The above-mentioned scoring holds for all nine
movements: The work is unusual in that it splits the
doxology into two separate movements (7 + 8), and even more striking is its treatment of the first of those, the
Gloria Patri. Bruce Lamott says "In what Vivaldi scholar
Michael Talbot calls a , Vivaldi saves the greatest surprises for the
Gloria Patri." Normally, the entire doxology is a single movement, a cheerful celebratory movement serving as the climax of a piece. Instead, Vivaldi set the words of the """ to slow mournful music, using "the unusual colouring of a
viola d'amore, an instrument on which the composer excelled." Michael Talbot writes that Vivaldi's musical setting of the "" turns this part of the doxology into "a journey through a vale of tears: praise of the
Trinity despite everything, rather than on account of everything." With the second half of the doxology, "" (As it was in the beginning), Vivaldi creates a musical pun by reprising the music of the opening movement. This movement and the final "Amen" are more upbeat and celebratory, typical for concluding movements of such pieces. == References ==