I could never tire of singing Vivaldi’s Gloria, a collection of perfect little musical jewels, from the hauntingly beautiful Et in terra pax, with its slowly shifting harmonies, to the light, bouncing, dotted rhythms of Domine Fili unigenite.

The work concludes with perhaps my favourite chorus of all to sing, the exhilarating Cum Sancto Spiritu, with its wonderfully interwoven vocal lines. It contains what might be my favourite single note in all choral music: the syncopated, tied F sharp sung by the sopranos on Amen, exactly halfway through the movement.

I was puzzled why Vivaldi, who wrote much of his choral music for female singers, should begin this final movement with such a prominent, deep bass line. Then I discovered that he hadn't actually written it! The Cum Sancto Spiritu was adapted from a piece of the same name by the now largely forgotten composer Giovanni Maria Ruggieri. Vivaldi made few changes to the vocal parts, mainly enriching the orchestration. So it turns out I have the unknown Ruggieri, rather than Vivaldi, to thank for that extraordinary note.