Vivaldi chose to split the text into twelve sections, the better to vary the textures, musical affects, and to provide appropriate opportunities for soloists. The Gloria in D major, R, 589, utilizes the familiar text from the Proper of the Roman Catholic Mass. This became such a frequent situation that the Board of Governor's gave the Red Priest a supplement to his pay in 1 715. Depending on the compositional talent, or lack thereof, of the choral director, Vivaldi would be pressed into service. The school's leaders required a minimum of two motets per month, as well as two masses and two settings of the Vespers texts annually. Records indicate that while Vivaldi was a steady employee for many years, the Ospedale was less fortunate in its choice of choral directors. 589 point to Vivaldi's place of employment, the girls' orphanage Ospedale della Pieta as the venue. 588, was written for a more public event. The performing forces, particularly the inclusion of male soloists, indicate that the other piece, R. This is one of two settings of the Gloria text that he composed. Among aficionados of choral music he is primarily remembered for his Gloria in D major, RV. Vivaldi is usually associated in the minds of concert-goers with instrumental music-the hundreds of concertos and chamber music pieces he composed have cemented that relationship. Published by Imagine Music Publishing (IG.PDP329). 23 and RV 588.Soprano, oboe & piano Composed by Antonio Vivaldi (1678-1741). The last movement, "Cum Sancto Spiritu," is essentially an "upgraded" version of Ruggieri's original movement” that is to say, updated to fit the standards of the emerging classical style, with the addition of accidentals that were missing in RV Anh. The "Qui Tollis" movement of RV 589 is rhythmically similar to the first few measures of RV 588 (and ultimately RV Anh. 23 in that the second movement of both employ the use of incessant and repetitious semiquaver behind chord progressions in the chorus. The second movement is much more dramatic in RV 589, but nevertheless shares with RV Anh. The first movement's chorus shares similar key modulations to that of the first movement of RV 588, only modified to fit a triple meter instead of the quadruple meter of RV 588 the orchestral motifs are also shared, including octaval jumps in the primal motives of the piece.
RV 589 is more mature and original than its predecessor, however evidence of obvious inspiration (and plagiarism) still exist.
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