With the concerto in his repertoire, Pisendel was given the score to take with him back to Dresden, whereupon he sketched numerous elaborations for the solo violin part – presumably for additional performances.

These revisions, along with the provision of a cadenza and Vivaldi’s inscription of the concerto to Pisendel suggest that Vivaldi may have updated and “personalized” a pre-existing concerto for one or more performances by Pisendel while the latter was in Venice.

Two modifications in the third movement are most probably revisions made after the entire movement had been completed. The present study proposes that these modifications relate to at least two planned performances subsequent to the initial purpose of the concerto. 2389-O-43), contains corrections and annotations by Vivaldi and his student, Johann Georg Pisendel. The autograph score of the Violin Concerto in A Major RV 340, now held in the Sächsische Landesbibliothek – Staats- und Universitätsbibliothek Dresden (shelf number Mus. Tracing the publication history and comparing the available publications gives merit to those critical editions by Paul Everett, Michael Talbot, and Clayton Westermann. Paul Everett’s, Michael Talbot’s, and others’ recent research of the manuscripts illuminate the historical context, stylistic treatment, and some performance considerations of the work that should (and have) inform critical editions of Vivaldi’s most well-known and most-often performed sacred choral work. Casella’s version, long considered authoritative, was replete with changes from the autograph that make it irreconcilable with the instrumental parts and unfaithful to Vivaldi’s manuscript. The first modern performance of the work, led by Alfredo Casella on September 20, 1939, in Siena was part of a weeklong festival of revival concerts that led to the first modern edition published by Ricordi. These multiple versions of the Gloria pose some confusion and editorial choices that merit inquiry by performers and conductors. Vivaldi’s Gloria RV 589 is one of his three settings of this mass section that share similar musical material with each other as well as significant borrowed sections from a double orchestra Gloria by Giovanni Maria Ruggieri.

Vivaldi gloria rv 589