IN IVALDI Antonio (1678-1741), Italian composer, violin virtuoso. The creator of the genre of solo instrumental concert and, along with A. Corelli, concerto grosso. His cycle “The Seasons” (1725) is one of the earliest examples of programming in music. Over 40 operas, oratorios, cantatas; instrumental concerts of various compositions (465), etc.

He studied violin with his father Giovanni Battista Vivaldi, violinist at St. Brand; possibly composition - with Giovanni Legrenzi, and may also have studied with Arcangelo Corelli in Rome.

September 18, 1693 Vivaldi was tonsured as a monk. On September 18, 1700 he was elevated to the rank of deacon. On March 23, 1703, Vivaldi was ordained to the priesthood. The next day he celebrated his first independent mass in the Church of San Giovanni in Oleo. Because of his hair color, which was unusual for Venetians, he was nicknamed the red priest. On September 1, 1703, he was admitted to the Pieta Orphanage as a violin maestro. Order from Countess Lucrezia Trevisan to serve 90 votive matins in the Church of San Giovanni in Oleo. On August 17, 1704 he received additional compensation for teaching the viola d’amore. Having served half of the votive matins, Vivaldi refuses for health reasons the order of Lucrezia Trevisan. 1706 first public performance in the palace of the French embassy. An edition of the “Guide to Venice” prepared by the cartographer Coronelli, which mentions the father and son Vivaldi as violin virtuosos. Moving from Piazza Bragora to a new, larger house in the neighboring parish of San Provolo.

In 1723 the first trip to Rome. 1724 - second trip to Rome for the premiere of the opera Giustino. Audience with Pope Benedict XIII. 1711 publication of 12 concertos “L’estro armonico” (“Harmonic Inspiration”) Op. 3.1725 op. published in Amsterdam. VIII "Il Cimento dell'Armonia e dell'Invenzione. In this cycle "The Art of Harmony and Invention" or ("The Controversy of Harmony with Invention"), Op. 8 (ca. 1720), which even then made an indelible impression on listeners with its frantic passion and innovation, now included four world-famous concerts “The Four Seasons.” Jean Jacques Rousseau, who worked at the French embassy in Venice at that time, highly appreciated Vivaldi’s music and loved to perform some of this cycle himself on his favorite flute. Vivaldi’s concerts are also widely known. — “La notte” (night), “Il cardellino” (the goldfinch), for flute and orchestra, concerto for two mandolins RV532, distinguished by the artistic expression and harmonic generosity characteristic of his works, as well as sacred works: “Gloria”, “Magnificat” ", "Stabat Mater", "Dixit Dominus".

From 1703 to 1725 he was a teacher, then an orchestra conductor and director of concerts, and from 1713 he was the director of the orchestra and choir at the della Pieta in Venice, an orphanage that was famous as one of the best music schools for girls. In 1735 he again briefly served as bandmaster.

Vivaldi is the largest representative of Italian violin playing art XVIII century, which established a new dramatized, so-called “Lombard” style of performance. He created the genre of solo instrumental concert and influenced the development of virtuoso violin technique. Master of the ensemble-orchestral concert - concerto grosso. Vivaldi set for the concerto grosso a 3-part cyclic form, highlighted the virtuoso part of the soloist.

During his lifetime, he became known as a composer capable of creating a three-act opera in five days and composing many variations on one theme. He became famous throughout Europe as a virtuoso violinist. Although favored by Vivaldi, Goldoni, after the death of the red-haired priest, spoke of him in his memoirs as a rather mediocre composer. For a long time, Vivaldi was remembered only because J. S. Bach made a number of transcriptions of his predecessor’s works, and only in the 20th century was the publication of the complete collection of Vivaldi’s instrumental opuses undertaken. Instrumental concerts Vivaldi was a stage on the path to the formation of a classical symphony. The Vivaldi Italian Institute was created in Siena (headed by F. Malipiero).

In mid-May 1740, the musician finally left Venice. He arrived in Vienna at an unfortunate time, as Emperor Charles VI had just died and the War of the Austrian Succession had begun. Vienna had no time for Vivaldi. Forgotten by everyone, sick and without means of support, he died in Vienna on July 28, 1741. The quarterly doctor recorded the death of “the Reverend Don Antonio Vivaldi from internal inflammation.” He was buried in the cemetery for the poor for a modest fee of 19 florins 45 kreuzers. A month later, sisters Margherita and Zanetta received news of Antonio's death. On August 26, the bailiff seized his property to pay off his debts.

Contemporaries often criticized him for his excessive passion for the opera stage and his haste and illegibility. It is curious that after the production of his opera “Furious Roland”, his friends called Vivaldi, none other than Dirus (lat. Furious). The composer's opera heritage (approximately 90 operas) has not yet become the property of the world. opera stage. It wasn't until the 1990s that Roland Furious was successfully staged in San Francisco.

Vivaldi's work had a huge influence not only on contemporary Italian composers, but also on musicians of other nationalities, primarily German. Here it is especially interesting to trace the influence of Vivaldi’s music on J. S. Bach, the greatest German composer of the 1st half of the 18th century. In the first biography of Bach, published in 1802, its author, Johann Nikolaus Forkel, singled out the name of Vivaldi among the masters who became the subject of study for the young Johann Sebastian. The strengthening of the instrumental-virtuoso character of Bach's thematicism during the Köthen period of his work (1717-1723) is directly related to the study of Vivaldi's music. But its influence was manifested not only in the assimilation and processing of individual expressive techniques - it was much wider and deeper. Bach adopted Vivaldi's style so organically that it became his own musical language. The inner intimacy with Vivaldi's music is palpable in the most various works Bach up to his famous “High” Mass in B minor. The influence that Vivaldi's music had on the German composer was undoubtedly enormous. According to A. Casella, “Bach is his greatest admirer and probably the only one who at that time was able to understand the greatness of the genius of this musician.”

Essays
More than 40 operas, including “Roland the Imaginary Madman” (Orlando fiato pozzo, 1714, Teatro Sant’Angelo, Venice), “Nero who became Caesar” (Nerone fatto Cesare, 1715, ibid.), “The Coronation of Darius "(L'incoronazione di Daria, 1716, ibid.), "Deception triumphant in love" (L'inganno trionfante in amore, 1725, ibid.), "Farnace" (1727, ibid., later also called "Farnace , ruler of Pontus"), "Cunegonde" (1727, ibid.), "Olympiad" (1734, ibid.), "Griselda" (1735, San Samuele Theater, Venice), "Aristide" (1735, ibid. ), “Oracle in Messenia” (1738, Teatro Sant’Angelo, Venice), “Theraspes” (1739, ibid.); oratorios - “Moses, God of Pharaoh” (Moyses Deus Pharaonis, 1714), “Juditha Triumphans devicta Holofernis barbarie” (1716), “Adoration of the Magi” (L'Adorazione delli tre Re Magi, 1722), etc. ;
Author of more than 500 concerts, including:
44 concertos for string orchestra and basso continuo;
49 concherti grossi;
352 concertos for one instrument with string orchestra and/or basso continuo accompaniment (253 for violin, 26 for cello, 6 for viol d'amore, 13 for transverse, 3 for longitudinal flutes, 12 for oboe, 38 for bassoon, 1 for mandolin );
38 concertos for 2 instruments with string orchestra and/or basso continuo accompaniment (25 for violin, 2 for cello, 3 for violin and cello, 2 for horns, 1 for mandolins);
32 concertos for 3 or more instruments with string orchestra and/or basso continuo accompaniment.

One of the most famous works- a cycle of 4 violin concerts “The Seasons” - an early example of program symphonic music. Vivaldi's contribution to the development of instrumentation was significant (he was the first to use oboes, horns, bassoons and other instruments as independent, rather than duplicating ones).

Antonio Luciano Vivaldi is an Italian composer, conductor, teacher, virtuoso violinist, author of 500 concerts for solo instruments and orchestra, 90 operas, a genius whose works were forgotten for 200 years.

Antonio was born on March 4, 1678 in Venice in the family of barber and musician Giovanni Battista Vivaldi and his wife Camilla. Giovanni was originally from Brescia, and at the age of 10 he settled in Venice with his mother. In those days, barbers shaved, cut, curled and anointed clients, and also entertained them by playing music.

Vivaldi Sr. combined hairdressing with playing the violin. Giovanni became a violinist in the chapel of St. Mark's Cathedral, and his name is also on the list of founders musical society and even on the title page of one opera, dated 1689.

The director of the mentioned society was the composer and author of operas Giovanni Legrenzi. Based on these facts, the compilers of Vivaldi’s biography came to the conclusion that the composer owes his talent and first steps in the musical field to his father, who instilled in his son a love for the violin and passed on his own skills, perfect pitch and mastery of the game. There is also a version that young Antonio studied with Giovanni Legrenzi.

The circumstances of the birth of Vivaldi Jr. made it possible to find out the exact date of his birth. The fact is that the boy was born premature, in the seventh month. The midwife who delivered the baby advised the child to be baptized immediately in case of sudden death. A couple of hours after the birth, the baby was already baptized, as evidenced by the entry in the church book.

Church of St. John in Bragor, where Antonio Vivaldi was baptized in 1678

According to legend, on that day there was an earthquake in Venice, and the child was born prematurely. Camilla allegedly vowed to give her son to the clergy if he survived. Surprisingly, Antonio survived, although he had poor health and a slight build.

Due to asthma, it was difficult for the boy to move, and wind instruments were also banned. But the violin, beloved since infancy, was at the complete disposal of the future maestro, and from the age of 10 Antonio replaced his father, playing in the Chapel of St. Mark.

From the age of 13, Vivaldi Jr. served as the “goalkeeper” at the cathedral, opening the gates of the temple. Then several more initiations of the young church minister to higher positions took place. Antonio celebrated Mass only once; he was given an exemption due to poor health, and the young man was given the opportunity to devote himself to music.

In those days, Venetian priests combined writing concerts and sacred music with serving God. This was considered as natural as having musical instruments in every barber shop. In the 17th century, the Venetian Republic was one of the most enlightened and cultural countries world, and in the field of opera, secular and sacred music set the tone for the rest of Europe.

Music

At the age of 25, Vivaldi began teaching the art of violin playing at the Ospedale della Pietà in Venice. Conservatories were then called shelter schools at monasteries, where orphans and children whose parents were unable to provide for them were educated. These schools were financed from the republic's funds.

The girls' shelters specialized in the humanities, special attention was devoted to singing, music, and the performance of spiritual melodies, psalms and hymns. The boys, who were trained as traders and artisans, were taught exact sciences.

Antonio Vivaldi became a violin master for the young pupils of the orphanage, and then a viola teacher. His duties included monthly writing of concerts, cantatas, vocal works for soloists and choir, as well as the creation of new oratorios and concerts for each church holiday. In addition, the teacher personally taught music, playing instruments and vocals to the orphans, rehearsed and honed the girls’ skills.

Vivaldi worked at Pietà from 1703 to 1740, not counting an eight-year break from 1715 to 1723, and from 1713 became director of the conservatory. All these years, the composer worked tirelessly; he wrote more than 60 works for the shelter alone, including cantatas, concerts for solo, choral, and orchestral performances.

In 1705 and 1709, Venetian publishing houses published two Vivaldi opuses of 12 sonatas, and in 1711 - 12 concertos under the title “Harmonic Inspiration”. In those same years about the young and talented composer first heard outside of Italy. In 1706, Vivaldi performed at the French embassy, ​​and three years later his oratorio was heard by the Danish king Frederick IV, to whom Antonio subsequently dedicated 12 sonatas.

In 1712, the musician met the German composer Gottfried Stölzel, and five years later Vivaldi moved to Mantua for three years at the invitation of Prince Philip of Hesse-Darmstadt.

Since 1713, the composer became interested in a new form of musical art- secular opera. The first opera written by Vivaldi was Ottone at the Villa. The talented young man was noticed by impresarios and patrons of the arts, and soon Antonio received an order from the owner of the San Angelo Theater for a new opera.

According to the composer, in the period from 1713 to 1737 he wrote 94 operas, but only 50 scores with confirmed authorship of the great Vivaldi have survived to this day. The author of the operas enjoyed stunning success, but Vivaldi's secular fame was short-lived. The musically sophisticated Venetian public soon found new idols, and Antonio's operas went out of fashion.

In 1721, the maestro visited Milan, where he presented the drama “Sylvia”, and the next year he returned with an oratorio on biblical theme. From 1722 to 1725, Vivaldi lived in Rome, where he wrote new operas and performed before the pope at a personal invitation. For the musician-clergyman this event was a great honor.

In 1723-1724, Vivaldi wrote the famous concertos, erroneously called “The Seasons” in the CIS (the correct name is “The Four Seasons”). Each of the violin concertos is dedicated to spring, winter, summer and autumn. According to most critics and researchers, these concerts are the pinnacle of the maestro’s creativity.

The revolutionary nature of works of genius lies in the fact that the human ear clearly catches in music the reflection of processes and phenomena characteristic of a particular season. So, in the song of the violin you can hear the noise of a storm and the barking of dogs, the squeaking of mosquitoes and the bubbling of streams, children's voices, the trills of birds of recognizable breeds, and even the fall of a skater on the ice.

Tours and travels led the maestro to meet the Austrian Emperor Charles VI. The king was a big fan of Vivaldi's work, and friendly relations began between them. Surprisingly, as the popularity of the composer’s music declined in his homeland, Venice, his fame grew in Europe, at the courts of the French and Austrian kings.

At the end of his life, luck abandoned the brilliant composer, and he was forced to sell his sonatas for pennies, just so as not to vegetate in poverty. Disillusioned with the Venetians, who stopped loving his creations, Antonio Vivaldi decided to move to Vienna, “under the wing” of the royal admirer of his talent, Charles VI.

Unfortunately, soon after the composer moved to Vienna, the emperor died, then the war began, and the maestro was forgotten.

Personal life

As a clergyman, Antonio Vivaldi took a vow of celibacy, which he observed throughout his life. And yet, ill-wishers were able to discern a violation of decency in his close relationship with one of the pupils of the Pietà Conservatory, Anna Giraud and her sister Paolina.

Vivaldi was the teacher and mentor of Anna, who, according to the recollections of contemporaries, attracted the attention of the public not with the strength and range of her voice, but with her acting talent. For this girl, the composer wrote the best of operas, composed arias and spent time together at home and on the road.

Anna's sister, Paolina, idolized the maestro and became a volunteer nurse and caregiver with him, helping to cope with congenital ailments and bodily weakness. For a long time, the higher clergy turned a blind eye to the maestro’s passion for secular music and operas, but they could not forgive him for constantly being around two young girls.

In 1738, the Cardinal Archbishop of Ferrara, where the next carnival with the same operas was supposed to take place, did not allow Vivaldi and his companions into the city, and also ordered a mass to be celebrated in view of the composer’s fall from grace.

Death

The brilliant composer died in poverty and loneliness in a foreign land, in Vienna. Antonio Vivaldi's life was cut short on July 28, 1741. His property was described and sold for debts, and his body was buried in the cemetery for the city's poor. Only a month after Antonio's death, his younger sisters received sad news.

Sculptural composition in Vienna, dedicated to Antonio Vivaldi

After his death, the name of Vivaldi was undeservedly forgotten. Perhaps he only sincerely and deeply loved the Italian’s music, remaining for a long time his only faithful admirer. Bach transcribed ten Vivaldi concertos for various instruments and orchestra, and the legacy of the Venetian composer had a tangible influence on the work of the virtuoso organist.

• Much credit for the research and discovery of Vivaldi's masterpieces for posterity belongs to the Italian musicologist Alberto Gentili, who discovered 14 volumes of the composer's works at the beginning of the 20th century.
• Antonio Vivaldi is the first composer to create concertos for violin and orchestra, two, four violins and two mandolins.
• The only color portrait of Vivaldi, which is familiar to everyone from photographs in textbooks, may well be the image of a completely different person (the initials are not indicated in the picture, and the portrait itself is not similar to other portraits of the composer).

• The maestro had the nickname “red priest” because of his copper hair color, rare among Venetians.
• Vivaldi also became famous for the fact that he could write a three-act opera and dozens of musical variations on one theme in five days.
• The notorious "Tango of Death", attributed to Vivaldi, is actually a composition called Palladio by modern composer Karl Jenkins, and "Elven Night (Song)" is a song by Secret Garden.
• The composition “Summer Thunderstorm (Storm)” from the cycle “Seasons” performed is one of the most popular melodies in the world.

Discography

Operas:

• "Ottone in the Country", 1713;
• "Roland, the imaginary madman", 1714;
• "Arsilda, Queen of Pontus", 1716;
• "Coronation of Darius", 1717;
• "Artaban", 1718;
• "Teuzone", 1719
• "Titus Manlius", 1719;
• "Farnace", 1727 and others.

Choral and vocal music:

• Sacrum (mass);
• Laudate Dominum omnes gentes;
• Stabat Mater and others.
• Psalms:
• Beatus vir;
• Confitebor tibi Domine;
• Dixit Dominus;
• Lauda Jerusalem and others.

Oratorios:

• “Judith Triumphant”, 1716;
• “The Adoration of the Three Magi to the Child Jesus,” 1722;
• “Great cantata “Gloria and Hymen”, 1721.
• Cantatas for voice with accompaniment:
• “Under the canopy of a beautiful beech tree”;
• “My gaze is directed towards him”;
• “Cupid, you won”;
• “You have disappeared, golden days”;
• “So cry, sources of tears” and others.

Instrumental concerts and sonatas, including:

• "Storm at Sea";
• "Pleasure";
• "Hunting";
• "Seasons";
• "Night";
• "Goldfinch";
• "Prelude".

Details Category: European classical music of the 17th-18th centuries Published 12/14/2018 18:21 Views: 524

The works of Antonio Vivaldi are popular all over the world. But it wasn't always like this.

During his lifetime (during the first half of the 18th century), the composer was widely known; he was known as the creator of the solo instrumental concert. Contemporaries called him “a great, unsurpassed, delightful writer.” Vivaldi's concertos served as a model even for composers such as J.S. Bach, P. Locatelli, D. Tartini, J.-M. Leclerc and others. In the era of musical baroque, these were famous names. Bach even arranged 6 violin concertos by Vivaldi for the clavier, made organ concertos from 2 of them, and rearranged one for 4 claviers - he was so admired by his clarity and harmony of harmony, perfect violin technique, and melody by Vivaldi’s music.

Alleged portrait of Vivaldi
But some time passed, and Vivaldi was almost forgotten. His works cease to be performed, even the features of his appearance are soon forgotten: to this day his portraits are considered only supposedly to belong to him. And only in the middle of the 20th century. interest suddenly arose in his work, including his biography, about which little is known. What was the reason for this renewed interest? Apparently, real art, even temporarily forgotten, cannot lie hidden for long - gold will still shine. But perhaps Vivaldi was simply ahead of his time, and after his death his contemporaries could not accept his music at his level. The Austrian scientist Walter Collender argued exactly this: Vivaldi was several decades ahead of the development of European music in the use of dynamics and purely technical techniques of violin playing. Thus, today his art has received a second life.

Vanessa May, a British violinist of Chinese-Thai origin, masterfully performs Vivaldi's works in a modern arrangement

From the biography of Antonio Vivaldi

Vivaldi spent his childhood in Venice, where in the Cathedral of St. Mark's father worked as a violinist. Antonio was the eldest child in a family of 6 children. Very few details have been preserved about the composer’s childhood, but it is known that he learned to play the violin from his father. Then he studied playing the harpsichord. It is also known that Antonio had poor health since childhood and suffered from bronchial asthma. But despite this, Vivaldi was an extremely active person and musician. He loved traveling, was constantly on the road endlessly, but at the same time he managed to direct productions of his operas, discuss roles with singers, conduct extensive correspondence, conduct orchestras, teach, and most importantly, write a huge number of works. In March 1703, Vivaldi was ordained to the clergy - he became a priest. He was nicknamed the “red monk” for his hair color. It is believed that due to his health, Vivaldi celebrated only a few masses and soon abandoned this, although he continued to compose sacred music.
In September 1703, Vivaldi began working as a teacher at the Venetian charity home for orphan girls “Pio Ospedale delia Pieta”.

Conservatory "Pieta" in Venice

Children's shelters (hospitals) at churches were then called conservatories. Here he taught girls to play the violin and viola d'amour, and also supervised the preservation of stringed instruments and the purchase of new violins. The concerts of his students were very popular among the enlightened Venetian public. The famous French traveler de Brosses left the following description of the Venetian conservatories: “Excellent here music hospitals. There are four of them, and they are filled with illegitimate girls, as well as orphans or those whose parents are not able to raise them. They are raised at the expense of the state and they are taught mainly music, they play the violin, flute, organ, oboe. , cello, bassoon, in a word, there is no such bulky instrument that would make them afraid. 40 girls participate in each concert. I swear to you, there is nothing more attractive than seeing a young and beautiful nun, in white clothes, with bouquets of pomegranate flowers on her ears. beating the beat with all grace and precision."
Vivaldi's violin concertos have become widely known in Western Europe and especially in Germany. As we have already said, J. S. Bach “for pleasure and instruction” personally arranged Vivaldi’s violin concertos for clavier and organ. During these same years, Vivaldi wrote his first operas “Ottone” (1713), “Orlando” (1714), “Nero” (1715). In Mantua in 1718-1720. he mainly writes operas for the carnival season, as well as instrumental works for the ducal court.
By 1717 Vivaldi was already famous performer, composer and teacher, some of his students became famous musicians, one of them is Anna Giraud.
In 1725, one of the composer’s most famous opuses, “An Experience in Harmony and Invention” (op. 8), was published. The collection consists of 12 violin concertos. The first 4 concerts are named by the composer “Spring”, “Summer”, “Autumn” and “Winter”. Later they combined it into the series “Seasons” (this is not the author’s name). The four violin concertos “The Seasons,” part of the cycle “The Controversy of Harmony with Invention,” are considered the most famous and performed works.
In 1740, shortly before his death, Vivaldi went to his last trip to Vienna, where he died in the house of the widow of a Viennese saddler and was buried as a beggar. Unknown and exact date Vivaldi's death - most sources indicate the year 1743. And then his name was forgotten.

The musical heritage of Antonio Vivaldi

Almost 200 years later, Italian musicologist A. Gentili discovered a unique collection of the composer’s manuscripts, which consisted of 300 concertos, 19 operas, sacred and secular vocal works. A true revival of Vivaldi's former glory has begun
In Russia, Vivaldi is one of the most beloved composers. It is often performed, and Vivaldi's creative legacy is enormous: more than 700 titles. Of these, there are about 500 concertos, including 230 for violin, the composer’s favorite instrument. He also wrote concertos for viola d'amour, cello, mandolin, longitudinal and transverse flutes, oboe, bassoon. He created more than 60 concerts for string orchestra and basso continue, sonatas for various instruments and more than 40 operas (only half of the scores have survived In addition, there are numerous vocal works by Vivaldi: cantatas, oratorios, spiritual works. Many of Vivaldi’s instrumental works have programmatic subtitles. Already during his lifetime, Vivaldi became famous as an outstanding expert on the orchestra, the inventor of many coloristic effects, and he did a lot to develop the technique of playing the piano. violin.
Of the five supposed portraits of the great composer, the earliest one, created by P. Ghezzi in 1723, is considered the most reliable.

P.L. Ghezzi "The Red Priest" (caricature of Vivaldi, 1723)
His student Pencherl ends his description of the teacher this way: “This is how Vivaldi appears to us when we combine all the individual information about him: created from contrasts, weak, sick, and yet alive like gunpowder, ready to get irritated and immediately calm down, move on from worldly vanity to superstitious piety, stubborn and at the same time accommodating when necessary, a mystic, but ready to come down to earth when it comes to his interests, and not at all a fool when organizing his affairs.”
The same can be said about his music: in it high spirituality is combined with a thirst for life experiences, the high is mixed with everyday life - the singing of birds, the song of peasants, the murmur of a spring stream, the rumble of thunder... His music is distinguished by sincerity, freshness, spontaneity and special lyricism. This is what has attracted numerous performers and listeners to his music for more than 200 years.

(4 III (?) 1678, Venice - 28 VII, 1741, Vienna)

One of largest representatives Baroque era A. Vivaldi went down in history musical culture as the creator of the instrumental concert genre, the founder of orchestral program music. Vivaldi's childhood is connected with Venice, where his father worked as a violinist in St. Mark's Cathedral. The family had 6 children, of whom Antonio was the eldest. Almost no details have been preserved about the composer’s childhood. It is only known that he studied the violin and harpsichord. On September 18, 1693, Vivaldi was tonsured a monk, and on March 23, 1703, he was ordained. At the same time, the young man continued to live at home (presumably due to a serious illness), which gave him the opportunity not to give up his musical studies. Vivaldi was nicknamed the “red monk” for his hair color. It is believed that already in these years he was not too zealous about his duties as a clergyman. Many sources retell a story (possibly apocryphal, but revealing) of how one day during a service the “red-haired monk” hurriedly left the altar to write down a fugue theme that suddenly occurred to him. In any case, Vivaldi's relations with clerical circles continued to strain, and soon he, citing his poor health, publicly refused to celebrate Mass.

In September 1703, Vivaldi began working as a teacher (maestro di violino) at the Venetian charity orphanage "Pio Ospedale delia Pieta". His duties included teaching the violin and viola d'amour, as well as overseeing the preservation of stringed instruments and purchasing new violins. The "services" in the "Pieta" (they can rightfully be called concerts) were the center of attention of the enlightened Venetian public. For reasons of economy, Vivaldi was fired in 1709, but in 1711-16 he was reinstated in the same position, and from May 1716 he was already the concertmaster of the Pieta orchestra. Even before his new appointment, Vivaldi had established himself not only as a teacher. but also as a composer (mainly the author of sacred music). In parallel with his work in “Pieta”, Vivaldi was looking for opportunities to publish his secular works, 12 trio sonatas op. 1 were published in 1706; "Harmonic Inspiration" op. 3; in 1714 - another collection called "Extravagance" op. 4. Vivaldi's violin concertos very soon became widely known in Western Europe and especially in Germany. Matteson, the Great J. S. Bach “for pleasure and instruction” personally arranged 9 Vivaldi violin concertos for clavier and organ. During these same years, Vivaldi wrote his first operas “Ottone” (1713), “Orlando” (1714), “Nero” (1715). In 1718-20 he lives in Mantua, where he mainly writes operas for the carnival season, as well as instrumental works for the Mantuan ducal court. In 1725, one of the composer’s most famous opuses was published, bearing the subtitle “An Experience in Harmony and Invention” (op. 8). Like the previous ones, the collection is composed of violin concertos (there are 12 of them). The first 4 concerts of this opus are named by the composer, respectively, “Spring, Summer, Autumn and Winter”. In modern performing practice, they are often combined into the cycle “Seasons” (there is no such title in the original). Apparently, Vivaldi was not satisfied with the income from the publication of his concerts, and in 1733 he announced to a certain English traveler E. Holdsworth his intention to refuse further publications, since, unlike printed copies, handwritten copies were more expensive. In fact, since then, no new original works by Vivaldi have appeared.

Late 20's - 30's. often called “years of travel” (previously to Vienna and Prague). In August 1735, Vivaldi returned to the post of conductor of the Pieta orchestra, but the management committee did not like his subordinate’s passion for travel, and in 1738 the composer was fired. At the same time, Vivaldi continued to work hard in the opera genre (one of his librettists was the famous C. Goldoni), while he preferred to personally participate in the production. However, Vivaldi's opera performances special success did not have, especially after the composer was deprived of the opportunity to act as director of his operas at the Ferrara theater due to the cardinal’s ban on entering the city (the composer was accused of having a love affair with Anna Giraud, his former student, and the refusal of the “red monk” to serve mass ). As a result, the opera premiere in Ferrara was a failure.

In 1740, shortly before his death, Vivaldi went on his last trip to Vienna. The reasons for his sudden departure are unclear. He died in the house of the widow of a Viennese saddler named Waller and was buried in poverty. Soon after death name outstanding master was forgotten. Almost 200 years later, in the 20s. XX century Italian musicologist A. Gentili discovered a unique collection of the composer’s manuscripts (300 concertos, 19 operas, sacred and secular vocal works). From this time on, a true revival of Vivaldi's former glory begins. The music publishing house "Ricordi" began publishing in 1947 full meeting works of the composer, and the Philips company has recently begun to implement an equally grandiose plan - the publication of “everything” Vivaldi in recordings. In our country, Vivaldi is one of the most frequently performed and most beloved composers. Vivaldi's creative legacy is great. According to the authoritative thematic-systematic catalog by Peter Riom (international designation - RV), it covers more than 700 titles. The main place in Vivaldi’s work was occupied by the instrumental concerto (about 500 in total preserved). The composer's favorite instrument was the violin (about 230 concerts). In addition, he wrote concerts for two, three and four violins with orchestra and basso continue, concertos for viola d'amour, cello, mandolin, longitudinal and transverse flutes, oboe, bassoon. More than 60 concerts for string orchestra and basso continue are known. sonatas for various instruments. Of more than 40 operas (the authorship of Vivaldi has been accurately established), only half of them have survived. Less popular (but no less interesting) are his numerous vocal works - cantatas, oratorios, works on spiritual texts (psalms). , litanies, "Gloria", etc.).

Many of Vivaldi's instrumental works have programmatic subtitles. Some of them relate to the first performer (Carbonelli concerto, RV 366), others to the festival during which this or that composition was performed for the first time (For the Feast of St. Lorenzo, RV 286). A number of subheadings indicate some unusual detail of performing technique (in the concert entitled "L"ottavina", RV 763, all solo violins must be played in the upper octave). The most typical headings characterize the prevailing mood - "Rest, Anxiety, Suspicion" or "Harmonic Inspiration, Zither" (the last two are the names of collections of violin concertos). Moreover, even in those works whose titles seem to indicate external pictorial moments ("Storm at Sea, Goldfinch, Hunting" etc. . etc.), the main thing for the composer is always the transfer of the general lyrical mood. The score of “The Four Seasons” is provided with a relatively detailed program. Already during his lifetime, Vivaldi became famous as an outstanding expert on the orchestra, the inventor of many coloristic effects, and he did a lot for the development of violin playing technique.

One of the greatest representatives of the Baroque era, A. Vivaldi entered the history of musical culture as the creator of the instrumental concert genre, the founder of orchestral program music. Vivaldi's childhood is connected with Venice, where his father worked as a violinist in St. Mark's Cathedral. The family had 6 children, of whom Antonio was the eldest. Almost no details have been preserved about the composer’s childhood. It is only known that he studied the violin and harpsichord.

On September 18, 1693, Vivaldi was tonsured a monk, and on March 23, 1703, he was ordained. At the same time, the young man continued to live at home (presumably due to a serious illness), which gave him the opportunity not to give up his musical studies. Vivaldi was nicknamed the “red monk” for his hair color. It is believed that already in these years he was not too zealous about his duties as a clergyman. Many sources retell a story (possibly apocryphal, but revealing) of how one day during a service the “red-haired monk” hurriedly left the altar to write down a fugue theme that suddenly occurred to him. In any case, Vivaldi's relations with clerical circles continued to strain, and soon he, citing his poor health, publicly refused to celebrate Mass.

In September 1703, Vivaldi began working as a teacher (maestro di violino) at the Venetian charity orphanage "Pio Ospedale delia Pieta". His duties included teaching the violin and viol d'amore, as well as overseeing the preservation of stringed instruments and purchasing new violins. The “services” in the “Pieta” (they can rightfully be called concerts) were the center of attention of the enlightened Venetian public. For reasons of economy, Vivaldi was fired in 1709, but in 1711-16. reinstated in the same position, and from May 1716 he was already the concertmaster of the Pieta orchestra.

Even before his new appointment, Vivaldi had established himself not only as a teacher, but also as a composer (mainly the author of sacred music). In parallel with his work at Pieta, Vivaldi was looking for opportunities to publish his secular works. 12 trio sonatas op. 1 were published in 1706; in 1711 the most famous collection of violin concertos “Harmonic Inspiration” op. 3; in 1714 - another collection called “Extravagance” op. 4. Vivaldi’s violin concertos very soon became widely known in Western Europe and especially in Germany. I. Quantz, I. Matteson showed great interest in them, the Great J. S. Bach “for pleasure and instruction” personally arranged 9 Vivaldi violin concertos for clavier and organ. During these same years, Vivaldi wrote his first operas “Ottone” (1713), “Orlando” (1714), “Nero” (1715). In 1718-20 he lives in Mantua, where he mainly writes operas for the carnival season, as well as instrumental works for the Mantuan ducal court.

In 1725, one of the composer’s most famous opuses was published, bearing the subtitle “An Experience in Harmony and Invention” (op. 8). Like the previous ones, the collection is composed of violin concertos (there are 12 of them). The first 4 concerts of this opus are named by the composer, respectively, “Spring”, “Summer”, “Autumn” and “Winter”. In modern performing practice, they are often combined into the cycle “Seasons” (there is no such title in the original). Apparently, Vivaldi was not satisfied with the income from the publication of his concerts, and in 1733 he announced to a certain English traveler E. Holdsworth his intention to refuse further publications, since, unlike printed copies, handwritten copies were more expensive. In fact, since then, no new original works by Vivaldi have appeared.

Late 20's - 30's. often called “years of travel” (previously to Vienna and Prague). In August 1735, Vivaldi returned to the post of conductor of the Pieta orchestra, but the management committee did not like his subordinate’s passion for travel, and in 1738 the composer was fired. At the same time, Vivaldi continued to work hard in the opera genre (one of his librettists was the famous C. Goldoni), while he preferred to personally participate in the production. However, Vivaldi’s opera performances were not particularly successful, especially after the composer was deprived of the opportunity to act as director of his operas at the Ferrara theater due to the cardinal’s ban on entering the city (the composer was accused of having a love affair with Anna Giraud, his former student, and refusing "red monk" to serve mass). As a result, the opera premiere in Ferrara was a failure.

In 1740, shortly before his death, Vivaldi went on his last trip to Vienna. The reasons for his sudden departure are unclear. He died in the house of the widow of a Viennese saddler named Waller and was buried in poverty. Soon after his death, the name of the outstanding master was forgotten. Almost 200 years later, in the 20s. XX century Italian musicologist A. Gentili discovered a unique collection of the composer's manuscripts (300 concertos, 19 operas, sacred and secular vocal works). From this time on, a true revival of Vivaldi's former glory begins. The music publishing house Ricordi began publishing the composer's complete works in 1947, and the Philips company recently began implementing an equally grandiose plan - publishing “everything” Vivaldi in recordings. In our country, Vivaldi is one of the most frequently performed and most beloved composers. Vivaldi's creative legacy is great. According to the authoritative thematic-systematic catalog by Peter Riom (international designation - RV), it covers more than 700 titles. The main place in Vivaldi’s work was occupied by the instrumental concerto (about 500 in total preserved). The composer's favorite instrument was the violin (about 230 concerts). In addition, he wrote concertos for two, three and four violins with orchestra and basso continue, concertos for viola d'amore, cello, mandolin, longitudinal and transverse flutes, oboe, bassoon. There are more than 60 concerts for string orchestra and basso continue, sonatas for various instruments. Of more than 40 operas (the authorship of Vivaldi has been accurately established), the scores of only half of them have survived. Less popular (but no less interesting) are his numerous vocal works - cantatas, oratorios, works on spiritual texts (psalms, litanies, “Gloria”, etc.).

Many of Vivaldi's instrumental works have programmatic subtitles. Some of them refer to the first performer (Carbonelli concerto, RV 366), others to the festival during which this or that composition was performed for the first time (“For the Feast of St. Lorenzo”, RV 286). A number of subheadings indicate some unusual detail of performance technique (in the concert entitled “L’ottavina”, RV 763, all solo violins must be played in the upper octave). The most typical titles are those that characterize the prevailing mood - “Rest”, “Anxiety”, “Suspicion” or “Harmonic Inspiration”, “Zither” (the last two are the names of collections of violin concertos). At the same time, even in those works whose titles seem to indicate external pictorial moments (“Storm at Sea”, “Goldfinch”, “Hunting”, etc.), the main thing for the composer always remains the transfer of the general lyrical mood. The score of “The Seasons” is provided with a relatively extensive program. Already during his lifetime, Vivaldi became famous as an outstanding expert on the orchestra, the inventor of many coloristic effects, and he did a lot to develop the technique of playing the violin.

S. Lebedev

The wonderful works of A. Vivaldi have enormous, worldwide fame. Contemporary famous ensembles (Moscow Chamber Orchestra conducted by R. Barshai, Roman Virtuosi, etc.) devote evenings to his work and, perhaps, after Bach and Handel, Vivaldi is the most popular composer of the musical Baroque era. These days it seems to have received a second life.

He enjoyed wide fame during his lifetime and was the creator of a solo instrumental concert. The development of this genre in all countries throughout the pre-classical period is associated with the work of Vivaldi. Vivaldi's concertos served as a model for Bach, Locatelli, Tartini, Leclerc, Benda and others. Bach arranged 6 Vivaldi violin concertos for the clavier, made organ concertos out of 2 and reworked one for 4 claviers.

“While Bach was in Weimar, all music world admired the originality of the latter’s concerts (i.e. Vivaldi - L.R.),. Bach rearranged Vivaldi's concertos not to make them accessible to wide circles, and not in order to learn from them, but only because it gave him pleasure. He undoubtedly benefited from Vivaldi. He learned from him clarity and harmony of construction. perfect violin technique based on melodiousness..."

However, being quite popular during the first half XVIII century, Vivaldi was later almost forgotten. “While after the death of Corelli,” writes Pencherl, “the memory of him became more and more strengthened and embellished over the years, Vivaldi, almost less famous during his lifetime, literally disappeared after a few five years, both materially and spiritually. His creations are removed from programs, even the features of his appearance are erased from memory. There was only speculation about the place and date of his death. For a long time, dictionaries repeat only scanty information about him, filled with commonplaces and replete with errors...”

Until recently, Vivaldi was of interest only to historians. IN music schools on initial stages learning studied 1-2 of his concerts. In the middle of the 20th century, attention to his work rapidly increased, and interest in the facts of his biography increased. And yet we still know very little about him.

The ideas about his legacy, most of which remained in obscurity, were completely wrong. Only in 1927-1930, the Turin composer and researcher Alberto Gentili managed to discover about 300 (!) autographs of Vivaldi, which were the property of the Durazzo family and kept in their Genoese villa. Among these manuscripts are 19 operas, an oratorio and several volumes of Vivaldi's church and instrumental works. This collection was founded by Prince Giacomo Durazzo, a philanthropist, since 1764, the Austrian envoy in Venice, where he political activity was engaged in collecting art samples.

According to Vivaldi's will, they were not subject to publication, but Gentili ensured that they were transferred to National Library and thereby made it public. The Austrian scientist Walter Collender began studying them, claiming that Vivaldi was several decades ahead of the development of European music in the use of dynamics and purely technical techniques of violin playing.

According to the latest data, it is known that Vivaldi wrote 39 operas, 23 cantatas, 23 symphonies, many church works, 43 arias, 73 sonatas (trio and solo), 40 concerti grossi; 447 solo concerts for a variety of instruments: 221 for violin, 20 for cello, 6 for viol damour, 16 for flute, 11 for oboe, 38 for bassoon, concertos for mandolin, horn, trumpet and for mixed compositions: wooden with a violin, for 2 violins and a lute, 2 flutes, an oboe, an English horn, 2 trumpets, a violin, 2 violas, a bow quartet, 2 cymbals, etc.

Vivaldi's exact birthday is unknown. Pencherl gives only an approximate date - somewhat earlier than 1678. His father Giovanni Battista Vivaldi was a violinist in the Ducal Chapel of St. Brand in Venice, and a first-class performer. In all likelihood, the son received his father's violin education, and studied composition with Giovanni Legrenzi, who headed the Venetian violin school in the second half of the 17th century and was an outstanding composer, especially in the field of orchestral music. Apparently from him Vivaldi inherited a passion for experimenting with instrumental compositions.

At a young age, Vivaldi entered the same chapel where his father worked as a leader, and later replaced him in this position.

However, professional music career Soon it was supplemented by the spiritual - Vivaldi became a priest. This happened on September 18, 1693. Until 1696, he was in the junior clergy, and received full priestly rights on March 23, 1703. “Red-haired priest” - Vivaldi was mockingly called in Venice, and this nickname remained with him throughout his life.

Having received the priesthood, Vivaldi did not stop his musical studies. In general, he was not involved in church service for long - only one year, after which he was forbidden to serve mass. Biographers give a funny explanation for this fact: “One day Vivaldi was celebrating mass, and suddenly the theme of the fugue came to his mind; leaving the altar, he goes to the sacristy to write down this theme, and then returns to the altar. A denunciation followed, but the Inquisition, considering him a musician, that is, as if crazy, limited himself to prohibiting him from serving mass in the future.”

Vivaldi denied similar cases and explained the ban on church services due to his painful condition. By 1737, when he was due to arrive in Ferrara to stage one of his operas, the papal nuncio Ruffo banned him from entering the city, citing, among other reasons, that he was not celebrating mass. Then Vivaldi wrote a letter (November 16, 1737) to his patron, Marquis Guido Bentivoglio: “For 25 years now I have not served mass and will never serve it in the future, but not because of a prohibition, as your Lordship may have been told, but as a result my own decision caused by an illness that has oppressed me since the day I was born. When I was ordained a priest, I celebrated Mass for a year or a little over a year, then stopped doing it, forced to leave the altar three times without finishing it due to illness. As a result of this, I almost always live at home and travel only in a carriage or gondola, because I cannot walk due to chest disease, or rather chest tightness. Not a single noble invites me to his house, not even our prince, since everyone knows about my illness. After a meal I can usually go for a walk, but never on foot. This is the reason why I don’t celebrate mass.” The letter is curious in that it contains some everyday details of Vivaldi’s life, which apparently proceeded in isolation within the confines of his own home.

Forced to abandon his church career, Vivaldi in September 1703 entered one of the Venetian conservatories, called the “Musical Seminary of the Hospitable House of Piety”, to the position of “violin maestro”, with a salary of 60 ducats per year. Conservatories in those days were children's shelters (hospitals) attached to churches. In Venice there were four for girls, in Naples four for boys.

The famous French traveler de Brosses left the following description of the Venetian conservatories: “The music of the hospitals here is excellent. There are four of them, and they are filled with illegitimate girls, as well as orphans or those whose parents are unable to raise them. They are raised at the expense of the state and are taught mainly music. They sing like angels, play the violin, flute, organ, oboe, cello, bassoon; in short, there is no such cumbersome instrument that would make them afraid. 40 girls take part in each concert. I swear to you, there is nothing more attractive than to see a young and beautiful nun, in a white robe, with bouquets of pomegranate flowers on her ears, beating time with all grace and precision.”

J.-J. wrote enthusiastically about the music of conservatories (especially at Mendicanti - the church of mendicants). Russo: “On Sundays in the churches of each of these four Scuole, during Vespers, a full choir and orchestra perform motets composed by the greatest composers of Italy, under their personal direction, performed exclusively by young girls, the oldest of whom is not even twenty years old. They are in the stands behind bars. Neither Carrio nor I ever missed these evenings at Mendicanti. But these damned bars drove me into despair, letting only sounds through and hiding the faces of angels of beauty worthy of these sounds. I was just talking about this. I once said the same thing to M. de Blon.”

De Blon, who belonged to the administration of the conservatory, introduced Rousseau to the singers. “Come here, Sofia,” she was terrible. “Come here, Kattina,” she was crooked in one eye. “Come, Bettina,” her face was disfigured by smallpox.” However, “ugliness does not exclude charm, and they had it,” adds Rousseau.

Having entered the Conservatory of Piety, Vivaldi had the opportunity to work with the full orchestra there (with winds and organ), which was considered the best in Venice.

Venice, its musical and theatrical life and conservatories can be judged by the following heartfelt lines by Romain Rolland: “Venice was at that time the musical capital of Italy. There, during the carnival, there were performances every evening at seven opera houses. Every evening the Academy of Music met, that is, a musical meeting took place, and sometimes there were two or three such meetings per evening. Musical celebrations took place in the churches every day, concerts lasting several hours with the participation of several orchestras, several organs and several overlapping choirs. On Saturdays and Sundays, the famous vespers were served in hospitals, these women's conservatories, where they taught music to orphans, foundling girls, or simply girls who had beautiful voices; they gave orchestral and vocal concerts, for which all of Venice went crazy...”

By the end of the first year of service, Vivaldi received the title of “maestro of the choir”; his further promotion is not known, what is certain is that he served as a teacher of violin and singing, and also, intermittently, as an orchestra leader and composer.

In 1713, he received leave and, according to a number of biographers, traveled to Darmstadt, where for three years he worked in the chapel of the Duke of Darmstadt. However, Pencherl claims that Vivaldi did not travel to Germany, but worked in Mantua, in the duke’s chapel, not in 1713, but from 1720 to 1723. Pencherl proves this by referring to a letter from Vivaldi, who wrote: “In Mantua I was in the service of the pious Prince of Darmstadt for three years,” and determines the length of his stay there by the fact that the title of maestro of the duke’s chapel appears on title pages Vivaldi's printed works only after 1720.

From 1713 to 1718, Vivaldi lived in Venice almost continuously. At this time, his operas were staged almost every year, with the first in 1713.

By 1717, Vivaldi's fame had grown enormously. The famous German violinist Johann Georg Pisendel comes to study with him. In general, Vivaldi trained mainly performers for the conservatory orchestra, and not only instrumentalists, but also singers.

Suffice it to say that he was the tutor of such major opera singers as Anna Giraud and Faustina Bodoni. “He trained a singer named Faustina, who forced her to imitate with her voice everything that could be performed in his time on the violin, flute, and oboe.”

Vivaldi became very friendly with Pisendel. Pencherl gives the following story from I. Giller. One day Pisendel was walking along St. Stamp with “Red-haired priest”. Suddenly he interrupted the conversation and quietly ordered to return home immediately. Once at home, he explained the reason for the sudden return: for a long time, four gatherings followed and watched young Pisendel. Vivaldi inquired whether his student had said any reprehensible words anywhere, and demanded that he not leave the house until he himself clarified the matter. Vivaldi met with the inquisitor and learned that Pisendel had been mistaken for some suspicious person with whom he bore a resemblance.

From 1718 to 1722, Vivaldi is not listed in the documents of the Conservatory of Piety, which confirms the possibility of his departure to Mantua. However, he periodically appeared in hometown, where his operas continued to be staged. He returned to the conservatory in 1723, but as famous composer. Under the new conditions, he was obliged to write 2 concerts a month, with a remuneration of sequins per concert, and conduct 3-4 rehearsals for them. In fulfilling these duties, Vivaldi combined them with long and distant trips. “For 14 years now,” Vivaldi wrote in 1737, “I, together with Anna Giraud, have been traveling through numerous cities in Europe. I spent three carnival seasons in Rome because of the opera. I was invited to Vienna." In Rome he is the most popular composer, his operatic style is imitated by everyone. In Venice in 1726, he acts as an orchestra conductor at the Theater of St. Angelo, apparently in 1728, goes to Vienna. Then follow three years devoid of any data. And again, some introductions about the productions of his operas in Venice, Florence, Verona, Ancona shed scant light on the circumstances of his life. In parallel, from 1735 to 1740, his service at the Conservatory of Piety continued.

The exact date of Vivaldi's death is unknown. Most sources indicate the year 1743.

Five portraits of the great composer have survived. The earliest and most reliable, apparently, belongs to P. Ghezzi and dates back to 1723. The “red priest” is depicted chest-deep in profile. The forehead is slightly sloping, long hair curled, a pointed chin, a lively gaze full of will and curiosity.

Vivaldi was very sick. In a letter to the Marquis Guido Bentivolio (November 16, 1737), he writes that he is forced to make his travels accompanied by 4-5 people - and all because of a painful condition. However, illness did not prevent him from being extremely active. He travels endlessly, directs opera productions himself, discusses roles with singers, struggles with their whims, conducts extensive correspondence, conducts orchestras and manages to write an incredible number of works. He is very practical and knows how to organize his own affairs. De Brosse says ironically: “Vivaldi became one of my close friends in order to sell me his concerts at a higher price.” He kowtows to strongmen of the world This, prudently choosing patrons, is sanctimoniously religious, although he is by no means inclined to deprive himself of worldly pleasures. Being a Catholic priest, and according to the laws of this religion, deprived of the opportunity to marry, he was for many years in a love affair with his pupil, singer Anna Giraud. Their proximity caused Vivaldi great trouble. Thus, the papal legate in Ferrara in 1737 refused Vivaldi entry into the city not only because he was prohibited from traveling church services, but largely because of this reprehensible proximity. The famous Italian playwright Carlo Goldoni wrote that Giraud was ugly, but attractive - she had thin waist, beautiful eyes and hair, a charming mouth, she had a weak voice and undoubted stage talent.

The best description of Vivaldi's personality is contained in Goldoni's Memoirs.

One day Goldoni was asked to make some changes to the text of the libretto of the opera “Griselda” with music by Vivaldi, the production of which was being prepared in Venice. For this purpose, he went to Vivaldi’s apartment. The composer received him with a prayer book in his hands, in a room littered with sheet music. He was very surprised that instead of the old librettist Lalli, Goldoni should make the changes.

“I know well, my dear sir, that you have a poetic talent; I watched your “Belisarius”, which I really liked, but this is completely different: you can create a tragedy, an epic poem, if you want, and still not be able to cope with the quatrains to set to music.
- Give me the pleasure of getting to know your play.
- Please, please, with pleasure. Where did I put “Griselda”? She was here. Deus, in adjutorium meum intende, Domine, Domine, Domine. (God, come to me! Lord, Lord, Lord). She was just at hand. Domine adjuvandum (Lord, help). Ah, here it is, look, sir, this scene between Gualtiere and Griselda, this is a very fascinating, touching scene. The author ended it with a pathetic aria, but Signorina Giraud does not like dull songs, she would like something expressive, exciting, an aria that expresses passion in different ways, for example, words interrupted by sighs, with action, movement. I don't know if you understand me?
- Yes, sir, I already understood, besides, I already had the honor of hearing Signorina Giraud, and I know that her voice is not strong.
- How, sir, do you insult my student? Everything is accessible to her, she sings everything.
- Yes, sir, you are right; give me the book and let me get to work.
- No, sir, I can’t, I need her, I’m very concerned.
- Well, if, sir, you are so busy, then give it to me for one minute and I will satisfy you immediately.
- Immediately?
- Yes, sir, immediately.
The abbot, chuckling, gives me a play, paper and inkwell, again takes up his prayer book and, while walking, reads his psalms and hymns. I read the scene I already knew, remembered the musician’s wishes, and in less than a quarter of an hour I sketched out on paper an aria of 8 verses, divided into two parts. I call my spiritual person and show him my work. Vivaldi reads, his forehead smooths out, he rereads, utters joyful exclamations, throws his missal on the floor and calls Signorina Giraud. She appears; Well, he says, here is a rare person, here is an excellent poet: read this aria; The signor made it without leaving his seat in a quarter of an hour; then turning to me: ah, sir, excuse me. “And he hugs me, swearing that from now on I will be his only poet.”

Pencherl ends his work dedicated to Vivaldi with the following words: “This is how Vivaldi appears to us when we combine all the individual information about him: created from contrasts, weak, sick, and yet alive like gunpowder, ready to get irritated and immediately calm down, move on from the mundane vanity to superstitious piety, stubborn and at the same time accommodating when necessary, a mystic, but ready to come down to earth when it comes to his interests, and not at all a fool when organizing his affairs.”

And how this all fits with his music! In it, the sublime pathos of the church style is combined with the irrepressible ardor of life, the sublime is mixed with the everyday, the abstract with the concrete. His concerts feature stern fugues, mournful majestic adagios and, along with them, songs of ordinary people, lyrics coming from the heart, and cheerful dancing. He writes programmatic works - the famous cycle “The Seasons” and supplies each concert with bucolic stanzas that are frivolous for the abbot:

Spring has arrived, it solemnly announces.
Her merry round dance, and the song resounds in the mountains.
And the stream babbles welcomingly towards her.
Zephyr's wind caresses all nature.

But it suddenly got dark, the lightning sparkled,
The harbinger of spring - thunder swept across the mountains
And soon he fell silent; and the lark's songs,
Sounding out in the blue, they rush through the valleys.

Where the carpet of flowers covers the valley,
Where the tree and the leaf tremble in the breeze,
With the dog at his feet, the shepherd boy dreams.

And again Pan can listen to the magic flute
The nymphs dance again to the sound of it,
Welcoming the Sorceress-Spring.

In "Summer" Vivaldi makes the cuckoo crow, the turtledove coo, the goldfinch chirp; in “Autumn” he begins the concert with a song of villagers returning from the fields. He also creates poetic pictures of nature in other program concerts, such as “Storm at Sea”, “Night”, “Pastoral”. He also has concerts, drawing state of mind: “Suspicion”, “Relaxation”, “Anxiety”. His two concerts on the theme “Night” can be considered the first symphonic nocturnes in world music.

His works amaze with the richness of his imagination. With an orchestra at his disposal, Vivaldi constantly experiments. The solo instruments in his compositions are either severely ascetic or frivolously virtuosic. Motility in some concerts gives way to generous songfulness and melody in others. The colorful effects and play of timbres, such as in the middle movement of the Concerto for three violins with its charming pizzicato sound, are almost “impressionistic”.

Vivaldi created with phenomenal speed: “He is ready to bet that he can compose a concerto with all its parts faster than a scribe can rewrite it,” wrote de Brosses. Perhaps this is where the spontaneity and freshness of Vivaldi’s music stems, which has been delighting listeners for more than two centuries.

L. Raaben, 1967