This single-movement setting of the Lauda, Jerusalem (RV609) dates from sometime during the 1720s. Vivaldi set it for two choirs each of which had a soprano soloist, four parts, and string accompaniment and at some point – perhaps in 1739 when he was engaged in supplying new works to the Pietà he added the names of four of the Pietà's choirgirls to the manuscript. It's a good example of his concertos influenced his church music as with its alternating fully scored and lightly scored sections, and inter-passage episodes based on recurrent material it follows the ritonello form very closely. The highlight of the piece for me is its doxology it's based on an anonymous Lauda, Jerusalem which Vivaldi had in his collection and whenever I hear it I wish I knew who the composer was so that I could track down other works of his. Whoever he was, he was good. Enjoy :-).