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  • Bach's World
    • 2022-2023 Concerts >
      • Travels with Sebastian
      • The Old Bach Archive
      • Christmas with Bach
      • The Little Organ Book
      • Bachapella
      • Arnstadt & Mülhausen
      • Bach Through the Years
    • 2022-23 Educational Events >
      • BachTalks
      • Saturday Sings!
    • 2022-23 Virtual Offerings >
      • The Choir Loft >
        • Feb. 5 - Winter's Chill - Dianna Morgan
        • Feb. 12 - The Heirs of Bach: Charles Ives - Steve Osborn
        • March 12 - The Heirs of Bach: Hugo Distler - Steve Osborn
      • Repertoire Exploration Projects
    • Tickets
    • Donate today!
  • Who we are and What we do
    • Mission Statement
  • Our Ensembles
    • Sonoma Bach Choir
    • Circa 1600
    • Green Mountain Consort
    • Live Oak Baroque Orchestra
  • Support
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    • Sponsor a Singer!
    • Escrip & Amazon Smile
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    • Virtual Offerings - Archive >
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      • Parliamo Italiano! Language Workshop
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Gloria by Claudio Monteverdi
Actually, our piece today is not (strictly speaking) a motet at all: It's an independent setting of the Gloria of the Mass by our beloved Claudio Monteverdi, drawn from his 1640-41 publication the Selva morale e spirituale. It's one of several mass movements contained therein. Although the theory has never been definitively proven, these movements may have been part of a large setting intended to be performed in a Thanksgiving ceremony to celebrate the end of a terrible plague in Venice in the mid 1630's.

The Gloria is grandly scored for seven voices (with solo indications), two violins, four viols or sackbuts and basso continuo. Beginning with the over-the-top angelic celebration alluded to above, it proceeds with incredible sensitivity to its text. The 'Et in terra' is given a low, slow, prayerful setting. The 'Laudamus te' section is divided into duets in several styles, finally giving way to another tutti passage on the 'Gratias', introduced by a solemn thankful statement, and followed by irrepressible roulades on 'gloriam tuam'.

A big change occurs at the opening of the 'Domine Deus', introduced by a duet of sopranos full of pathos, answered by a wildly extroverted outburst from the full ensemble. This pattern is developed in two varied repetitions.

The 'prayer' section of the Gloria is taken up by several soloistic passages: A trio for two sopranos and bass; a tenor duet; and a bass duet. These are separated by interludes for the two violins.

The full ensemble announces the advent of the closing Quoniam section with a dramatic chordal declaration. This is succeeded by a soprano duet and a tenor duet (again with violin interludes), both of these finally joining as a quartet. After one final statement joined by the alto, the final romp begins.

And it is indeed a romp. For the closing 'Cum sancto', Monteverdi pulls out all the stops, reprising material from the opening (but remixing this material considerably), and joining the parts in an irrepressible race, finally sealing the deal with an über-grand 'In gloria Dei Patris. Amen.'

What a journey! As with all travelogues, my description can only stand as a pale shadow of the real thing. Spend some time with the piece--you'll not regret it.

A full score, a remarkable recording, and a text-translation sheet, are all contained in a Dropbox folder available at this link.
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