From lilting soprano solos to solemn choral singing with duets and four part harmonies, this really is a masterclass in choral writing. He prepares us from the very beginning, with the distinctive opening chorus, yet within minutes we’re deep in meditation with the second poignant movement ‘Et in terra pax hominibus’.

Yet it’s a mark of Vivaldi’s skill that the work overall maintains a cohesive structure. The Gloria itself is a joyful hymn of praise and worship divided into 12 relatively brief movements, ranging from festive brilliance to profound sadness. Those young men in Venice for a stop on the Grand Tour flocked to Vivaldi’s church to hear these mysterious women seen only in silhouette, but sounding like angels. To keep them sheltered from the corruption and decadence of the visiting public, the girls sang from the upper galleries of the church, hidden behind the patterened grills, which only added to the theatrical sense of drama matched by Vivaldi’s music. Vivaldi’s all-women orchestras and choirs were legendary sensations, but the girls needed to be protected from noblemen and travellers to the city. But Venetians and their visitors still wanted to be entertained. Despite a licentious reputation, the opera houses were required to close for all important religious festivals and Saint’s Days. Venice in the early 18th century was the pleasure centre of Europe, and a visit to the opera was part of the court and social life of the city. The Gloria in D is probably one of his best known sacred works, but it also reflects Vivaldi’s other skill as an opera composer, which he regarded as a distraction from his day job at the Pieta. Despite being ordained as a priest in 1703, Vivaldi was appointed the violin master at the Ospedale and his association with the music school lasted until 1740, by which time his reputation in Europe had been secured thanks largely to the wonderful performances of the girls he instructed. These ‘orphans’ were usually the illegitimate daughters of the city’s wealthy noblemen and their numerous mistresses, which explains the generous endowments that meant the girls were well cared for and given the best musical tuition available. I wanted to imagine myself in the place where some of Vivaldi’s most glorious music was performed by the young women who were taken in as orphans by the Ospedale, one of four important Venetian orphanages which placed a special emphasis on teaching music.

Gloria vivaldi