Gloria: Vivaldi 0.0 / 5 ? MusicMusicASAQA Created by: KatherineCreated on: 30-04-14 10:31 Context within work, genre A Gloria is a section of a mass, but Vivaldi has only set the Gloria for this work, dividing the text into 11 elements. It's the opening section/movement. 1 of 8 Text and Text Setting "Glory to be God in the highest": the text is extremely joyful and the music reflects this. Homophonic vocal textures reflect the joy, its powerful. Syllabic setting. Buoyant rhythms, octave leaps. Allegro Major key Constant quaver movement (especially in the bass line) Short phrase, punchy. Makes it declamatory. General word setting rather than specific word painting 2 of 8 Melody and Rhythm Instrumental tutti (intro) introduces main melodic ideas. Start with 1st melodic idea: buoyant octave leap in lively quaver movement. 2nd idea is conjuct melody. Lines in orchestral parts are more memorable and interesting than vocal lines. The end of the tutti using falling sequences, typical of Vivalidi. Quaver rhythms in the orchestra throughout keep it lively. The 1st vocal entry uses lively dotted rhythms, makes it sound military and purposeful. Uses repeated nptes in 1st vocal entry. Very short phrases initially. Phrases get longer. At the beginning, phrases are conjunct. There's a rising sequence to B minor (Relative minor) In the middle, phrases become longer with semibreve rhythms and more chromatic movement is present. Throughout the rest, the melody lines are diatonic. 3 of 8 Tonality and Harmony Starts in D major. Very bright and well suited to the stringed instruments. The open strings resonate. 8 bars at the beginning in D to establish the key. Chain of suspensions in descending sequence. It's a clash that resolves. Chord I when voices come in, then move to chord V. Alternating between them. Modulates to B minor. Changed key to C# minor in bar 48. 4 of 8 Texture Bar 1: Octaves Bars 2: Homophonic Alternating between different groups Antiphonal exchanges between strings and oboes and trumpets Choral writing mainly homophonic Imitation before end Choir and orchestra also antiphonal at beginning. Few interjections from orchestra. 5 of 8 Writing for instruments and relationships between Basso Continuo: organ, strings, trumpet and oboe. Basso and Strings have the bulk of the Orchestral accompaniment. 6 of 8 Structure Short movement Setting of text provides structure. Motific ideas in Orchestra provide continuity. Idea 1 repeated in bass - octave jump 7 of 8 Compositional Devices Suspensions Sequences Pedal Note Terraced dynamics 8 of 8
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