi pursued the major portion of his
career in Venice, he and his musical works enjoyed success throughout
the musical world of Europe, Performances of his works occurred in
places as far from his native Venice as Munich, Prague, and London.^
Contemporary publications of his works were produced not only in Venice
by Giuseppe Sala and Antonio Bertoli, but also in Amsterdam by
Roger Marchand Libraire, Jeanne Roger, and Michele Carlo le Cene, and
2
in Paris by du Roy. Vivaldi himself is known to have traveled widely,
including journeys to Darmstadt, Amsterdam, and Dresden, as well as

3
throughout the Italian feudal states. However, Vivaldi's success
^Robert Fort, Jr., "An Analysis of Thirteen Vesper Psalms of

Antonio Vivaldi" (Doctoral dissertation. Union Theological Seminary,
1971), p. 16.
2
Francesco Dégrada, "Principali edizioni delle opere di
Antonio Vivaldi pubblicate durante la vita dell' autore," in Antonio
Vivaldi da Venezia All'Europa, ed. Francesco Dégrada and Maria Teresa
Muraro (Milano: Electa Editrice, 1978), p. 101.
3
Walter Kolneder,"Profile Biografico di Antonio Vivaldi," in
Antonio Vivaldi da Venezia all'Europa, ed, Francesco Dégrada and Maria
Teresa Muraro (Milano: Electa Editrice, 1978), pp. 17,23.
declined in the final few years of his life^, evidenced by the loss of
2
a vote of confidence from his primary employer in 1740 , by fewer
performances of his works^, and by the termination of the publishing of
his w o r k s . H e left Venice for Vienna where he died an apparent pauper
on July 28, 1741.^
Considering Vivaldi's success during his lifetime, it is
interesting to note that his music was largely forgotten almost
immediately after his death.^ Some music by Vivaldi's contemporaries
such as Corelli, Marcello, and Pergolesi continued to be performed, but
such is not the case with the music of Vivaldi. However, his name did
continue to be mentioned sparingly by writers. Johann Joachim Quantz,
in 1752, commented on the success and contributions of Vivaldi,
"(Vivaldi) was full of life, rich in invention and filling almost half
the world with his concertos. . . . Vivaldi . . . carried the concerto
^Johann Joachim Quantz, Versuch einer Anweisung die Flote

traversiere zu spielen (Berlin: Johann Friedrich Voss, 1752J, p. 309.
^Kolneder, "Profilo Biografico," p. 24.

3
For example, the last recorded performances in Venice of
Vivaldi operas were in 1738, with the exception of a "pasticcio" in
1750 which also included music by Gasparini and Galuppi. See Agostino
Girard and Giancarlo Rostirolla, "Catalogo delle opere di Antonio
Vivaldi," Nuova Rivista Musicale Italiana 1 (January-March, 1979): 281.
^The last contemporaneous publication of Vivaldi compositions

was a set of six cello sonatas published about 1740 in Paris by du Roy.
See Dégrada, "Principali edizioni," P. 101.
^Hedy Pabisch, "Neue Dokumente zum Vivaldis Sterbetag,"

Osterreichische Musikzeitschrift 27 (1972): 82.
^Michael Talbot, Vivaldi (London: J. M. Dent and Sons, Ltd.,

1978), p. 2.
7
Ibid., p. 3.
to a major grade of formal refinement, and proposed in this mode a good
t
model." In 1761, Vivaldi's occasional libretist Carlo Goldoni lauded
2
the famous "Quattro Stagioni" (though in a later writing he dismissed
3
Vivaldi as a mediocre composer ). Charles Bumey wrote in 1789, " . . .
the violinist and the composer of music for violin most popular . . .
4
was Don Antonio Vivaldi . . .". These writings reflect the fame that
Vivaldi enjoyed during his lifetime.
However, several important writings include no mention of Vivaldi.
The violin method of Leopold Mozart in 1756 ignored Vivaldi's com
positions and opted instead for examples of compositions by Tartini.^
Likewise, the writings of Bettinelli in 1781 made no mention of Vivaldi^
Despite these few writings in the later eighteenth century,
it is clear that the fame of Vivaldi and his music had experienced
a considerable decline.
Knowledge about Vivaldi and his music may have slipped into
relative oblivion until the present century had it not been for the
^Quantz, Versuch einer, p. 309.

2
Carlo Goldoni, Commedie, 13 vols. (Venice: Edizione Pasquali,
1761), 13:11.
_, Mémoires pour servir à l'histoire de sa vie

et a celle son theatre. 3 vols. (Paris: Duchesne 1787), 1:287.
4
Charles Bumey, A General History of Music from the Earliest
Ages to the Present Period (London: Printed for the author, 1789;
Reprint ed., 2 vols. New York: Harcourt and Brace, 1935), 2:445.
^Walter Kolneder, "Antonio Vivaldi," Nuova Rivista Musicale

Italiana 1 (January-March, 1979):5.
^Saverio Bettinelli, Opere (Venice: Zatta, 1780-1782).

research of J, N. Forkel, the first biographer of Johann Sebastian
Bach. Results of Forkel’s research, first published in 1802, pron^ted
a phase of rediscovery in the music of Vivaldi, Forkel noticed that
certain keyboard works by Bach were actually transcriptions of Vivaldi
violin concertos, which Bach had apparently utilized as compositional
exercises,^ The quantity of these Bach transcriptions totaled 17
concertos for solo harpsichord, four for organ, and one for four
2
harpsichords and string orchestra. More recent research has shown
that only ten of these transcriptions are from Vivaldi concertos; the
others are based on compositions by at least five other composers.
However, from 1851, when the Bach works were first published^, until
1894^, long after the originals of the Vivaldi concertos were found^,
they were all collectively described as concertos "after Vivaldi".
This designation implied that the Bach works were merely style imitations
rather than actual transcriptions of Vivaldi works. Nevertheless, the
1 "
J, N. Forkel, Uber Johann Sebastian Bachs Lèben, Kunst und
Kunstwerke (Leipzig: Miiller-Blattau, 1802), p. 23.
^Talbot, Vivaldi, p. 4.
Walter Kolneder, Antonio Vivaldi, trans. Bill Hodges (Berkeley:

University of California Press, 1970), p. 107.
4
Alan Kendall, Antonio Vivaldi (London: Chappell and Co., 1978),
p. 104.
^16 Konzerte nach Violinkonzerte von Antonio Vivaldi, fur

Klavier allein bearbeitet von Johann Sebastian Bach. (Leipzig: S. W.
Dehn and F. A, Roitzsch, 1851),
6
Johann Sebastian Bach, Werke, Vol. 43 (Leipzig: Bach-
Gesellschaft, 1894).
7 .....
Marc Pincherle, Vivaldi. Genius of the Baroque, trans.
Christopher Hatch (New York: W. W. Norton and Co., 1957), p. 14,
Vivaldi-Bach connection pronçted the Vivaldi revival.
Inçortant essays followed the Forkel work. In 1877, Julius
Ruhlmann identified several sources for the Bach transcriptions, but
reported that the works of Vivaldi were almost completely lost.3
Phillip Spitta, in 1844, drew increased attention to Vivaldi, praising
his treatment of form and describing the music as "full of fire and
2
expression". Paul Waldersee succeeded in confirming further originals
in 1885.3
Arnold Sobering was the first, however, to realize properly
the view of Vivaldi's known music in historical perspective. Sobering
had many more Vivaldi manuscripts at his disposal than did his
predecessors, and consequently was able to dedicate nineteen pages to
Vivaldi in his study, Geschichte des Instrumentalkonzerts. In it he
described Vivaldi as "one of the most progressive musicians and most
ingenious of the era". He also credited Vivaldi ". . .as exemplary for
the shaping of the violin concerto as Corelli was for that of the sonata."*
Concurrent with the writings' of these essays, publications of
Vivaldi's concertos began to appear. The first, in 1872, was a violin
^Julius Rühlmann, "Antonio Vivaldi und sein Einfluss auf

J. S. Bach," Neue Zeitschrift fflr Musik 63 (1867):45-57.
2
Phillip Spitta, Johann Sebastian Bach (Leipzig; Breitkopf and
Hartel, 1884), pp. 411-412.
3
Paul Graf Waldersee "Antonio Vivaldi's Violinkonzerte unter
besonder Berxicksichtigung der von J. S. Bach bearbeiteten,"
Vierteljahrschrift von Musikwissenschaft 1 (1885):356.
*Arnold Sobering, Geschichte des Instrumentalkonzerts (Leipzig:

Breitkopf and Hartel, 1905), p. 96.
concerto printed in Ferdinand David's "Die hohe Schule des Violinspiels",
followed by a greatly modified version of a concerto for three violins
and basso continuo published by E. Medefind in Berlin in 1878.*
The growing awareness of Vivaldi's sta^ture was exemplified in
1906 when the master violinist Fritz Kreisler, in an act of pretense,
attributed one of his own compositions as being by Vivaldi. This
composition was performed by many great violinists until 1935, when the
2
deception was finally exposed. Editions of verified Vivaldi works
continued to appear. The Schott company published Vivaldi concertos in
1909, 1912, and 1920, some of which were edited by Tividar Nachèz and
Alfred Moffat.^*^
This early phase of Vivaldi rediscovery, that prior to 1926,
was completed with the publication of a thematic catalogue by Wilhelm
Altmann in 1922 which contained all works by Vivaldi known at that
time.^*^ Altmann lists 125 concertos and sonatas by Vivaldi. The
^Michelangelo Abbado, "Antonio Vivaldi nel nostro secolo,"

Nuova Rivista Musicale Italiana 1 (January-March, 1979):82.
2
Walter Kolneder, "Antonio Vivaldi," Nuova Rivista Musicale
Italiana 1 (January-March, 1979):3-78.
Îbid.
Âbbado, "Antonio Vivaldi," p. 83.
^Wilhelm Altmann, "Thematischer Katalog der gedruckten Werke

Antonio Vivaldis nebst Angabe der Neueausgaben und Bearbeitungen,"
Archiv fur Musikwissenschaft 4 (1922):262-279.
®See Dégrada, "Principali edizioni," p. 101. A list of works

published during Vivaldi's lifetime which do not appear in the Altmann
catalog.
majority of Vivaldi's tremendous output was as yet undiscovered.
The Raccolta Foà-Gibrdàno
The single most important phase of events in the rediscovery of
Vivaldi manuscripts occurred during the years 1926 to 1930. During
these years, the primary sources of Vivaldi's original manuscripts were
discovered and united in the collection entitled the Raccolta
Foa-Giordano, preserved in the Biblioteca Nazionale di Torino.^
Following is a summary of how this important discovery came about.
During the autumn of 1926 the clergy of the monastery of
San Carlo in the province of Alessandria approached the Biblioteca
Nazionale di Torino with a collection of archaic manuscripts and books
that they wished to sell. The collection consisted of ninety-seven

2
volumes , including manuscripts of works by G. Bemabei, G. Gabrieli,
A. Stradella, Antonio Vivaldi, and others. The director of the
Biblioteca Nazionale, Luigi Torri, became aware of the enormous value
of the collection. Since the library did not have adequate funds for
such, a large purchase, a patron was sought to purchase the volumes and
donate them to the library. Roberto Foà, a Torinese banker, provided
the necessary funds and donated the collection to the Biblioteca.
Upon acquisition of the collection in February of 1927,
Alberto Gentili, a professor of musicology at the Université di Torino,
was placed in charge of examining the works. Gentili discovered that
The most exhaustive account of these events is in Verona

Gentili, "Le collezioni Foà e Giordano della Biblioteca Nazionale di
Torino," Accademie e Biblioteche d'ltalia (.November-December, 1964]:
405-430,
2
Kolneder, Antonio Vivaldi, p. 3, states that there were 95 volumes.
the volumes were numbered consecutively, but that many of the numbered
volumes were missing. He deduced from his findings that at one time
the collection probably had been much larger and had been divided.
Gentili, working with Torri, then began an intensive search for the
remainder of the once intact collection. The two found that the
collection had been presented to the monks of San Carlo by the heirs of
the Marchese Marcello Durazzo (.1842-1922) of Genoa^ Torri and Gentili
then began a systematic search, to find surviving members of the Durazzo
family. Aided by Faustino Curio, an experienced archivist, they located
one of the last surviving members of the Durazzo family, the Marchese
2
Giuseppe Maria Durazza (1880-1960), and learned that he had indeed
inherited the remaining portion of the collection. He was at first
reluctant to part with these remaining volumes, but after three years of
negotiations, he agreed to sell the manuscripts. Another patron,
Filippo Giordano, a Torinese manufacturer, provided funds for this
portion of the purchase. The transaction was completed in April of 1930,
and the manuscripts were reunited as the Raccolta Foà-Giordano.
The Raccolta Foà-Giordano consists of more than 700 volumes.
Twenty-seven of these volumes contain works by Antonio Vivaldi, ^
^Marcello Durazzo had probably inherited the collection from the

family of Giacomo Durazzo (1717-1794), patron of Gluck and the
libretist, Calzabigi.
^Nephew of Marcello Durazzo,.
Spiero Damilano, "Inventario delle composizioni musical!

manoscritte di Antonio Vivaldi esistenti presso la Biblioteca Nazionale
di Torino," Rivista Italiana di Musicologia 3 (1968):109,
By category, instrumental works are contained in eight volumes, operas
in twelve, secular cantatas, serenatas, and arias in two, and sacred
vocal compositions in five. Including fragments,these volumes

2 • 3
contain 318 instrumental works, 21 operas, 28 secular cantatas, 47
single arias, 3 serenatas, one oratorio, and 46 other sacred vocal
compositions by Vivaldi,
It is presently known that 46 sacred vocal compositions in the
Raccolta Foa-Giordano are by Vivaldi. Early examiners of the collection,
however, attributed other sacred vocal works found therein to Vivaldi.*
Only 46 contain either the name of Vivaldi and/or his monogram,^ and/or
his monogram only, and/or are in his hand. By textual category, there
are four Mass parts of the ordinary, 15 psalms, 3 Magnificats, 3 hymns,
3 antiphons, one sequence, 8 solo motets, and nine introductions to
other liturgical compositions. Nineteen works employ chorus and
The procedure here employed in enumerating works is to include

fragments, alternate versions, and introductions as separate works.
See Fort, "An Analysis," p. 32, See also pages io-19 of this study
for clarification of cataloguing.
2
Damilano, "Inventario," p. 109, cites twenty.
3
Mary Meneve Dunham, "The Secular Cantatas of Antonio Vivaldi in
the Foà Collection" (Doctoral dissertation. University of Michigan,
1969), p. 51. One cantata appears in copy three times in the volumes.
This may account for the enumeration of 30 cantatas by Damilano,
"Inventario," p. 109,
*The collection contains two Gloria settings by G. M. Ruggieri,

an Offertorium by A. Bemabei, and seventeen anonymous settings of
sacred vocal works.
^See Fort, "An Analysis," p, 30, for a description and discussion

of the Vivaldi monogram.
10
orchestra, 14 of which also include one or more solo voices. Twenty-five
works are for one solo voice and orchestra, and two works are for multiple
solo voices and orchestra.
Inventories of Vivaldi's Sacred Music
The determination of an accurate figure for an inventory of
the sacred vocal music by Vivaldi preserved in the Raccolta Foa-Giordano
is no small task, due to discrepancies in the abundance of attempts to
catalogue the works. Compilers of early inventories faced the difficulty
of organizing and authenticating the huge corpus of Vivaldi’s works
which were mixed in with works by other composers. These compilers
were not benefited by the strict non-subjective scholarly standards of
today and the access to related scholarly efforts. Later inventories
either failed to correct all inaccuracies of the earlier lists, or
neglected to provide all essential information. Each attempt to
catalog Vivaldi's sacred vocal music perpetuated inaccuracies,
inconsistencies, and other weaknesses. The inventory presented in
Appendix of the present study is based upon personal examination of
the actual manuscripts preserved in the Raccolta Foà-Giordano, upon
recent studies by noted scholars, and by careful, objective evaluation
of the previous inventories. In order to understand the present
inventory, it is important to note inadequacies of the previous
inventories.
^Pp. 76-102.
11
The inventory appearing in La Scuola Veneziana^ in 1941
excludes the sacred vocal music except for the oratorio, "Juditha
Triuraphans". Three important inventories exclude the sacred vocal
music entirely; the listing in Rinaldi's Antonio Vivaldi in 1943^,
the Pincherle volumes in 1948^, and Fanna's catalog in 1968.*
The first attempt at cataloging the sacred vocal music
appeared in Antonio Vivaldi: Note e Documenti^ in 1939. This anonymous
inventory numbers the works consecutively as they were ordered in the
five volumes.^ It gives the title of each work, and although not
accurately, the performing forces. It indicates the three works signed

*7
by other composers and indicates some of those works which are unsigned.
However, it does not give page numbers within the volumes, does not
reflect that certain musical fragments are parts of other works [due to
Olga Rudge, "Opere Vocali attribuite a Antonio Vivaldi nell

R. Biblioteca Nazionale, Torino" La Scuola Venéziana [Siena: Accademia
Musicale Chigiana, 1941):74-78.
ârio Rinaldi, Antonio Vivaldi [Milano: Istituto d'alta

Culture, 1943).
ârc Pincherle, Antonio Vivaldi et la müsiqüe instrumentale

2 vols, [Paris: Floury, 1948).
*Antonio Fanna, Antonio Vivaldi. Catalogo Numerico-Tématico

delle Opere Strumentale (Milano: Edizioni Ricordi, 1968).
^"Opere vocali attribuite a Antonio Vivaldi nella R. Biblioteca

Nazionale - Torino", Antonio Vivaldi: Note e documenti [Siena:
Settimana Musicale, 1939):6S-66.
^Volume four of the Opere Sacre [Foà 40) was reassembled and
rebound during the 1960*s.
^See footnote number 4, p. 9,

12
shuffling of the pages within the bindings), nor does it attempt to
assign authorship to unsigned works.
A list appearing in 1945 by Mario Rinaldi is . . not merely
innacurate and incomplete, but groups Vivaldi's works into fictitious
opus numbers." Opus numbers are assigned by vocal performing forces
employed in each work, rather than by their order of appearance within
the volumes. The Rinaldi catalog shows no advantage over the earlier
list, and in fact shares all the same weaknesses. Although the Rinaldi
numbers were used for many years, they now " . . . are generally agreed
to be of little value,"
An inventory by Agostino Girard, published in 1965 as an appendix

3
in Antonio Vivaldi by Remo Giazotto, appears to be based on the earlier
Rudge and Rinaldi catalogs. The works are again listed by title and
performing forces. The inventory assigns no numbers to the works and
it too makes no effort to assign authorship. It demonstrates no
particular advantage over the earlier list upon which it was based.
The first list to make a substantial improvement upon the
earlier lists was Damilano's inventory published in 1968.^ Damilano
assigned a number to each work according to the order of the works in
^Kendall, Antonio Vivaldi, p, 110,

3
Remo Giazotto, Vivaldi [Milano; Nuova Accademia Editrice,
1965), pp. 315-345.
^Piero Damilano, "Inventario delle composizioni musicali

manoscritte di Antonio Vivaldi esistenti presso la Biblioteca Nazionale
di Torino", Rivista Italiana di Musicologia 3 (1968):109-179.
13
the five volumes, and was the first to reflect the reordering of volume
four (Foà 40) made during the 1960's. He gives the title of each work
as it appears in the original manuscript and in some cases includes the
incipit of the text. Advantages of this inventory over earlier attempts
include the listing of the key of each work and the page numbers with
recto-verso indications. Those works which have the Vivaldi monogram
are designated "sigla". Works which are signed are designated "del
Vivaldi". Those works which are unsigned which Damilano felt may have
been by Vivaldi are designated with Vivaldi’s name in brackets beside
each, of these works. A second list by Damilano. included in the same
inventory.^ gives the text incinit of each work in alphabetical order,
the key, the volume and page numbers, and an annotation of the text,
type of work, or composer.
A later inventory, "Die Kirchenmusik von Antonio Vivaldi"
by Raimund Ruegge is the only published inventory confined exclusively

2•
to the sacred vocal music. In addition to works preserved in the
Raccolta Foà-Giordano, Ruegge listed two additional works preserved in
Dresden, and one in Prague, He categorized the works according to
performance medium and assigned his own numbers accordingly. He
included a text incipit, volume and page numbers, and performance forces
for each work. He.also listed a few then-published modem editions.
Unfortunately, he did not indicate the key of each composition.
Ipp. 170-172.
2
Raimund Riiegge, "Die Kirchenmusik von Antonio Vivaldi",
Sweizerische Musikzeitung 61 (1971);135-139.
14
A second inventory by Agostino Girard in the 1973 edition of
Giazotto*s Antonio Vivaldi offered considerable improvement over his
earlier list,^ It listed works preserved not only in Torino, but also
in Dresden, London, and Prague, Girard assigned numbers to the works
according to the alphabetical order of the text incipit. The inventory
includes the titles as they appear in the original manuscripts,
performing forces, keys, volume and page numbers, the locations of the
Vivaldi monogram, and modern editions, if any. A weakness of the list
is that no attempt is made to delete unsigned works not by Vivaldi.
Further, no indication is given concerning authenticity of the
manuscripts.
The inventory that ”, . . passes the tests of conçrehensiveness,
accuracy, and rationality incomparably better than it's predecessors”
and that undoubtedly will achieve the widest use is Verzeichnis Der
%
Werke Antonio Vivaldi by Peter Ryom, This is the first thematic
index to include a musical incipit for each of the vocal works, Ryom
included works contained in 44 libraries and consulted all previous
inventories. Also listed are those works known to have existed but
which are now lost. Anonymous works and those by other composers
preserved in the Raccolta Foà-Giordano are listed separately in an
appendix.
1
Remo Giazotto, Antonio Vivaldi (Torino: Edizioni Rai
Radiotelevisione Italiana, 1973), pp, 415-458,
^Talbot, Vivaldi, p, 12,

?
Peter Ryom, Verzeichnis Der Werke Antonio Vivaldi (Leipzig;
VEB Deutscher Verlag fflr Musik, 1974).
15
The inventory lists the vocal compositions by the text incipit
and categorizes them according to their text type [liturgical, non-
liturgical, etc.}» The location and type of each manuscript is given.
Ryom indicated works which exist in several versions as well as
incomplete works. Introductions are listed as separate works.
While Ryora's inventory is the most thorough and useful ofany
compiled, it does not include the following necessary information: the
original titles, the performing forces, the volume and page numbers, and
existing modem editions.
The Inventory of the Present Study
The inventory included in Appendix A of the present study,
is intended to present more complete and correct information concerning
the sacred vocal music of Vivaldi than is presented in any one previous
inventory. The list attempts to rectify inaccuracies, inconsistencies,
and other weakness found in the inventories by Damilano, Ruegge, Girard,
and Ryom. Inventories compiled before these four, while being
recognized for their evolutionary importance, are here considered to be
of little value.
The present inventory assigns numbers to the works according
to four categories:
I. Authenticated works by Vivaldi
II, Unauthenticated works
III. Lost works
IV. Other sacred vocal works preserved among the five volumes
of Vivaldi sacred vocal works in the Raccolta Foà-Giordano
^See appendix A, pp. 75-102.

16
A sub-categorization of the authenticated works lists the compositions
according to text type^: a. Mass Ordinary sections b. Psalms
c. Other liturgical texts d. Motets e. Introductions f. Oratorios,
Alternate versions, incomplete works, and introductions are enumerated
as separate works.
The Ryom, Ruegge, Girard, and Damilano numbers are given for
each composition. Ryom's numbers are sure to pass into general

2
circulation. Therefore, they are quoted in reference to individual
works throughout the present study-.
The present inventory gives the text incipit and the original
title of each work (if the title or title page has been preserved). The
key, performing forces, and number of movements for each work are
indicated. The locations [or the citations for lost works), and
volume and page numbers or manuscript numbers for each composition are
included. When known, the type and format of the original manuscripts
are given. Further, many published editions are listed.
Inaccuracies of the Four Inventories
Damilano lists as uncertain five authenticated works by
Vivaldi: "Beatus Vir" RV 598, "Laudate Pueri Dominum" RV 603,
"Regina Coeli" RV 615, "Vestro Principi divino" RV 633, and "Jubilate
o amaeni" RV 639®, In addition the authenticated work, "Gaude Mater
Ecclesia" RV 613, is not attributed to Vivaldi. Damilano indicated four
^This approach originates with the Ryom inventory. The order of

works within sub-categories follows that employed by Ryom.
^Talbot, Vivaldi, p, 13,

17
works which he believed to be by Vivaldi but which are not. Included
are "Kyrie" RV Anh. 21, "gloria" RV Anh. 22, "Laudate Pueri Dominum"
RV Anh. 30, and "Nisi Dominus" RV Anh. 34. "Regina Coeli" RV 615, is
listed for alto solo but the part is written in tenor clef; this
presumably indicates that it is for tenor solo.^ "Longe male unibre
terrores" RV 629, is listed by Damilano as "Recedite nubes et fulgura".
The Riiegge inventory of Vivaldi’s sacred music lists two works
which are not by Vivaldi; "Dixit" RV Anh. 27, and "Lauda Jerusalem"
2
RV Anh. 35. Two works by Vivaldi are not listed: "Carae rosae
respirate" RV 624, and "Vos aurae per montes" RV 634. Likewise, the
version of "Magnificat" RV 610^, for double chorus is absent from the
list. The unauthenticated work "Salve Regina" RV 617, is listed as
certain by Ruegge. He also failed to mention the use of chorus in
"Laudate Pueri Dominum" RV 602, and mistakenly identified "Laudate
Pueri Dominum" RV 603, as fragmented. Ruegge did, however, draw
attention to an example of poor Vivaldi scholarship. He reported a
disc recording of an anonymous "Te Deum" (perhaps RV Anh. 38) which the
3
performer had falsely attributed to Vivaldi,
The only example in the sacred vocal music which suggests that
a part written in tenor clef may be sung by an alto is in "Magnificat"
RV 611. In it, the solo "Esurientes implevit bonis" is written in tenor
clef but the name "Ambrosina" is written on it, indicating that it is
to be sung by a female. See Fort, "An Analysis," p. 79.
2
"Credidi" RV 605, is a contrafactum of this work. Perhaps this
relationship between the two works led Riiegge to mistakenly attribute
the anonymous work to Vivaldi,
Îssued in 1965 by Phillips as #835301Ly.

18
The Girard inventory is more in agreement with the present
inventory concerning those works which are authenticated. However, it
does perpetuate many other inaccuracies. Girard states that "Dixit"
RV 594 is in C Major rather than in D Major. He mistakenly says that
"Credo" RV 591 includes soprano and alto solos. He fails to mention
that "Beatus Vir" RV 597 includes soprano, tenor, and bass solos.
"Laudate Pueri Dominum" RV 603 is listed for alto solo rather than for
soprano; the same work, also includes flute, which Girard does not mention.
The antiphon "Regina Coeli" RV 615, is listed for alto solo rather than
tenor solo and is also called a "motet". Likewise, the hymn "Gaude
Mater Ecclesia" RV 613 is called a "motet". The two oboes employed in
"Gloria" RV 588 are not listed. Finally, Girard, as did Damilano, listed
"Longe mala umbre terrores" RV 629, as "Recedite nubes et fulgura".
Problems with information in the Ryom catalog are few. Ryom
mistakenly stated that "Regina Coeli" RV 615, is incomplete. Confusion
is generated by Ryom in his treatment of "Laudate Pueri Dominum" RV 602,
and "Laudate Pueri Dominum" RV 603, The latter is a reworking of the
former work for one solo soprano rather than two, and includes entirely
new music for verse seven, Ryom, however, has divided the latter work
into two entities. The new music for verse seven and the reworking of
verse nine for flute rather than oboe are assigned the number RV 602,
while the revision for one soprano rather than two is assigned the
number RV 603. The present writer considers the revision for one
soprano, the variation of verse nine, and the new music for verse seven
to Be only one entity.

19
Another source concerning the enumeration of Vivaldi’s sacred
vocal music is that of Robert Fort, Jr., "An Analysis of 13 Vesper
Psalms of Antonio Vivaldi contained in the Foà-Giordano Collection".^
Fort's dissertation was previously the only large-scale study confined

’2
exclusively to Vivaldi's sacred vocal music. In it, he discussed
certain problems of authenticity in the sacred works preserved in the
Raccolta Foà-Giordano,^ Unfortunately, the discussion does not enable
the reader to identify many of the works by title. Fort categorized
43 Vivaldi sacred works by text type, but does not name each individual
work. However, much information is provided concerning Psalms by
Vivaldi. Fort enumerated 13 psalms by Vivaldi, rather than the 15 enumer
ated by the present writer. He listed "Laudate Pueri Dominum" RV 602,
and "Laudate Pueri Dominum" RV 603, as one work. A fifteenth Psalm,
"Domine ad adiuvandum" RV 593 (verse 2 of Psalm 69), was not listed by
Fort in the category of vesper Psalms.
Since World War II, no fewer than eight substantial biographies
of Vivaldi and introductions to his music have appeared in print.*
^Robert Fort, Jr., "An Analysis of Thirteen Vesper Psalms."

2
Three doctoral studies have examined certain areas of the
secular vocal music: Dunham, "The secular cantatas,"; Lewis Eugene
Rowell, "Four Operas of Antonio Vivaldi" (Doctoral dissertation.
University of Rochester, 1959); Helen Maurer, "The Independent arias
of Antonio Vivaldi in Foà 28" (Doctoral dissertation, Indiana University,
1974).
^Fort, "An Analysis," pp. 30-41.
Mario Rinaldi, Antonio Vivaldi; Marc Pincherle, Antonio Vivaldi;

Gian Francesco Malipiero, Antonio Vivaldi: II Prête Rosso (Milano:
Ricordi and Co., 1958); Remo Giazotto, Vivaldi; Walter Kolneder, Antonio
Vivaldi; Remo Giazotto, Antonio Vivaldi; Michael Talbot, Vivaldi; Alan
Kendall, Vivaldi.
20
However, while they treat the instrumental music in great detail, none
of them includes more than a brief section surveying the different types
of Vivaldi sacred music. This is surely the result of the
unavailability of Vivaldi’s sacred vocal music.
Modern Editions of Vivaldi’s Sacred Music
About one-half of the 46 sacred vocal works by Vivaldi preserved
in the Raccolta Foà-Giordano are published in modem edition.^ However,
for the most part these editions represent questionable editorial
practices. Further, publishing conpanies have tended to duplicate their
efforts so that a small number of works are found in many different

2
editions.
Ricordi and Company of Milano has published a series of Vivaldi
works which includes about ten editions of sacred works. Unfortunately,
the editorial standards governing the series " . . . as well as the actual
editing itself . , . fall short of this kind of publishing venture.
Examples of poor editing may be seen in "Dixit" RV 594, edited
by Gian Francesco Malipiero.* Though the edition cites the source with
volume and page numbers (many in the series do not), includes editorial
tempo, dynamic, and articulation indications in parentheses, and
^Two works cited in several lists as published by Otos of Firenze

appear not to be available, and perhaps have not yet been printed,
2
"Gloria" RV 589, exists in at least ten different modem
editions.
^Talbot, Vivaldi, p. IQ,
*Ricordi and Co., Milano, 1970, published as #131464.

21
provides basso continuo realizations, musical incipits are not included,
nor is an itemization of editorial revisions. Further, the editor has
occasionally randomly assigned solo voices to chorus parts and composed
new cello and contrabass (yiolone] parts which differ occasionally from
the basso continuo part.^
A further example of poor editing in the Ricordi series may be

2
seen in "Stabat Mater" RV 621, also edited by Malipiero. This edition
includes no source citation, no editorial preface, no itemization of
editorial revisions, nor any other editorial comments delineating
Vivaldi's and the editor's work. Similar weaknesses are found in
editions published by Carisch of Milano and Harmonia of Hilversum.
A Lawson-Gould of New York publication entitled "Chamber Mass"

2
by Vivaldi edited by Vahe Aslanian, is a combination of two separate
and distinct works: "Kyrie" RV 587, and "Gloria" RV 588. The
combination of the two works, probably a financial opportunity on the
part of the publisher, has been defended in the preface by the editor
as a common practice during the 18th century. While the occurrence of
a "pasticcio" was indeed common, the title of Aslanian's edition should
reflect this.
•Fort, "An Analysis," pp, llQ-112, includes a discussion of the

use of basso continuo in the psalms by Vivaldi. In the absence of
indications commonly placed on the manuscript by Vivaldi such "senza
violone", one may probably assume that the entire basso continuo group
(organ, cello, violone) is to play. Malipiero, however, has added and
subtracted parts of the basso continuo group based on his own
interpretation, and without special editorial comment.
^Ricordi, published as #131565,
Lawson-Gould Company, New York, 1964, published as #51141.

22
The original title page of "Gloria" RV 588, reads "Introduzione
al Gloria ad Alto Solo con Istromti e Gloria à 4 con Istromti". However,
the "Introduzione", or introduction, for alto solo had at some point been
separated from the title page and "Gloria" RV 588. Consequently,
Aslanian's edition is without the introduction, and therefore incomplete.
Research has shown that the introduction in question is "Jubilate o
amaeni" RV 639. Perhpas Aslanian thought that the introduction was
integral with "Gloria" RV 588. This may be explained as follows.
The first section of RV 588 begins with a ritomello and alto
solo, measures 1-46. The editor may have assumed that these beginning
measures were the introduction referred to on the title page. In addition,
these first measures for alto solo are a continuation of the text and are
related musically to RV 639. Aslanian recognized a relationship between
the initial section of RV 588 and RV 639, but perhaps having assumed
that the opening measures were the introduction, did not recognize
RV 639 as the separated introduction. Instead, he assumed that the
opening measures of RV 588 were a contrafactum of RV 639. Further, he
identified RV 639, a non-liturgical sacred text setting, as a cantata.
Were it not for these errors, features of this vocal edition
with keyboard reduction of the instrumental parts would be as
satisfactory as other present editions. Even though the specific
source and musical incipits are not included, a preface, text translation,
and list of editorial revisions are given, and editorial additions are
included in brackets.
Unfortunately, the full score version of this edition
(available only on rental) is unsatisfactory. No source, incipits.

23
preface, text translation, or list of editorial revisions are included.
It is interesting to note that while editorial additions are enclosed
in brackets in RV 588; they are not in RV 587. A further example of
poor editing may be seen here, RV 587 includes two "cori" of 4-part
strings, set antiphonally. The editor, however, has combined the two
cori into one integrated ensemble of 4 violin parts, 2 viola parts, and
2 basso continuo parts, making the antiphony almost impossible to decipher.
Universal Edition of Vienna had planned to publish the complete
sacred vocal music of Vivaldi.^ However, upon the death of the general
editor of the series, Renato Fasano, it was decided to discontinue the

2
series. Only about eight editions were published. An example in this
series is "Credo" RV 591, edited by Fasano himself.^ This edition cites
editorial revisions and gives prefatory notes. However, it does not
cite the source with volume or page numbers, nor are musical incipits
or a continuo realization included.
Editions of Vivaldi sacred works published by Edition Eulenberg
of Zurich are more satisfactory. An example is "Lauda Jerusalem"
RV 609, edited by Jurgen Braun,^ The edition includes critical
commentary and translations of the text. Editorial additions appear in
brackets while revisions are listed in the preface. Unfortunately,
volume and page numbers of the source, musical incipits, and basso
^Renato Fasano, La Musica Sacra di Antonio Vivaldi (Vienna:

Universal Edition],
2
Letter from Universal Edition A,Q. to Keith D. Graumann,
5 December 1980,
Universal Edition, Vienna, 1969, published as Philharmonia #902.
Êmst Eulenberg, Zurich, 1969, published as #6553.

24
continuo realizations are not included.
In 1978, the directors of the Istituto Italiano Antonio Vivaldi
announced that they intended to prepare general editorial guidelines for
all modern editions of Vivaldi works; they proposed to publish the
unedited instrumental works, the sacred works, and some of the more
artistically significant operas in strict collaboration with, all other

1
European institutions. No information as to the initiation or develop
ment of this is known at this time.
Nine Unpublished Sacred Vocal Works by Vivaldi
Of the 46 previously mentioned sacred vocal works by Vivaldi
preserved in the Raccolta Foà-Giordano, 29 employ liturgical texts. Of
these, 20 are cited as published in various lists while 9 remain

2
unpublished. These nine, listed below, are presented in performance
editions in the appendix of the present study.
RV 602 "Laudate Pueri Dominum" [Psalm 112)

in A Major for two soprano soloists, chorus,
oboe, two cori of strings, and basso continuo.
RV 603 "Laudate Pueri Dominum" [Psalm 112)

in A Major for one soprano soloist, chorus,
flute, two cori of strings, and basso continuo.
RV 604 "In Exitu Israel" [Psalm 113)

in C Major for chorus, strings, and basso
continuo
RV 605 "Credidi" [Psalm 116)

in C Major for chorus, strings, and basso
continuo
Âbbado, "Antonio Vivaldi," p. 110.

2
See appendix A for location, original titles, and cross
catalog listings.
25
RV 612 "Deus Tuorum Militum" (Hymn)

in C Major for Alto and Tenor soloists, two
oboes, strings, and basso continuo
RV 613 "Gaude, Mater Ecclesia" (Hymn)

in B flat Major, for soprano soloist,
strings, and basso continuo
RV 615 "Regina Coeli" [antiphon]

in C Major for Tenor soloist, two trumpets,
RV 618 "Salve Regina" [antiphon)

in a minor, for alto solo, two oboes,
RV 620 "Sanctorum Meritis" (Hymn)

in C Major for Soprano soloist, strings, and
basso continuo
As can be seen from the above list, the nine works are diverse
in use of text and performance forces. By textual category, the nine
include four psalms, three hymns, and two antiphons. Four works employ
chorus and orchestra, two of which, also include solo voices. Four
works employ one solo voice and orchestra and one work is for two solo
voices and orchestra. Each of the nine employs strings and basso
continuo. In addition, one uses two trumpets, two use two oboes, one
uses one oboe, and one uses transverse flute.
Original manuscripts of the nine are preserved in four of the
five volumes of Vivaldi sacred works. The Volumes are found in both
oblong and bottom format, of nonuniform shape nor dimensions, in
presumably 19th century bindings.1 Three of the nine works are
preserved in Foà 40 while three works are preserved in Giordano 33.
Two works are preserved in Giordano 35 and the remaining work is
^Dunham, "The secular cantatas," p. 36.

26
preserved in Giordano 34 (the only sacred work in this volume).
Each of the nine is preserved in autograph score format, while
two of the works also are preserved in non-autograph part format. Six
of the works are signed by Vivaldi while three are not. The Vivaldi
monogram appears upon only one of these works.
Chronology
None of Vivaldi's sacred vocal works are dated, and it is
therefore impossible to assign compositional chronology.^ However, it
is known that beginning about 1715, Vivaldi's responsibilities included
the composition of sacred vocal works for the Ospedale della Pieta during
2
the absence of the Maestro di choro, Francesco Gasparini.
Additionally, the present writer has observed that five sacred
vocal works preserved in the manuscripts share the same type of paper,
color of ink, and writing style: "Laudate Pueri Dominum" RV 602,
"Laudate Dominum" RV 606, "Laetatus Sum" RV 607, "Beatus Vir" RV 597,
and "Credo" RV 591. Further, Talbot cites five works sharing these
similarities, including three of the above, and two additional works;
'Jubilate o amaeni" RV 639, and "Gloria" RV 588.^ These observations
There are several general references citing performances at

the Pietà. Only one reference cites the performance of a specific
Vivaldi sacred vocal work: a letter of 1732 cites a "Laudate Dominum"
(perhaps RV 606) performed during a transfer of Saint's relics to the
Basilica San Marco in Venice. See Giazotto, Vivaldi, p. 221.
2
Cited in an entry in the Pieta records dated March 17, 1715,
The entry is reproduced in Fort, "An Analysis," p. 76.

21
show that a total of seven works share these visual similarities,
inçlying that they may all have been composed at approximately the same
time. Scholars can only hypothesize that "Laudate Dominum" RV 606 is
the work on that text cited at San Marco in 1732, and therefore date
the remainder of the seven around that year.
Discussion of the Nine Works
Laudate Pueri Dominum RV 602^
This setting of Psalm 112 is a large-scale work set in eight
musical movements, the fourth of which is a ritornello stated again
between movements six and seven. Verses of the psalm text are set
either individually as movements or paired as one movement.
The work is scored for two soprano soloists, two cori of
strings, the second of which includes solo oboe, and two SATB choruses.
However, Vivaldi scored parts only for the first chorus and indicated
on the bottom of the first page of score that the second chorus is to
sing with the first: "Tutti li ripieni del 2do Coro si canano dal
2
Pmo Coro".
The first movement, of 63 measures, is Allegro in common time
employing the full complement of voices and instruments except for the
solo oboe. The first 59 measures use the first verse of text in
antiphonal fashion between the first coro of strings with Soprano I and
the second coro of strings with Soprano II. The second verse of text
is declared by the chorus in block chordal fashion in measures 49-59.
Ânalysis of RV 602, RB 603, RV 604, and RV 605 are provided in

Fort, "An Analysis," pp. 221-234, 235-245, 246-262.
^Foa 4ff, page 208^\

28
These ten measures are repeated twice on the same text in the course of
the movements; as movement four and it's repitition between movements
six and seven. The materials of the ten measures are also used in
fragmented fashion in the final movement.
It is interesting to note the passage occurring in measures
6-8 (and repeated exactly in measures 8-10] of this first movement
(example 1). Occurring only in these measures, the motivic violin
melody played by Violins I and II is remarkably similar to the recurring
obligato figure employed by Violins I and II in "Laudate Dominum" RV 606
(example 2).
Example 1» Laudate Pueri Dominum RV 602

Ms. 6-8, Violins I-II
Example 2. Laudate Dominum RV 606

Ms. 34-36, Violins I-II
One can conjecture that Vivaldi was cognizant of the relationship between
the two. This is not entirely improbable since attention has already
been drawn to the fact that the two works share the same types of paper,
color of ink, and writing style, and therefore may have been composed at
approximately the same time.^
1
See pages 26-27 of the present study.
29
Th.e second movement of RV 602 is set for only the first coro
of strings and Soprano I, and ençloys verse two of the text. Like the
first movement, it is Allegro in common time.
The third movement, Andante, is in two parts which share
essentially the same music: the first part sets verse four of the text
using the first coro of strings and Soprano I, while the second part
sets verse five using the second coro of strings and Soprano II.
Interesting notational features in the original manuscript of this move
ment may be observed at each entrance of the sopranos. Vivaldi had
placed the indication "organo solo piano" below the basso continuo part
at each entrance and figured the part accordingly. However, although
still legible, these indications have been erased and replaced with the
indications "Senza organo". This of course explains why the basso
continuo figures continue to appear although the organ does not play.
3
Movement five, 8 Allegro, is an extended setting of verse six
in dialogue and duet between the two sopranos and cori of strings.
Movement six pairs verses seven and eight in a type of
repeated binary form, using only Soprano I and the first coro. It
demonstrates an interesting texture: when the voice is present it is
doubled by Violins I and II in unison and is accompanied only by violas
in a basso continuo-like manner.
The Andante seventh, movement contains the only appearance of
the solo oboe. Accompanied only by the basso continuo of the second
coro. Soprano II presents the first verse of the "Gloria Patri" in
dialogue and duet with the solo oboe. The movement closes with a
cadenza-like passage for the oboe.

30
The final movement sets the "Sicut erat" of the "Gloria Patri”
not uncommonly using essentially the same music as movement one. The
two sopranos, accompanied by their respective cori, present the text
in dialogue, interrupted by declamations of the chorus again using the
text of verse two,
Laudate Pueri Dominum RV 603
This setting of Psalm 112 is a revision of RV 602, and uses

y
much of the same music. It appears immediately following the earlier
work in Foà 40, and at one time had been interleaved between the pages
of the first work.^ This revision is essentially an arrangement of
RV 602 for one soprano soloist rather than two, although, verses
seven and eight are newly composed, and verse nine employs transverse
flute rather than oboe. The second and fourth movements are drawn
without alteration from RV 602.
In movement one, the two cori accompany the single soprano

2
soloist antiphonally. The interest provided by the alternation
between the two sopranos in RV 602 is replaced by the alternation of
forte and piano by the single soloist.
The alteration of Movement three involved the combination.of
the two internal sections into one. Additionally, the cori of
strings are here employed antiphonally rather than being in alternation
between the two internal sections of the version in RV 602.
Microfilm copies of the two works received from Chomon-Perino

Company of Torino were apparently made before Foà 40 was reassembled,
and reflect this scrambled order,
^Fort, "An Analysis,” p. 229,

31
Great ingenuity is displayed in movement five. Vivaldi
retained the antiphonal effects of the two sopranos in RV 602 by
replacing Soprano II with SATB chorus. The florid melody has been
altered somewhat, presumably to more easily enable the chorus sopranos
to sing a part originally intended for a soloist. It is interesting to
note that a four-note motive of the basso continuo that appears with
each occurrence of the ritornello has been altered slightly in RV 603
from the way it appears in RV 602. The third note of the motive
(example 3] appears without exception as a lower neighbor tone in RV 602,
while it generally appears as an upper neighbor tone in RV 603
[example 4).
Example 3. Laudate Pueri Dominum RV 602

Movement V, Ms. 1, Basso Continuo
E fiE i
Example 4. Laudate Pueri Dominum RV 603
Movement V, Ms. 1, Basso Continuo
All,
L ei
& I
Vivaldi has set entirely new music for movement six (verses
seven and eight). This allegro molto movement in I sets the text of
these verses twice. Verse seven is stated and after a ritornello,
verse eight. Both verses are then repeated without intermittent
ritomelli.
32
As previously mentioned, movement seven is very similar to that
in RV 602, but employs transverse flute rather than obê. However, the
cadenza-like closing for the solo instrument is abbreviated in RV 603.
The changes affected in the final movement are similar to those
made in the first movement. That is, the antiphonal repititions between
the two sopranos in RV 602 are replaced by the alternation of forte-piano
repetitions by the solo soprano in RV 603.
In Exitu Israel RV 604
"In Exitu Israel" is a setting of Psalm 113 for chorus set
homophonically, strings, and basso continuo. It is interesting to note
that a text of such extraordinary length [29 verses) is set by Vivaldi
in one movement. However, the length has been shortened somewhat by the
1
omission of verses five and six. Further, length has been reduced by
the absence of text repetition and melismatic treatment except in the
unison sequential closing section on the word "Amen".
Credidi RV 605
"Credidi", Psalm 115, is unique among the known sacred vocal
music by Vivaldi. It is of the "prima prattica" style: a primarily
polyphonic setting using SATTB chorus with strings "colle parti".
Further, it is a "contrafactum" of an anonymous setting of "Lauda

2
Jerusalem" RV Anh, 35, The work is set in one movement, although
is sectionalized according to divisions of the psalm text.
^Vivaldi's omission of portions of text is not unusual as may be

observed in RV 612, RV 613, RV 615, and RV 620.
2
Borrowing by Vivaldi is precedented. For example, the final
movements of both RV 588 and RV 589 are borrowed from the final movement
of "Gloria" RV Anh. 23 by G. M. Ruggieri.
33
Deus Tuorum Militum RV 612
This is a single movement setting for alto-tenor duet, two
oboes obligato, strings, and basso continuo. Vivaldi has set only
verses one, three, and five of the hymn text.^ The three verses are
set strophically using the same music for each verse. Violins I and II
play no independent parts, but singly double the oboes in tutti sections.
The original score of this work shares the same paper, color of ink, and
writing style as the score of "Salve Regina" RV 618, and therefore perhaps
was composed at approximately the same time.
Gaude Mater Ecclesia RV 613

2
This work is a setting of three verses of the Hymn a S. Domenico,
for soprano solo, strings, and basso continuo. Following the opening
ritomello, Vivaldi used a rather interesting two-part texture for the
remainder of the work. Violins I and II double the soprano melody
acconçjanied only by basso continuo. Observing the four-phrase nature of
each verse of text, Vivaldi has set a repeated binary form interrupted
by a recurring ritornello between each verse.
Regina Coeli RV 615
This setting of an antiphon for the Pasqual Mass is unique in
being the only independent sacred work for tenor solo in the Vivaldi
literature. It is additionally uncommon because only one other sacred
work employs paired trumpets ("Dixit" RV 594) and only two other sacred
1
Liber Usualis with Introduction and Rubrics in English (Tournai:
Desclee and Cie,, 1953), p, 1126,
2
Stablein, Bruno, ed., Hymnem (Kassel: Barenreiter-Verlag, 1956),
p, 123.
34
works are set in three movements (."Kyrie" RV 587 and "Domine ad
adiuvandum" RV 593]. It's ternary large form is like many of Vivaldi's
instrumental concent!: Allegro-Gravis-Allegro. The final Allegro is
a partial da capo of the first movement, indicated by Vivaldi at the end

1
of the second movement: "Con Trombe D.C, al Segno # fino al Segno ".
2
Vivaldi chose to set only verse two of the text. The omission
of the first verse may account for the indication in several inventories
that the work is incomplete.
The first movement and its da capo are extremely virtuosic for
both the solo voice and instruments, perhaps reflecting the nature of
the first phrase of text: "Resurrexit, sicut dixit, alleluia". The
contrasting slow movement, without trumpets and organ, displays suitable
contrast on the text: "Ora pro nobis".
Salve Regina . RV 618
This antiphon setting is an extended work in six movements. It
is scored for alto solo, two cori of strings, and basso continuo. Two
oboes appear in the first coro only in movement four.
The Andante molto first movement begins with a fugato-like
ritomello, the subject of which recurs throughout the movement.
Antiphonal effects possible between the two cori are not employed.
Rather, the second coro joins the first in forte sections.

3
The second movement. Allegro 8, provides suitable contrast to the
first in its energetic declamation of the text "Ad te clamamus".
^Giordano 34, page 78^.
^Liber Usualis. p. 275.

35
Compositional unification is noticeable by the frequent return to a
descending unison passage on the text "exules Filii heue”.
The third movement. Larghetto in common time, scored only for
the first coro, exhibits Vivaldi's abilities at text painting. He
suggests an interesting sighing effect on the text "Ad te suspiramus"
[example 51,
Example 5. Salve Regina RV 618

Movement 3, Ms, 8-9, Alto
The full complement of the performance forces is employed only in move
ment four. Here Vivaldi exploited the antiphonal effects of the two cori
of strings. The oboes, while not antiphonal, participate alternately
with both cori. In this movement, as in the second movement, an element
of unity is seen in the frequent passages of the voice and all instruments
in unison.
Movement five. Andante 8, is similar to the first and last
movements of RV 602 and RV 603 in its use of antiphonal effects. The
second coro of strings often echoes the first chorus, many times in
strict imitation.
The final movement. Larghetto, in common time, reflects the
emotional content of the text "0 clemens, 0 Pia, 0 dulcis Virgo Maria",
in a highly illustrative manner.

36
Sanctorum Meritis RV 620
This work is similar in construction to "Gaude Mater Ecclesia"
RV 613. Verses one, three, and six only of the hymn^ are set somewhat
strophically using essentially the same music for each verse. The
opening ritornello is used to introduce each successive verse.
^Liber Usualis. p. 1159.

CHAPTER ir
EDITORIAL PROCEDURES
General Editorial Procedures
1, Practices in contemporary notation are drawn from

Gardner Read, Music Notation.
2, Each edition has been prepared by personal examina

tion of Vivaldi’s original manuscripts preserved in
the Biblioteca Nazionale di Torino over a nine-month
period during 1979-1980. All editions were prepared
from autograph, full scores. RV 613 and RV 620 are
also preserved in part format.
3, Incipits precede each edition and represent as closely

as possible the appearance of the original manuscripts.
4, All part lines have been retained throughout each

score. No attempt has been made to reorder or to
reduce the number of lines as parts diminish. Each
line has been labeled preceding each composition or
movement,
5, Each part is included on a separate stave throughout

the scores with the exception of those compositions
in which Violin I and Violin II are in unison through
out the composition or movement,
6, All clefs have been modernized, using treble, alto,

and bass clefs only,
7, All original tempo indications have been retained.

Those suggested by the editor appear in brackets,
8, All original dynamic indications have Been retained,

and placement is as in the original manuscripts.
Those suggested by the editor appear in brackets,
9, Placement of accidentals has been modernized.

During the time of Vivaldi, accidentals were
37
38
cancelled by any different successive note, while

in the case of repeated notes, the bar-line did not
cancel the accidental. Rather, in modern notation,
only the bar-line or another accidental cancels the
previous accidental,
10, All rests appearing in the original manuscripts

have been retained. Missing rests within a measure
have been inserted and enclosed in brackets.
Missing rests involving an entire measure have been
dealt with without special comment in the following
manner. Whole rests are often used to indicate an
entire measure of rest regardless of the time
- signature; rests are inserted, when applicable, in
the first full measure and in the final full measure
of each movement or composition; rests are included
in the full measures immediately preceding and
immediately succeeding those measures which contain
a pitch or pitches; no indication appears in all
other empty measures, in order to provide ■
uncluttered appearances of the scores,
11, Slurs added by the editor have been indicated by a

slash through the slur thusly:
12, Text spelling and punctuation have been modernized

when possible to that of the 1953 edition of Liber
Usualis. Variations from this standard are cited
as they occur. Standard text translations or those
made by the editor are included and cited.
13, All of Vivaldi's abbreviated notational devices such

as "con la parte", "ut supra", and etc,, have been
fully realized and noted as they occur.
14, Thorough bass figures have been retained. Those

inserted by the editor appear in brackets. Those
corrected by the editor have been properly cited.
Basso continuo realizations have been provided by
the editor and included as suggestions only. If
no particular keyboard instrument is indicated in
a manuscript, one has been suggested by the editor,
15, Sources are indicated in those sections of this

paper relating specifically to each composition.
All other editorial revisions, corrections, or
additions are either included in brackets, or
precisely noted in those sections of this paper
relating specifically to each individual composition.
39
Performance Considerations
Size of the string ensemble. As previously mentioned, two of
the seven works; "Deus Tuorum Militum" RV 612, and "Sanctorum Meritis"
RV 62Q, are preserved in individual instrumental and vocal part formats
in addition to the autograph score formats. Enumeration of the numbers
of individual string parts is the same for each of the two works as
follows,
2 Violin I parts
2 Violin II parts
2 Alto Violetta pa,rts
2 Violoncello parts
1 Violone part
The approximate number of string players that may have been employed by
Vivaldi are suggested by enumerating a maximum of two players per part.
4 Violin I
4 Violin II
4 Alto Violetta
4 Violoncello
2 Violone
Basso Continuo. The normal basso continuo group employed by

1 2
Vivaldi in the sacred works includes violoncello, violone, and organ. *
The use of organ as the keyboard instrument of the basso continuo group
may be substantiated in five of the nine works. The following list
%ee p. 21 of the present study.
^ e only Vivaldi sacred work calling for other instruments for

Basso Continuo harmonization is the oratorio "Juditha Triumnhahs"
RB 644, which uses organo and two cembali.
40
cites one reference to "organo" in each of the five works.
"Laudate Pueri Dominum" RV 602
Ms, 21, Coro r, B.C.: "Org: solo"
"Laudate Pueri Dominum" RV 603
Ms, 23, Coro IT, B,C,; "Org: Solo e Po *'
"Deus Tuorum Militum" RV 612

A separate part is preserved for "organo".
"Regina Coeli" RV 615

Movement II, ms, 1, B.C.: "Senza Organo"
"Sanctorum Meritis" RV 620

A separate part is preserved for "organo".
Omamentation. The use of ornamentation indicated by signs in
the nine works is confined to trills and appoggiaturas. Trills are
common Both, in instrumental and solo vocal parts and are notated as "tr."
placed above the note. Trills in Baroque music normally are placed on
the beat and begin with the diatonic note above the primary note.^
Speed of the trill is flexible, based on the style and tempo of the
composition, Vivaldi notated trills both with ending notes (example 6),
and without Cexample 7}.
Example 6. Regina Coeli RV 615

Movement II, Ms. 27-28, Violins I-II
+r,
/ - B — W-
A) LW
^Robert Donington, A Performer's Guide to Baroque Music

(New York: Charles Scribner's Sons, 1973), p. 178.
41
Example 7, Regina Coeli RV 615

Movement II, Ms. 23-24, Tenor
The only work of the nine that calls for trills on choral parts is "In
Exitu Israel" Ry 604. The unison cadence in measure 23 has a trill
marked on all four choral parts (example 8)..
Example 8. In Exitu Israel RV 604

Ms, 23, SATB
All*»*#
Ta - cob
To. - c#b
<; 3a, - Cob
0
To. ? ccb
Notated appoggiaturas are rare in the nine works. However,
they are used with, relative frequency in the expressive second movement
of "Regina Coeli" RV 615. They appear with each occurrence of the
three note motive shown in example 9,

42

Movement II, Ms. 10, Violins I-II
Performance of the Baroque appoggiatura was flexible, but it normally
occurs on the beat, taking as much as one-half of the rhythmic value of
the note that follows [example 10).4
Example 10, Regina Coeli RV 615

Movement II, Ms. 10, Violins I-II,
performance suggestion
«.vtl
by-ji-.
Articulation markings. Bowings and tonguing slurs are not
consistently found.^ Vivaldi apparently did not find the notation of
them necessary, and only inserted them when they differed from what
would normally have been expected by the player. Further, Vivaldi
often indicated bowings only on the first few appearances of a figure
when in actuality he probably intended each appearance of the figure
to be bowed in the same manner [example 11),

Movement III, M. 11-12, Violin I
Îbid., p. 182 See Fort, "An Analysis," pp. 59-62

43
However, the expressive oboe solo [movement seven) of RV 602 is
meticulously slurred throughout, as is the gravis second movement of
RV 615.
Other articulation markings occur only in two of the nine works.
The only notation of staccato is in movement two of ’’Salve Regina”
RV 618.1 Example 12 shows how Vivaldi used the combination of the slur
and staccato to introduce the statement of the text by the alto
(example 13). It can be seen that the articulation of the Violin closely
follows the syllabification of the text by the alto.

Movement II, Ms. 1-2, Violin I

Movement II, Ms. 19-20, Alto
AfiL ta. clcu' ntiAS
The final articulation mark used by Vivaldi in the nine works is the
heavy horizontal stroke which appears over a slurred figure in
movement two of ’’Regina Coeli” RV 615 (exançle 14),
^The nature of Vivaldi’s handwriting makes it impossible to

discern between dots and vertical strokes in the manuscripts.
44

Movement II, Ms, 3-4, Violins I-II
É5
LAUDATE PUERI DOMINUM RV 602
The source of this edition is Foa 40, 208^ -226^ found in the
Raccolta Foa-Giordano of the Biblioteca Nazionale di Torino. The work
is preserved in autograph, signed score format. The Vivaldi monogram
appears on the title page^
Psalm 112
1. Laudate PueriDominum: laudate nomen Domini.
2. Sit nomen Domini benedictum, ex hoc nunc, etusque insaeculum.
3. A solis ortu usque ad occasum, laudabile nomen Domini.
4. Excelsus super omnes gentes Dominus, et super caelos gloria ejus.
5. Quis sicut Dominus Deus noster, qui in altis habitat, et humilia

respicit in caelo et in terra?
6. Suscitans a terra inopem, et de stercore erigens Pauperem:
7. Ut collocet eum cum principibus, cum principibus populi sui.
8. Qui habitare facit sterilem in domo, matrem filiorum laetantem.
9. Gloria Patri, et Filio, et Spiritui Sancto.
10. Sicut erat in principle, et nunc, et semper, et in saecula saeculorum.

Ajnen,
Translation^
1. Praise the Lord, ye children: praise the name of the Lord,
^Translations of Psalms are by Robert Fort, Jr.

45
2, Blessed be the name of the Lord, from henceforth and forever.
3, From thé rising of the sun unto the setting, praiseworthy is the
name of the Lord.
4, The Lord is high, above all nations, and his glory above the
heavens,
5, Who is as the Lord our God, who dwells on high, and looks down on
the low things in heaven and in earth?
6, Raising up the needy from the earth, and lifting up the poor out
of the dunghill;
7, That he may place him with, princes, with the princes of his people.
8, Who makes a barren woman to dwell in a house, the joyful mother of

children,
9, Glory to the Father, and to the Son, and to the Holy Spirit.
10, As it was in the beginning, is now, and ever shall be, world
without end. Amen,
Editorial Revisions
Movement I - ■
Ms. 7-8, 9-10; Coro I: Violin II realized from the

indication "Unisoni".
Ms, 56, beat 3: the original indication was "p?".
Ms, 59, beat 1: the fermata appearing in the tenor part

has been deleted.
Movement III
Verse 4;
Ms, 5-11%, 14%-24; Viola realized from the indications

"con il B,",
Ms, 4%, 14%, Basso Continuo: Vivaldi's original

indications were "Organo Solo Piano" but were
erased.
Verse 5:
Ms, 4%, 14, Basso Continuo: Vivaldi's original

46
indications were "Organo Solo" but were erased.
Ms. 4%-12%, 14*2-22: Viola realized from the indications

"con il B.".
Movement EV
The Soprano I part has been added by the editor and

exactly duplicates the Soprano II part.
Ms, 8-10: these measures have been written out by the

editor. The original manuscript indicated a repeat
of measures 5-7 by the signs: S .
Movement V
Ms. 78: Basso Continuo T and II have been reversed.
Movement VI
Ms, 18-30, 37-66; Violin I and II realized from the

indications "con la te".
p;
Ms, 14: The repeat indication originally preceded the
first beat of the measure and has been adjusted to
compensate for the repeat indication in measure 31.
Movement VII -.
Ms, 6: The Basso Continuo figure on beat 4*2

originally appeared on beat 3.
Movement VIII
Ms. 32, beat 3*2, Soprano II: originally ^
Laudate Pueri Dominum. RV 603
The source of this edition is Foa 40, 288^ -249^ found in
the Raccolta Foa-Giordano of the Biblioteca Nazionale di Torino. The
work is preserved in autograph score format, but is untitled and unsigned.
Psalm 112
1, Laudate Pueri Dominum; laudate nomen Domini.
2, Sit nomen Domini benedictum, ex hoc nunc, et usque in saeculum.

47
3. A solis ortu usque ad occasum, laudabile nomen Domini.
4. Excelsus super omnes gentes Dominus, et super caelos gloria ejus.
5. Quis sicut Dominus Deus noster, qui in altis habitat, et humilia

respicit in caelo et in terra?
6. Suscitans a terra inopem, et de stercore erigens Pauperem:
7^ Ut collocet eum cum principibus, cum principibus populi sui.
8. Qui habitare facit sterilem in domo, matrem filiorum laetantem.
IQ. Sicut erat in principio, et nunc, et semper, et in saecula

saeculorum. Amen.
Translation
1. Praise the Lord, ye children: praise the name of the Lord.
2. Blessed be the name of the Lord, from henceforth and forever.
3. From the rising of the sun unto the setting, praiseworthy is

the name of the Lord.
4. The Lord is high, above all nations, and his glory above the
heavens,
5. Who is as the Lord our God, who dwells on high, and looks down on
the low things in heaven and in earth?
6. Raising up the needy from the earth, and lifting up the poor
out of the dunghill:
7. That ke may place him with princes, with the princes of his
people,
8. Who makes a barren woman to dwell in a house, the joyful

mother of children.
9. Glory' to the Father, and to the Son, and to the Holy Spirit.
10. As it was in the beginning, is now, and ever shall be, world
without end. Amen,
48
Editorial Revisions
Movement I
Measures 1-21 and 52 to the end are extracted without

alteration from the first movement of RV 603.
Ms, 43-45*2, Coro I: Violin I and II realized from
the indications "Con la par;
Ms, 46-48, Coro II: Violins I and II realized from

t©
the indicates "Con la par: ".
Movement II
The entire movement is extracted without alteration from
RV 602,
Movement III
Ms. 8; A portion of the text was deleted from the original.
The final syllables of "Gloria" appear in measure 12, probably
indicating that Vivaldi intended the text to be inserted in
measure 8, This is confirmed by examining measure 8 of
movement three in RV 602.
Originally:
&
xt S. S
Edited;
r f — ‘-*1
f—
xf Su'pAy eoji'ios &!# -

Ms, 3, bt, 4-ms, 12, bt, 3: Viola realized from the indication
"Con il Basso",
49
Ms. 15, bt. 3- ms. 29: Viola realized from the indication:
" 9 :".
Movement IV
The entire movement is extracted without alteration from
RV 602.
Movement V
Ms. 23-28, 33-39, SO, bt. 2-51, 66, bt. 2-73, Coro I:
Violin I. realized from the indications "Con la part®".
Ms. 28-32, Coro I: Violin I realized from the indication
"Con il canto".
Ms. 1-19, 42-44, 77-80, Coro I: Violin II realized from
the indications "Ut siçra".
Ms. 23-28, 50, bt. 2-51, Coro I: Violin II realized from
the indications "Con la part®".
Ms. 52, bt. 2-53, 75-76, CorO II: Violin I realized from
the indications "Ut Supra".
Ms. 28-32, Coro II: Violin I realized from the indication
"Con il canto".
Ms. 3-19, 28-32, 52, bt. 2-53, 75-76, 80-83, Coro II:
Violin II realized from the indications "Ut supra".
Ms. 28-32, 52, bt. 2-53, 75-76, Coro II: Viola and Basso
Continuo realized from the indications "Ut supra".
Movement VI
Ms. 6-12, 41-43, 75-77: Viola realized from the indica
tions: "p:Bas:".
50
Ms. 14: Basso Continuo figure ”7" moved from beat 1
to beat
Ms, 30-32, 49-53, 61-63; Violin I realized from the

te
indications "con la par; ",
Movranent VII
Tonguing slurs have been added to the flute part thusly:
" ", based on those in movement seven of RV 602.
Movement VIII
Measures 1-7^ have been extracted without alteration from
movement eight of RV 602,
Ms, 15-17, 31^2-33, Coro I; Violin I realized from the
indications "con la parî®",
Ms, 31Î2-33, Coro II: Violin II realized from the
indications "con la parî®". _ .
Ms. 18-20%, 34%-36, Coro II: Violin I realized from

Il6
the indications "con la par: ",
Ms. 20-22, 24-25, Coro II: Violins I and II, Viola, and
Basso Continuo realized from the indications "Ut supra".
Ms. 34-36, Coro II; Violins I and II realized from the
indications "Ut supra",
Ms. 38, 44-45, Coro II: Violin II realized from the
indications "Ut supra",
Ms. 48, bt. 2%, Coro II, Violins I and II: originally "g#".
Ms. 48-49, Coro II: Violins I and II realized from the
indications "con la pari®".

51
Ms. 44-47, Coro I; Violin II realized from the indication
"Ut supra".
IN EXITU ISRAEL RV 604
The source of this edition is Giordano 33, 220^-229^ found in
work is preserved in signed, autograph score format.
Psalm 113 ■
1. In exitu Israel de Egito, domus Jacob de populo barbaro.
2, Facta est Judea sanctificatio ejus, Israel potestas ejus.
3. Mare vidit et fugit; Jordanis conversus est retrorsum,
4, Montes exsultaverunt ut arietes: et colles sicut agni ovium.
.7, A facie Domini mota est terra, a facie Dei Jacob:
8. Qui convertît petram in stagna aquarura, et rupem in fontes aquarum.
.9, Non nobis Domine, non nobis: sed nomini tuo da gloriam.
10, Super misericordia tua et veritate tua: nequando dicant gentes:

Ubi est Deus eorum?
11, Deus autem noster in caelo: omnia quaecumque voluit, fecit. .
12, Simulacra gentium argentum et aurum, opera manum hominum.
13, Os habent, et non loquentur: oculos habent, et non videbunt.
14, Aures habent, et non audient: nares habent, et non odorabunt.
15, Manus habent, et non palpabunt: pedes habent, et non ambulabunt:

non clamahunt in gutture suo,
16, Similes iilis fiant qui faciunt ea: et omnes qui confidunt in eis.
17, Domus Israel speravit in Domino; adjutor eorum et protector

eorum est,
18, Domus Aaron speravit in Domino: adjutor eorum et protector

eorum est.
52
19. Qui timent Dominum speraverùnt in Domino: adjutor eorum et

protector eorum est,
2D, Dominus memor fuit nostri: et benedixit nobis.
21, Benedixit domiii Israel: benedixit domui Aaron.
22, Benedixit omnibus qui timent Dominum, pusillis cum majoribus.
23, Adjiciat Dominus super vos: super vos, et super filios vestros.
24, Benedict! vox a Domino, qui fecit caelum et terram.
25, Caelum caeli Domino : terram autem dedit filiis hominum.
26, Non mortiiii laudabunt te Domine, neque omnes qui descendunt in

infemum,
27, Sed nos qui vivimus, benediciraus Domino, ex hoc nunc, et usque
in saeculum,
28, Gloria Patri, et Filio, et Spiritui Sancto.
29, Sicut erat in principio, et nunc, et semper, et in saecula

saeculorum. Amen,
1. IVhen Israel went out of Egypt, the house of Jacob from a barbarous
people: '
2. Judea was made hissanctuary, Israel hisdominion.
3. The sea saw and fled: Jordan was turned back.
4. The moutains skipped like rams: and the hills like the lambs
of the flock,
7, At the presence of the Lord the earth was moved: at the

presence of the God of Jacob:
8, Who turned the rock into pools of water, and the stony hill into
fountains of waters,
9, Not to.us, 0 Lord,not to us:but to Thy name give glory,
10. For Thy mercy, andfor Thy truth's sake: lest theGentiles
should say: Where is their God?
11. But our God is in heaven: he has done all things whatsoever
he would.
12. The idols of the Gentiles are silver and gold, the works of the
hands of men.
53
13, They have mouths and speak hot: they have eyes and see not,
14, They have ears and hear not: they have noses and smell not,
15, They have hands and feel not, they have feet and walk not:
neither shall they cry out through the throat,
16, Let them that make them become like unto them: and all such
as trust them,
17, The house of Israel has hoped in the Lord: he is their helper
and their protector,
18, The house of Aaron has hoped in the Lord: he is their helper
and their protector,
19, They that fear the Lord have hoped in the Lord: he is their
helper and their protector,
20, The Lord has been mindful of us, and has blessed us.
21, He has blessed the house of Israel: he has blessed the house
of Aaron,
22, He has blessed all that fear the Lord, both little and great.
23, May the Lord add blessings upon you: upon you, and upon your
children, - -
24, Blessed be you of the Lord, who made heaven and earth.
25, The heaven of heaven is the Lord's; but the earth he has given to
the children of men.
26, The dead shall not praise Thee, 0 Lord: nor any of them that
go down to hell,
27, But we that live bless the Lord; from this time now and
evermore,
28, Glory be to the Father, and to the Son, and to the Holy Spirit.
29, As it was in the beginning, is now, and every shall be, world
without end. Amen,
Editorial Revisions
Ms, 36, Basso continuo; the figure "V§" has been moved from beat
1?5 to beat 2,
54
Ms. 70, bt. 3, tenor: the rhythm was originally J D .
Ms, 71, bt. 2, Soprano, alto, tenor, bass: the rhythm was
originally /73 ,
The editor suggests that the organ uses repeated eighth note figures
rather than the sixteenth, note figures in measures 20-23, and
instead of the figures in measures 73-77.
CREDIDI RV 605
The source of this edition is Foa 40, 145^^-154^ found in the
is preserved in signed, autograph score format.
Psalm 115
1. Credidi propter quod locutus sum: ego autem hurailiatus sum nimis.
2. Ego dixi in excusse meo: Omnis homo mendax.
3. Quid retribuam Domino, pro omnibus quae retribuit mihi?
4. Calicem salutaris accipiam: et nomen Domini invocabo.
5. Vota mea Domino reddam coram omni populo ejus: pretiosa in

conspectu Domini mors sanctorum ejus.
6 . 0 Domine quia ego servus tuus: ego servus tuus sum, et filius
ancillae tuae,
7. Dirupisti vincula mea: tibi sacrificabo hostiam laudis, et

nomen Domino invocabo,
8. Vota mea Domino reddam in conspectu omnis populi ejus; in

atriis domus Domini, in medio tui Jerusalem.
10. Sicut erat in principio, et nunc, et sender, et in saecula

saeculorum. Amen.
1, I have believed, therefore have I spoken: but I have been

greatly afflicted,
2, I said in my consternation. Every man is a liar.

55
3. What shall I render to the Lord for all the things that he has
rendered unto me?
4. I will lift up the cup of salvation: and I will call upon the
name of the Lord.
5. I will pay my vows to the Lord before all His people: precious
in the sight of the Lord is the death of His saints.
6 . 0 Lord, for I am Thy servant: I am Thy servant and the son of

Thy handmaiden.
7. Thou hast broken my bonds: I will offer to Thee the sacrifice

of praise, and I will call upon the name of the Lord.
8 . I will pay my vows to the Lord in the sight of all His people:
in the courts of the house of the Lord, in the midst of Thee,
0 Jerusalem.
9. Glory be to the Father, and to the Son, and to the Holy Spirit.
10. As it was in the beginning, is now, and ever shall be, world
without end. Amen.
Editorial Noÿe
The string parts of this edition have been realized according
to Vivaldi’s instructions on the first page of score:
Istroml^ I I Li Primi si canano da’ Alti all’ 8 va’ Alti
Li 2di dalli Canti
Le due Violette dalli due Tenori
Editorial Revisions
Ms. 2, bt, 3^
2, Tenor I: originally <b’.
Ms, 15, bt, 4,Alto:originally’e’.
Ms, 26, ht, 1,Alto:originally’e',
Ms, 31, ht. 2,Bass:originally*e’,
Ms, 35 bt, 4-36, bt, 2: Alto and Soprano reversed.
Ms, 81, ht, 2, Tenor XI: originally ’d’.

56
Ms. 83, bt. 3, Basso Continuo; 6-5 instead of 4-3,
Ms. 84, bt. 2, Tenor II: originally *d'.
Ms, 85, bt,4, Bass: originally *d'.
Ms. 92,Basso Continuo; the figure *3* originally appeared on beat 1%.
Ms, 135, bt,1, Soprano; originally 'b - a*^,
Ms-, 135, bt,3, Soprano : originally *a - a*.
Ms, 139, bt,4%, Alto; originally 'fl|'.
Deus Tuorum Militum RV 612
the Raccolta Foa-Giordano of the Biblioteca Nazionale di Torino, The
worTc is preserved in autograph score format, interleaved with copies of
parts as follows;
Title page 127^
Score 127^-128^,
2 Violoncello parts 126f, 129?
Tenore 130f-131?
Organo 132^
Violone 133?
2 Alto Violetta parts 135?, 138?
2 Violin It parts 136?, 137?
2 Violin I parts 139?, 140?
Hautbois II 141?
Hautbois I 142?
Hymn Text
1, Deus tuorum militum Sors et corona, praemium; Laudes canentes

57
Martyris, Absolve nexu crimtnîs.
3. Poenas cocurrit fortiter, Et sustulit viriliter; Fundensque
pro te sanguinem, Aetema dona possidet.
5. Laus et perennis gloria Patria sit, atque Filio, Sancto simul
Paraclito, In sempitema saecula. Amen,
Translation^
1. God, the portion, crown and prize of Your soldiers, we are singing
a Martyr's praises; free us from the bondage of sin.
.3, He passed through his tortures bravely and endured them manfully.
He shed his blood for You and so obtained his eternal reward.
5. Let praise and lasting glory be to the Father and the Son, together
with the Holy Paraclete, for endless ages. Amen.
Editorial Revisions
Ms. 13-21, 46-51: Violin I realized from the indications "Ut Supra".
Ms. 14-21, 46-51: Violin 11 realized from the indications "Ut Supra".
Ms. 23, Basso Continuo: The organo part (,p. 132^) appeared thusly:
11* are
Ms. 69-77; Oboe I realized from the indication "Con L'Alto all' Alta".
Ms. 70-77: Oboe 11 realized from the indication "Con il tenore".
Ms. 89-90; The Oboe I part differs slightly from that indicated in
the score, as follows:
Hours of the Divine Office in Latin and English, 3 vols.

(Collegeville: Liturgical Press, 1964), 2: 710-711.
58
Oboe II part: p. 141^ contains the following direction to the oboist:
"Cantata bene perche non e fallata"
(Play well because it is not a mistake)
Gaude Mater Ecclesia RV 613
the Raccolta Foa-Giordano of the Biblioteca Nazionale di Torino. It
is preserved in autograph score format, but is unsigned and untitled.
Text
1. Gaude, mater ecclesia, laetam agens memoriam, quae novae prolis
gaudia mittis ad caeli curiam.
2. Praedicatorum ordinis Lux, et Pater Dominicus, Mundia fulget
terminis civis effectus caelicus.
3. Trino Deo, et simplici laus, honam iustus et Gloriam, Qui nos
prece Dominica Ducat ad Caeli gaudia.
Translation
1. Rejoice, mother church iii glad remembrante of new children sent
to heaven’s meeting place.
2. Eulogist in the company of light, and Father Dominico, heavens
complete citizen in the shining boundary.
3. God in three, and one in praise, just men give honor and glory,
we pray the Lord’s guidance to heavenly glory.
Editorial Revisions
Ms. 17-79: Violin I M d II realized from the indications "con la pî®".
Ms. 33-34: Violin I and II and the Soprano part appeared thusly:
59
Ms. 16; Violin I and II, Viola, Soprano, and Basso Continuo appeared
thusly;
/TN
+f.
% m
Regina Coeli RV 615
The source of this edition is Giordano 34, 75^^78^ found in the
is preserved in autograph score format, but is untitled and unsigned.
Only verse two of the text was set by Vivaldi.

60
Antiphon Text
2. Resurrexît, sicut dixit, alleluia;
Ora pro nobis Deum, alleluia.
Translation
2. He has risen, as He said, alleluia:
Pray" for us to God, alleluia.
Editorial Revisions
Movement I
Ms. 3, bt. 1-2, 3-4, 12, bt, 3-4, Basso continuo:
the rhythm was originally J J J J .
Ms. 16-17, 25-27: Trumpet I realized from the
indication '*con la pî®".
Movement II
An A^ has been added in the key signature to agree with

contemporary notational practices.
Ms. 5, bt. 1, Violins: originally a Ij.
Ms. 25, bt. 1, Violins: originally A^.
Ms. 14-19, 21-24, 28, bt. 2-30, 32-47: Violins
realized from the indications "con la parte".
Ms. 26, Viola and Basso Continuo; the two parts
contained an incorrect number of beats, appearing
thusly: ^ 6 r4 vi‘s
—r
61
Ms. 43, Tenor: the slur originally appeared as follows;
&r«wi’S
pro
Salve Regina RV 618
work is preserved in signed, autograph score format.
Antiphon Text
1. Salve Regina Mater misericordia; vita, dulcedo et spes nostra.
2. Ad te clamamus exsules filii Heue.
3. Ad te suspiramus gementes et fientes in haclacrymarum valle.
4. Eja ergo, advocata nostra, illos tuos misericordies oculos ad
nos converte.
;5. Et Jesum benedictum fructum ventris tui, nobis post hoc exsilium
ostende..
6. 0 Clemens, o pia, o dulcis, Virgo Maria.
Translation
1. Hail thee. Queen mother of mercy; our life,
our sweetness, and our hope.
2. To thee we cry cast away the sons of Eve.
3. To thee we sigh, moaning and weeping in this
valley of tears.
4. Therefore we pray thee, our advocate, turn

62
thine eyes of mercy on us,
5. And Jesus blessed fruit of thy womb, show him
unto us after this our banishment.
6 . 0 merciful, o gentle, o sweet Virgin Mary,
Editorial Revisions
Movement I
An E^ has been added in the key signature to agree with
Ms. 1-22, 44-47, 55-62, 86-89, Coro II: Violin I
realized from the indications "Ut supra",
Ms. 1-22, 44-47, 57-62, 85-89, Coro II: Violin If
realized from the indications "Ut supra".
Ms. 1-22, 44-47, 56-62, 87-89, Coro II: Viola
realized from the indications "Ut supra".
Ms. 1-22, 44-47, 59-62, 87-89, Coro II: Basso
Continuo realized from the indications "Ut supra".
Ms. 63-67, Coro I: Violin II realized from the
indications "Con I’alto".
Ms. 64-67, 71-74, Coro I: Violin I realized from
the indications "Con I’alto".
Ms, 68-69, Coro I: Viola realized from the
indication " p: B.".
Ms, 40-42, Basso Continuo: the figures "§" have been
moved from beats IS5 to beats 2.

63
Movement ïï
Ms, 8-a, 21-25, 34-38, 42-46, 66-70, 74, Coro I;
Violin r realized from tHe indications " p;
Ms, 19-20, Coro I: Violin I realized from the indications
"con I’alto",
Ms, 5-9, 21-25, 34-38, 42-46, 66-70, 75-81, Coro X;
Violin II and Viola realized from the indications "Ut supra".
Ms. 5-9, 21-25, 34-38, 42-46, 66-70, 75-87, Coro II;
Violin I and II, Viola, and Basso Continuo realized
from the indications "Ut supra".
Movement III
Ms, 20-21, 29-30: Violin I realized from the
indication "Con I’alto",
Ms. 3-5, 12, 17, 26-29: Viola realized from
the indications " p;B,".
Ms, 16: The alto part originally appeared as follows.
- KtH vfcl • It,
The editor has chosen the following as a possible solution.
fr.
V'utn v»l • h
64
Ms. 24; The alto originally appeared as follows.
p val • Ix. 4^ fx Stt<* ^1* •
Movement IV
Ms. 12-15, 43-48, Coro I; Violin I realized from the
indications "unisoni".
Ms, 53-56, Coro I: Violin I realized from the
indications "con I'alto".
Ms., 26-34, 36-39, 57-58, 70-82, Coro I: Violin I
and II, and Viola; Coro II; Violin I and II, and Viola
realized from the indications " <);B. V.
Ms. 26-34, 36-39, 70-82, Oboes I and II, Coro II:
Basso Continuo realized from the indications " p;B. ",
Movement V
An has been added in the key signature to agree with
Ms, 35-37, 67-72, Coro II; Violins I and II, viola,
and Basso Continuo realized from the indications
"Ut supra",
Ms. 62-65 Coro I; Violin I realized from the
indication "Con I'alto".
Movement VI
An E^ has been added in the key signature to agree with
contemporary notational practices. ,

65
Ms. 18-19, Coro I: Violins I and II, and Viola, Coro II:
Violins I and II, Viola, and Basso Continuo realized from
the indications "
Sanctorum Meritis RV 620
The source of this edition is Giordano 35, 113^^-125^ found in
work is preserved in signed, autograph score format along with copies
of parts as follows:
2 Violin I parts 113f, 119^
2 Alto Violetta parts 114^, 155^
2 Violoncello parts 116^, 117^
Organo 118^
2 Violin II parts 120 ^, 1 2 l'
Violone 122 ^
Soprano 123^
Score 124^'-125^
Hymn Text
1. Sanctorum meritis inclyta gaudia Pangamus,

socii, gestaque fortia:
Gliscens fert animus promere

cantibus Victorum genus optimum.
3. Hi prote furias atque minas truces

Calcarunt hominum, saevaque verbera:
His cessit lacerans fortiter unguia,

Nec carpsit penetralia.
6 . Te summa 0 Deitas, unaque poscimus,

Ut culpas abigas, noxia subtrahas:
Des pacem famulis, ut tibi gloriam

Annorum in seriem canant. Amen.
66
Translation^
1. Let us sing, fellow Christians, of the glorious joys that the

Saints gained through their merits, let us sing of their heroic
deeds. Our soul is eager and ready to tell in song the nohle
line of warriors.
3. For Your sake they triumphed over men's rage and savage
threats and cruel scourgings. The hook that fiercely tore
them to bits effected nothing and left them their spirit
unconquered,
6 . We beseech You, mighty God-head, one in essence, to take

away Your servants’ guilt, remove all their sins and give
them peace that they may sing praise to You for ever. Amen.
Editorial Revisions
Ms. 11, bt. 1, Violin II: the pitch is indistinguishable
in the original manuscript. The editor has chosen 'f.
}1s. 13-23, 25-27, 29, 31-34: Violin I realized from
the indications "con la pf" or "Cop;".
Ms. 13-36: Viola realized from the indication "Violetta
con il B".
Ms. 15: the entire measure was deleted in the organo part.
Ms. 29; the organo part indicated 'g' instead of 'a'.
Ms. 59, bt. 2, Soprano: the Soprano part was as written ;
the score indicated; .
hbid., pp. 770-771,

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67
68
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di M. Mila. Milano: V. Scheiwiller, 1978.
Pincherle, Marc. Antonio Vivaldi et la musique instrumentale. 2 vols.

Paris: Floury, 1948.
Vivaldi, Genius of the Baroque. Translated by Christopher

Hatch. New York: W, W. Norton and Co., 1970.
Quantz, Johann Joachim. Versuch einer Anweisung die Flote traversiere

zu spielen. Berlin: Johann Friedrich Voss, 1752.
Rinaldi, Mario. Antonio Vivaldi. Milano : Istituto d ’Alta Cultura,

1943.
_. Catalogo numerico tematico della composizione di Antonio

Vivaldi. Rome: Editrice Cultura Modema, 1945.
Ryom, Peter. Les Manuscrits de Vivaldi. Copenhague : Antonio Vivaldi

Archives, 1977.
Verzeichnis der Werke Antonio Vivaldis. Kleihe Ausgabe.

Leipzig: Deutscher Verlag Fiir Musik, 1974.
74
Schering, Arnold. Geschichte des Instrümentalkonzerts. Leipzig;

Breitkopf and Hartel, 1905.
Selfridge-Field, Eleanor. Venetian Instrumental Music from Gabrieli

to Vivaldi. Oxford: Blackwell, 1975.
Smither, Howard E. A History of the Oratorio; The Oratorio in the

Baroque Era - Italy, Vienna, Paris. Chapel Hill; University
of North Carolina Press, 1977.
Spitta, Phillip. Johann Sebastian Bach. Leipzig: Breigkopf und

Hartel, 1884.
Stablein, Bruno, ed. Hymnem. Kassel: Barenreiter-Verlag, 1956.
Surian, Elvidio. A checklist of Writings on 18th-Century French and

Italian Opera. Hackensack: Joseph Boonin, 1970.
Talbot, Michael. Vivaldi. London: J. M. Dent and Sons Ltd.

Publishers, 1978.
Torchi, Luigi. La musica instrumentale in Italia nei secoli XVI,

XVII, e XVIII. Torino: Bocca, 1901.
Westrup, J. A. Bach Cantatas. Seattle: University of Washington

Press, 1969.
Worsthome, Simon. Venetian Opera in the Seventeenth Century. Oxford:

Clarendon Press, 1954.
York Breviary. 2 vols. Durham: Andrews and Co., 1880-1883.
Unpublished Materials
Dunham, Mary Meneve. "The Secular Cantatas of Antonio Vivaldi in the

Foà Collection." Doctoral dissertation. University of
Michigan, 1969.
Fort, Robert E., Jr. "An Analysis of Thirteen Vesper Psalms of

Antonio Vivaldi." Doctoral dissertation. Union Theological
Seminary, 1971,
Graumann, Keith D. "Antonio Lucio Vivaldi: Laudate Dominum and

Laetatus Sum; Analysis and Performing Editions." Master of
Music thesis. University of Oklahoma, 1978.
Maurer, Helen. "The independent arias of Antonio Vivaldi in Foà 28."

Doctoral dissertation, University of Indiana, 1974.
75
Rarig, Howard R, "The Instrumental Sonatas of Antonio Vivaldi."

Doctoral dissertation. University of Michigan, 1958.
Rowell, Lewis Eugene. "Four Operas of Antonio Vivaldi." Doctoral

dissertation. University of Rochester, 1959.
Siedler, Richard David. "The bassoon concertos of Antonio Vivaldi."

Doctoral dissertation. Catholic University of America, 1973.
APPENDIX A
AN INVENTORY OF THE SACRED VOCAL MUSIC
of
ANTONIO VIVALDI
76
77
APPENDIX A
An Inventory of the Sacred Vocal Music of Antonio Vivaldi
Works listed in this inventory are contained or cited in manuscripts

in the following libraries;
Assisi: Biblioteca Contunale
Brunn: Moravske Museum
Dresden: Sachsische Landesbib1iothek
London: Royal College of Music
Milano: Biblioteca Braidense
Prague: St. Veit-Archiv
Rome: Biblioteca del Conservatario di Santa Cecilia
Biblioteca Rostirolla
Torino: Biblioteca Nazionale
Venezia: Casa Goldoni
Warsaw: Biblioteca Uniwersytecka
The following lists are cited for each work in this inventory:
RV Peter Ryom. Verzeichnis der Werke Antonio Vivaldis

Leipzig: VEB Deutscher Verlag Fiir Musik, 1974.
R Raimund Ruegge, "Die Kirchenmusik von Antonio Vivaldi"

Schweizerische Musikzeitung 61 (1971):13S-139.
G Agostino Girard, "Catalogo delle opere di Antonio Vivaldi"

In Remo Giazotto, Antonio Vivaldi Torino, 1973. pp. 413-525.
D Piero Damilano, "Inventario delle composizioni musicali di

Antonio Vivaldi esistenti presso la Biblioteca Nazionale
di Torino". Rivista Italiana di Musicologia 3 (1968):
109-179.
78
I. AUTHENTICATED WORKS
A. Masses and Mass Ordinary Sections
!.. Kyrie RV587 R9 GII.33 DIV.3
"Kyrie à 8 in due Chori Del Vivaldi"
g minor. SATB/SATB; 2 Cori of Strings, B.C. 3 mvts.
Torino: Foà 40, 10^^25^
Autograph, signed.
Universal, 1969. Ricordi, 1970. Eulenberg.

Peters. Lawson-Gould, 1964 (as part of "Chamber Mass*).
2. Gloria RV588 R7 G1I.22 DIV.4
"Introduzione al Gloria ad Alto solo con Istromti e

Gloria à 4 con Istromti Del Vivaldi"
D Major. SATB; S,S,A,T; Trpt., 2 Oboes,Strings, B.C. 11 mvts.
Torino; Foà 40, 37^-58^
Autograph, signed, monogram.
Jobert. I.M.C. Lawson-Gould, 1964 (as part of

"Chamber Mass'*) ,
The introduction for this work is "Jubilate o amaeni"

RV 639,
3. Gloria RV589 R6 G1I.23 DI.8
"Gloria à 4 con Istromti Del Vivaldi"
D Major. SATB; S,S,A; Trpt., Oboe, Strings, B.C.12 mvts.
Torino: Giordano 32, 90^^129^
Ricordi, 1941, 1966, 1970, Universal. Walton, 1961.

Kalmus, 1967. Schirmer, 1973,
79
4. Credo RV591 RI2 GH.12 DIV.7
"Credo à 4 con Istromî^ Del Vivaldi"
e îninor. SATB; Strings; B.C. 4 mvts.
Torino; Foà 40, 98^-fOS^ '
Ricordi, 1965, 1970. Universal, 1969.
B.Psalms of David
5. Domine adadiüvandum RV593 RS GII.17 DV.2
"Domine in dueCori à 8 Con Istromî^ Del Vivaldi"
Psalm 69 (verse 2)
G Major, SATB/SATB; S; 2 Oboes, 2 Cori of Strings,

B.C. 3 mvts.
Torino: Giordano 35, 18^-29^
Autograph, signed,
Carus?
6. Dixit RV594 R4 GII.16 DV.5
"Dixit in due Cori Del Vivaldi"
Psalm 109
D Major. SATB/SATB; S,S,A,T,B; 2 Oboes, 2 Trpts., 2 Cori

of Strings, B.C. 10 mvts,
Autograph, signed,
Ricordi, 1970,
80
7. Confitebor tibi RV596 RIB GII.IG DI.20
•’Confitebor à 3/ Alto, Tenore, Basso con Istromî^

e Hautbois Del Vivaldi"
Psalm 110
C Major. Alto, Ten., Bass; 2 Oboes, Strings, B.C. 6 mvts.
Autograph, signed.
Otos, Firenze?
8. Beatus Vir RVS97 R1 GIT.3 DIV.ll
"Beatus Vir in due Cori a 8/ Con Istromî^ Del Vivaldi"
Psalm 111
C Major. SATB/SATB; S,S,T; 2 Oboe, 2 Cori of Strings,

B.C. 9 mvts. with recurring ritomello
Torino: Foà 40, ISS’^-IBS'^'
Autograph, signed.
Ricordi, 1970. Universal.
9. Beatus Vir RVS98 R2 GII.4 DIV.12
untitled
Psalm 111
B^ Major. SATB; S,S,A; Strings, B.C'.- One mvt.
Torino: Foà 40, 186^-191*
Autograph.
Universal, 1969. Ricordi, 1970.

81
10. LàudàtePuéri Domirium RV600 R29 GII.44 D U . 14
"Laudate''
Psalm 112
c minor. Sop.; Strings, B.C. 10 mvts.'
Autograph, monogram.
Carisch,.
11. LaudatePueri Dominum RV601 R28 GII.41 DIX.8
"Laudate Pueri à Canto solo con Istrom?^ Del Vivaldi"
Psalm 112
G Major. Sop.; Flute, Strings, B.C. 9 mvts.
Torino: Giordano 33, 96^,114^
Autograph, signed,
Ricordi, 1970.
12. LaudatePueri Dominum RV602 R20® GII.42 DIV.14
"Laudate Pueri à 2 Canti in due Cori divers!
con Ripieni, et Istromî^ Del Vivaldi"
Psalm 112
A Major. SATB/SATB in one; S,S; Oboe, 2 Cori of

Strings, B.C. 8 mvts. with recurringritornello.
Torino; Foà 40, 208^-226^
Edited Graumann,
82
13. Laudate Pueri Dominum RV603 R20 GII.39 DIV.15
untitled
Psalm 112
A Major. SATB/SATB in one; S; Flute, ^ Cori of Strings,

B.C. 8 mvts. with recurring ritomello.
Torino: Foà 40, 228^-249*
Autograph.
Edited Graumann.
A variant of RV602.
14. In Exitu Israel RV604 R14 GII.25 DII.16
"In Exitu Israel Ripieno Del Vivaldi"
Psalm 113
C Major. SATB; Strings, B.C. One mvt,
Torino; Giordano 35, 22ofm229^
Autograph, signed.
Edited Graumann.
15. Credidi RV60S R13 GII.ll DIV.IO
"Credidi à 5/ à Capella Del Vivaldi"
Psalm 115
C Major. SATTB; Strings colle parti, B.C. One mvt,
Torino; Foà 40, 145^-154^.
Autograph, signed.
Edited Graumann,
A contrafactum of RV Anh. 35.

83
16. Laudàté Dôihinum RV606 R16 GII.38 DIV.18
"Laudate Dominum à 4 con Istromî^ Del Vivaldi"
Psalm 116
d minor. SATB; Vins, in unison. Via., B.C. One mvt.
Torino: Foà 40, 302^-305^
Autograph, signed.
Augsburg, 1979.
17. Laetàtüs Sum RV607 R15 GII.34 DIV.17
"Laetatus à 4 con Istromî.^ Del Vivaldi"
Psalm 121
F Major. SATB; Vins, in unison. Via., B.C. One mvt.
Torino: Foà 40, 298^^301^
Augsburg, 1978.
18. Nisi Dominus RV608 $42 GII.48 DIV.16
"Nisi Dominus ad Alto Solo con Istromî^ //

Del Vivaldi"
Psalm 126
g minor. Alto;Strings, Viola d'amore, B.C. 9 mvts.
Torino: Foà 40, 251^-297^
Autograph, signed Alto-B.C: part; other parts copied.
Carisch, Universal, Ricordi, 1971

84
19. Lauda Jerusalem RV609 RIO GII.36 DIV.9
"Lauda Jerusalem in 2/ Cori Del Vivaldi"
Psalm 147
e minor. SATB/SATB; S,S,; 2 Cori of Strings, B.C.

One mvt..
Torino: Foà 40, 127^-144^
Autograph, signed,
Eulenberg, 1969. Ricordi, 1973.
C. Other Liturgical Texts
20. Magnificat RV610 Rll* GII.46.1* DV.6
"Magnificat con Istromti Del Vivaldi"
g minor. SATB; S,S,A,T; 2 oboes. Strings, B.C. 9 mvts.
Autograph, signed.
Ricordi, 1959, 1964. Kalmus, 1969. Harmonia, 1963.
21. Magnificat RV610^ R— GII.46.2* D--
g minor. SATB/SATB; S,S,S,A,T; 2 oboes, 2 Cori of

Strings, B.C. 9 mvts.
Torino: Giordano 35
Autograph.
Ricordi, 1961,
Version of RV61Q.
85
22. Magnificat RVôlO^ R— GII.47 D—
g minor. Orchestration same as RV61Q but adds

2 Clariîii. 9 mvts.
Prague
Non-autograph, copy.
Version of RV610.
23. Magnificat RV611 Rll^ GII.46.2* D—
g minor. New solos for RV610.
Torino: Giordano 35
Autograph.
Kalmus, 1969. Universal, 1960.
24. Deus Tuorum Militum RV6.12 R19 GIT. 14 DV.8
"Himno DeusTuorum Militum a 2 Alto, e Tenore Con

Istrom:^ et Hautbois obligati Del Vivaldi"
Hymn
C Major. Alto, Ten.; 2 Oboes, Strings, B.C. (organo).

One mvt.
Torino : Giordano 35, 126^^144^
Autograph, signed, score; copied parts.
Edited Graumann.
86
25. Gaude Mater Ecclesla RV613 R22 GII.21 D U .6
untitled
ffymn
Ï)
B Major. Sop.; Strings, B.C. One mvt.
Autograph.
Edited Graumann.
26. Regina Coeli (Resurrexit) RV615 R47 GII.S8 Dili.5
untitled
antiphon [verse 2)
C Major. Ten.; 2 Trpts., Strings, B.C.

[Organo). 3 mvts.
Torino: Giordano 34, 75^*78^
Autograph.
Edited Graumann.
25. Salve Regina RV616 R43 GII.60 DV.9
"Salve Regina ad Alto solo con Violini e Flauto

traversiere in due Chori Del Vivaldi"
antiphon
c minor. Alto; 2 Flutes, 2 Cori of Strings, B.C.

6 mvts.
Torino; Giordano 35, 145^^-162^
Autograph, signed.
Ricordi, 1970,
87
28. Salve Regina RV618 R44 GII.59 DII.2
"Salve ad Alto Solo in 2/ Cori Del Vivaldi"
antiphon
g minor. Alto; 2 oboes, 2 Cori of Strings, B.C.

6 mvts.
Autograph, signed.
Edited Graumann.
29. Sanctorum Meritis RV620 R34 GII.61 DV.7
"Sanctorum Meritis // Himno a Canto solo con

Istrom: Del Vivaldi"
Hymn
C Major. Sop.; Strings, B.C. One mvt.
Torino; Giordano 35, 113^-125^
Autograph, signed, score and soprano part. Other

parts copied.
Edited Graumann.
30. Stabat Mater RV621 R4S GII.62 DII.3
"Stabat Mater ad Alto Solo Del Sgr. Don Ant?

Vivaldi:
Sequence
f minor. Alto; Strings, B.C. 9 mvts.
Copy affixed with Vivaldi's name.
Carisch, 1970. Universal, 1969. Ricordi, 1970.

88
D. Motets-
31. Canta in Prato RV623 R21 GII.6 DI.ll
"Motetto a Canto solo Del Sig. D. Antonio Vivaldi:
anonymous Latin text
A Major. Sop.; Strings, B.C.
Copy affixed with Vivaldi’s name.
Heugel, 1968. Carisch.
Same text as RV636,
32. Carae rosae respirate RV624 R— GII.7 D—
untitled
e minor. Sop.; Violin, B;C.
London: Royal College of Music, 31504 #3
Copy.
33. Claraê stêllae RV625 R36 GII.8 01.12
"Motetto Del Vivaldi" ("Per la Sigra Geltruda")
F Major. Alto; Strings, B.C.
Autograph, signed.
89
34. In furore giustissimae irae RV626 R23 6X1.26 DI,16
"Motetto à Canto solo con Istromti

Del Vivaldi"
c minor. Sop.; Strings, B;C.
Partially autograph, signed.
Heugel, 1968.
35. In turbato mare RV627 R24 GII.27 D—
untitled
G Major. Sop.; Strings, B.C.
Dresden; 2389/E/2
Partially autograph.
36. Invicti Bellate RV628 R41 GII.28 DI.19
"Motetto ad Alto solo con istromti Del Vivaldi"
G Major. Alto; Strings, B;C.
Torino: Giordano 32, 213*-219^
Autograph, signed.
Heugel, 1968.
90
37. Longe mala umbre terrores ' RV629 R3Ü GII.57 DI.14
"Motetto per ogni tempo à Canto solo con

Istromti Del Vivaldi"
anonymous Latin text (See RV640)
g minor. Sop.; Strings, B;C.
Autograph, signed.
Heugel, 1968.
Girard and Damilano both entitle this work as

"Recedite nubes et fulgura",
38. Nulla in mundo pax RV630 R31 GII.53 DI.17
"Motetto Di D. Antonio Vivaldi"
E Major. Sop.; Strings,:B;C.
Partially autograph, affixed with Vivaldi's name.
Heugel, 1968. Otos-Firenze?
39. 0 qui coeli terraeque RV631 R32 GII.54 DI.15
"Motetto à Canto solo con Istromti Del Sig. D.

Antonio Vivaldi;

IL
E Major. Sop.; Strings,' B.C.
Copy affixed with Vivaldi's name,
Heugel, 1968. Peters.

91
40. Sum in medio tempestatum RV632 R35 GII.63 D -
untitled?
F Major, Sop.; Strings, B.C;
Dresden: 2389/E/l
41. Vestro Principi divino RV633 R46 GII.6 S 01.13
untitled
F Major. Alto; Strings,:B;C.
Autograph.
42. Vos aurae per montes RV634 R— G— D—
untitled
A Major. Sop.; B.C.
Assisi: Biblioteca Comunale, #318/1
Autograph..
92
E. Introductions to Other Sacred Works
43. Ascende laeta RV635 R25 GIT.l DV.3
"Introduzione al Dixit à Canto solo con Istromti

Del Vivaldi"
Introduction to Dixit (RV594?]
44. Canta in Prato RV636 R26 GII.5 DV.4
"Introduzione al Dixit à Canto solo con Istromti

Del Vivaldi'.’
Introduction to Dixit (RV594?)
G Major. Sop.; 2 Violins, 2 Oboes, B.C.
Autograph, signed.
Same text as RV623.
45. Cur sagittas curtela RV637 R37 GII.13 DI.6
"Introduzione al Gloria ad Alto solo con Istromti

Del Vivaldi"
Introduction to Gloria
B^ Major. Alto; Strings, B.C.

r r
Torino; Giordano 32, 56 -62
Autograph, signed.
93
46. Filiàe mestae Jérusalem RV638 R39 GII.20 DII.5
"Introduzione al Miserere Del Vivaldi"
Introduction to Miserere
c minor. Alto; Strings, B.C.
Autograph, signed.
47. Jubilate o amaeni RV639 R7 GII.29 DIV.4
"Introduzione al Gloria ad Alto solo con Istromti

e Gloria à 4 con Istromti Del Vivaldi" CRV588)
Introduction to "Gloria" RV588
D Major. Alto; Strings, B.C.
Torino: Foa 40, 26^-36^
Schirmer.
48. Jubilate o amàéni RV639® R7 GII.30 DI.4
untitled
Introduction to Gloria RV588
D Major. Sop.; Strings, B.C.

T V
Torino: Giordano 32, 44 -46
Same text as RV 639.

94
49. Longe liiàlà, umbrae terrorès RV640 R38 GII.45 DIV.5
"Introduzione al Gloria ad Alto solo

Del Vivaldi"
Introduction to Gloria (RV588?, RV589?)
g minor. Alto; Strings, B.C.
Torino: Foa 40, 59f-62^
Autograph, signed.
See RV629.
50. Non in pratis aut in hortis RV641 R40 GII.52 DU.4
"Introduzione al Miserere con Istromti sordini

Del Vivaldi"
Introduction to Miserere
F Major. Alto; Strings, B;C.
Torino: Giordano 33, 48^-52
Autograph, signed.
51. Ostro picta armàta spina RV642 R27 GII.55 DI.3
"Introduzione al Gloria à Canto solo con Istromti

Del Vivaldi"
Introduction to Gloria (RV589?)
D Major. Sop.; String, B;C.
Autograph, signed.
95
F. Oratorios
52. Jiidith'a Triumphàns RV644 R8 GI.2 D. Cantate 11.65
"Juditha Tritnnphans/Devicta Holophernis barbarie/

Sacrum Militare Oratorium Hisce belli temporibus/
A Psalentium Virginum Choro/in templo pietatis
canendum/Jacobi Cassetti Eq./Metrice votis ex-
pressum/Piisimis ipsius Orphanocochii Praesi/dentibus
ac Gubernatoribus/sub misse Dicatum/Musice exprèssum/
ab Abmod. Rev. D. Antonio Vivaldi/Venetiis, MDCCXVI/
Apud Bartholomaeum Occhiura, sub signo S. Dominici."
Libretto by Giacomo Cassetti
D Major SATB; S,S,A,A,A; 2 Flutes, 2 Oboes, Salmoe, 2 Claren,

2 Fagotti, 2 Trombe., Tinpani, Mandolin, 4 Tiorbe,
Viola d'amore. Viola all'inglese. Viola da gamba.
Strings, B.C., Organo, 2 Cembali.
30 movements.
Torino: Foâ 28, 209^^-302^
Ricordi, 1971.
II, UNAUTHENTICATED WORKS
1. Sacrum RV586
complete Mass
C Major
Warsaw
Copy
2. Credo RV592
Mass section
G Major
Warsaw
Copy
96
3. Dixit Dominus RV595
Psalm 109
D Major
Prague
Copy
4. Laudate Dominum RV614
Offertorium
F Major. SATB; 2 Violins, 2 Corni, B.C.
Warsaw
Copy
5. Salve Regina RV617 R33
antiphon
F Major, Sop.; Strings, B;C.
Briinn
Copy
6 o Ad corda reclina RV646
’’Concertas Italiens’’
F Major
Warsaw
Copy
7. Eja voces plausum date RV647
e minor
Warsaw
Copy
Contrafactum of an aria in the opera ’’Orlando”

RV727, Act 11, #2.
97
8. Ihr Hiininel nun RV648
"Concertus Italicus"
Major
Warsaw
Copy
III. LOST WORKS
1. Gloria RV590
"Gloria a 5 roc Oboe Trombae D#"
Katalog Kremherren
2. Beatus Vir RV599
Psalm 111
Katalog Kreuzherren
3. Salve Regina RV619
Canto solo, 2 Flauti, Violoncello, Ciolae,

Organo concert
Katalog Kreuzherren, and Mercure de France 1727
4. Te Deum RV622
Mercure de France, October, 1727
5. La Vittoria RV—
Oratorio
Performed Vicenza, 1713
Libretto preserved in Casa Goldoni, Venezia.
6. Moyses DeusPharaonis RV643
Oratorio
Libretist: Giacomo Casetti?
Performed Venice, 1714
Libretto preserved in Conseryatario Santa Cecilia, Rome.

98
7. L’Aborazione delle tre Re liiagl RV645

al bambino Gesu
Performed Milano, 1722.
Libretto preserved in Bibliotecca Nazionale

Braidense, Milano.
8. Jephte RV--
Oratorio with one aria by Vivaldi.
Performed Firenze, 1719.
Libretto preserved in Rostirolla, Rome.
IV. OTHER SACRED VOCAL WORKS PRESERVED AMOUNG THE FIVE
VOLUMES IN THE RACCOLTA FOA-GIORDANO CONTAINING
VIVALDI SACRED VOCAL WORKS
1. Kyrie RVAnh.20 R— GII.31 DV.IO
Anonymous
d minor. SATB/SATB; Strings, B.C. 3 mvts.
2. Kyrie RVAnh.21 R— GII.32 DI.l
Anonymous
F Major. SATB; Strings, B.C.
3. Gloria RVAnh.22 R— GII.24 DI.2
Anonymous
C Major. SATB: Trumpet, Strings, B.C.
Torino: Giordano 32, 15^-35*

99
4. Domine Deus Agnus Dei RVAnh.22^ R— GÎI.19 DI.5
Anonymous, verse of Gloria C.RVAnh.22)
C Major. SATB; S.; Strings, B.C.
5. Gloria RVAnh.23 R— G— DIV.6
Giovanni Maria Ruggieri
"Gloria per due Chori di me Gio. Maria Ruggieri

C.V. 1708, 9 settembre Ven."
D Major. SATB/SATB; 2 Cori of Strings, B.C. 11 mvts.
Torino: Foa 40, 62f-96^
6. Gloria RVAnb.24 R—— G—— Ql.7
by Giovanni Maria Ruggieri
"Gloria à 4 voci e 5 Strumenti di Gio. Maria Ruggieri

Mesa di Agosto"
G Major. SATB;Strings, B.C. 10 mvts.

7. Domine ad adiuvandum RVAnh.25 R— GII.17 D U . 10
Anonymous
Psalm 69
F Major. SATB; Strings, B.C.
8. Qui habitat in adjutorio RVAnh.26 R— GII.56 Oil.13
Anonymous
Psalm 90
F Major. SAB; 2 Violins,:B.C.
Torino: Giordano 33, 178*-184^

100
9. Dixit Dominus RVAnh.27 R3 GII.IS 011.7
Anonymous, 1708
Psalm 109
"Dixit 1708"
F Major. SATB; Sop.; Tromba, Strings, 2 Oboes,

B.C.
Torino: Giordano 33, 64^-94^^
10. Beatus Vir RVAnh.28 R— GII.2 DII.12
"Beatus à voce sola e 5 Istromti"
anonymous
Psalm 111
11. Laudate Pueri Dominum RVAnh.29 R— GII.43 DTI.11
"Laudatte à 5 voci e 5 Strumenti Adi'

22 Settembre 1690 Venetia"
Anonymous
Psalm 112
a minor. SSATB; Strings, B.C.
Torino; Giordano 33, 129^^163^
12. Laudate Pueri Dominum RVAnh.30 R— GII.40 DIV.13
"Laudatte à voce solla et 5 Strumenti"
Anonymous
Psalm 112
a minor. Sop.; Strings, B.C.
Torino; Foa 40, 192^-207?

101
13. Laetàtus Sum RVAnh.31 R— GII.35 DIV.8
"Laetatus à voce sola con Violini Adi' 10

Settembre 1691"
Anonymous
Psalm 121
Torino: Foa 40, 106^-121^
14. Nisi Dominus RVAnh.23 R— GII.49 DV.l
"Nisi Dominus à 5 con 5 Strumenti"
Anonymous
Psalm 126
A Major. SSATB; Strings, B.C.
15. Nisi Dominus RVAnh.33 R— GII.51 011.15
"Nisi Dominus à 3 con 5 Strumenti"
Anonymous, incomplete
Psalm 126
F Major. SAB; Strings, B.C.
Torino; Giordano 33, 200^^219^
16. Nisi Dominus RVAnh.34 R— GIT.50 DIV.19
"Nisi Dominus à voce sola e 5 Strumenti"
Anonymous
Psalm 126
G Major. Sop.; Strings, B.C.
Torino; Foa 40, 306^-320^

102
17. Lauda Jerusalem RVAnh.35 R17 GII.37 DIX.9
Anonymous
Psalm 147
C Major, SATTB; B.C.
Vivaldi borrowed portions of this work for

"Credidi" RV605.
18. Ad te Levavi RVAnh.36 R— G— DI.9
by J. A. Bernabei, 1701
"Offertorium in prima domenica Adventus 4 vocibus

pleno Choro ad Capellam" "Josephi Antonii
Bernabei, 1701"
Offertory
d minor, SATB; Organo, E.G.
19. Confessio et pulchritudo RVAnh.37 R— GII.9 DI.IO
"In festo sancti Laurentii Introitus"
Anonymous, Introit
e minor. SATB; B.C.
20. Te Deum RVAnh.38 R— GII.64 DII.l
"Te deum laudamus"
Anonymous
D Major. SATB; B; Strings, B.C.
This work has falsely been attributed to Vivaldi on

Phillips recording number 835301LY.
APPENDIX B
LAUDATE PUERI DOMINUM RV 602
103
104
StinevMn
>olo
105
PuAri ûeiMitium
ZTc
trr DT
1=»'
Cere :
All r i f i e n i f i f « f C#r# 5 w ;+k C « r« T,

106
tJ T tJT
107
108
H
109
É
110
rr
LftU • Ki-r! bo-mi-nmi**' ne-mu k-mi"
laM* itft'tl ILt.fi &t.Mi’NMai* k'

Ill
ti»u« (Ui> Liit'^t' • • •
tSz
4 '- - j =^-
F5===g
r« M
112
113
t t na-mm Pa • * all’» m
114
tt R«»IWI
m
115
Do • • wi- •»
116
iM
117
S*f k#Lm*w^&f *$&&"&*&'In#
*Af M^mtn D9-MÎ*M MMSÔt W'^jnMA-CU-^MM^
jit Mf*Aftn Ù#"*-*! hft*Afr*4<-tuiH^wKifrmuu.^^ i*W^w/kw^
Sit h&"A*'iL^'timywh#& ^ U#jW'"WA'W

118
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f r i
ftt f*tm, XX WC» 4f ^•iA /M j&g.6* IttmtjI'n#44»• ^
lîf 6 * . kf mt " <li4 * f*#*, jty marnc, xt ui* ^ k a i «4«*k »|hiw^/ m f«4*cii*
fif b»*M"<t4*TiH«^kx*»*- itic* tUm^ nuitCj
i r f i i x - i i x ^ - f t w ^ k x > i i x • a lic . • f k m , X * h tc nxnc^ x f u (* | « x i 'h fix m 'l u m ^ m w
RJ W
119
lun XK
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- lum. H u n c, I4 | . ^ « x in stx -* u 4 iim ^ in f«X-<<4 /uM
lum (XX- XU-llUH / m tx x - XU
icu-cu-lum.'m ( x x - e u
'M*!
M /wMîN ••A* c a
120
121
m ■ ■............... Prm. ■ All*y*

/f
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123
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124
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125
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126
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t o m
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127
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APPENDIX C
LAIJDATE PUERI DOMINUM RV 603
182
a
1
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184
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185
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p _ ------- ::-■> ' ^ ''W444#SPi-*f-'-yj
187
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190
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196
197
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APPENDIX E
CREDIDI RV 605
286
287
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APPENDIX F
DEIIS TUORUt-f m j l ITUM RV 612
328
329
fill? Aii*ar#
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fu(M Ml"' If’ inm t$ri * f e* « k# * MK, pfjL. mi'« um:

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GAUDE MATER ECCLESIA RV 613
345
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APPENDIX H
REGINA COFLI RV 615
353
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APPENDIX I
SALVE REGINA RV 618
362
363
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391
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INFORMATION TO USERS

The following explanation of techniques is provided to help you understand

2. When an image on the film is obliterated with a round black mark it is an

4. For any illustrations that cannot be reproduced satisfactorily by

G raum ann , K e f ih D avid

ANTONIO VIVALDI: PERFORMANCE EDITIONS OF NINE SACRED

The University o f Oklahoma D M A . 1981

ANTONIO VIVALDI: PERFORMANCE EDITIONS

OF NINE SACRED VOCAL WORKS ON LITURGICAL TEXTS

PRESERVED IN THE RACCOLTA FOA-GIORDANO

SUBMITTED TO THE GRADUATE FACULTY

in partial fulfillment of the requirements for the

DOCTOR OF MUSICAL ARTS

KEITH DAVID GRAUMANN

OF NINE SACRED VOCAL WORKS ON LITURGICAL TEXTS

PRESERVED IN THE RACCOLTA FOA-GIORDANO

nis Shrock, Chairman

The writer expresses sincere appreciation to those who have

been of valuable assistance in the completion of this study:

To Professor Dennis Shrock for patient and skillful guidance;

To the other members of the Doctoral committee. Professors

offered valuable criticisms during the preparation of the document;

To the Commission for Cultural and Educational Exchange between

a Fulbright-Hayes research fellowship;

To the Graduate College of the University of Oklahoma for

additional travel and research funds;

Finally, to a completely supportive family who have been in­

valuable in every way, and especially to my future wife Ann, who

has been a constant source of assistance and encouragement.

The Raccolta Foa-Giordano .................... 7

Inventories of Vivaldi's Sacred Music ......... 10

The Inventory of the Present Study ............ 15

Inaccuracies of Four Inventories .............. 16

Modem Editions of Vivaldi's Sacred Music .... 20

Nine Unpublished Sacred Vocal Works by Vivaldi . . 24

Discussion of the Nine Works

Laudate Pueri Dominum RV602 , ............ 27

Laudato Pueri Dominum RV603 ................ 30

In Exitu Israel RV604 ..................... 32

Credidi RV60S ............................ 32

Deus Tuorum Militum RV612.................. 33

Gaude Mater Ecclesia RV613 ................ 33

Regina Coeli RV615 ....................... 33

Salve Regina R V 6 1 8 ....................... 34

Sanctorum Meritis RV620 .................... 35

Chapter IT Editorial Procedures

General Editorial Procedures . . . . . . ....... 37

Specific editorial procedures

Laudate Pueri Dominum RV602, , , ........... 44

Laudate Pueri Dominum RV603. . . . . . 46

In Exitu Israel RV604 51

Deus Tuorum Militum R V 6 1 2 .................. 56

Gaude Mater Ecclesia RV613 .................. 58

Regina Coeli RV615 ......................... 59

Salve Regina RV618......................... 61

Sanctorum Meritis RV620 65

Selected Bibliography ......................... 67

A. An Inventory of the SacredVocal Music

B. Laudate Pueri Dominum RV602 ................ 103

Finally, to a completely supportive family who have been in

Vivaldi's works remain unpublished and therefore unavailable to contem

The violin method of Leopold Mozart in 1756 ignored Vivaldi's com