Vivaldi's unique style revolutionized the European musical world beginning of the 18th century. Vivaldi's work is the quintessence of all the best that Italian art had achieved by the beginning of the 18th century. This brilliant Italian made all of Europe talk about “great Italian music.”
During his lifetime, he received recognition in Europe as a composer and virtuoso violinist, who established a new, dramatized, so-called “Lombard” style of performance. Known as a composer capable of creating a three-act opera in five days and composing many variations on one theme. He is the author of 40 operas, oratorios, and more than 500 concerts. 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 I.S. Bach.
Vivaldi wrote music in the Baroque style. The word "baroque" translated from Italian sounds strange, whimsical. The Baroque era has its own time boundaries - the 17th century and the first half of the 18th century (1600-1750). The Baroque style influenced not only the fashion of that time, it dominated all art: architecture, painting and, of course, music. Baroque art has a passionate character: pomp, brightness, and emotionality.
Vivaldi entered the history of music as the creator of the instrumental concert genre. It was Vivaldi who gave it the traditional three-part form. From three concertos, he also created a work of a larger form, reminiscent of a modern symphony. One of the first works of this kind was his work “The Seasons,” written around 1725. Truly innovative in concept, the “Seasons” cycle was significantly ahead of its time, anticipating the searches in the field of program music of the romantic composers of the 19th century.
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Antonio Vivaldi was born in Venice on March 4, 1678. His father Giovanni Battista (nicknamed "Red" for his fiery hair color), the son of a baker from Brescia, moved to Venice around 1670. There for some time he worked as a baker, and then mastered the profession of a barber. In his free time from earning his daily bread, Giovanni Battista played the violin. And he turned out to be such a gifted musician that in 1685 the famous Giovanni Legrenzi, conductor of the Cathedral of St. Mark, accepted him into his orchestra.
Vivaldi House in Venice
The first and most famous of the six children of Giovanni Battista Vivaldi and Camilla Calicchio, Antonio Lucio, was born prematurely due to a sudden earthquake. The boy's parents saw the birth of a new life under such strange circumstances as a sign from above and decided that Antonio should become a priest.
From birth, Antonio had a serious illness - a compressed chest, he was tormented by asthma all his life, suffered from asthma attacks, could not climb stairs or walk. But a physical disability could not affect the boy’s inner world: his imagination truly knew no barriers, his life was no less bright and colorful than that of others, he simply lived in music.
When the future great composer was 15 years old, his tonsure (symbol of the crown of thorns) was shaved, and on March 23, 1703, twenty-five-year-old Antonio Vivaldi was ordained. However, he did not feel a sincere desire to be a priest. Once, during a solemn mass, the “red-haired priest” could not wait for the end of the service and left the altar in order to capture on paper what came into his head in the sacristy. interesting idea about the new fugue. Then, as if nothing had happened, Vivaldi returned to " workplace" It ended with him being banned from serving Mass, which young Vivaldi was probably only too happy about.
From his father, Antonio inherited not only his hair color (quite rare among Italians), but also a serious love of music, especially playing the violin. Giovanni Battista himself gave his son his first lessons and brought him to his place in the orchestra of the Cathedral of St. Brand. Antonio studied composition and learned to play the harpsichord and flute.
Among the many palaces and churches that adorned Venice, there was a modest monastery - a shelter for girls “Ospedale della Pietà” (literally “hospital of compassion”), where in September 1703 Vivaldi began teaching music. All music lovers in Europe considered it an honor to visit there and hear the famous orchestra, consisting entirely of orphan girls. This “musical miracle” was led by Abbot Antonio Vivaldi, who was called Pretro Rosso - Red Monk, Red Priest. The nickname revealed a cheerful disposition and fiery temperament. And all this despite the fact that Maestro Vivaldi was seriously ill all his life and was out of breath while walking.
In 1705, the Venetian publisher Giuseppe Sala published the first collection of sonatas for three instruments (two violins and bass) by Antonio Vivaldi. The next “portion” of Vivaldi’s violin sonatas was published four years later by Antonio Bortoli. Soon the works of the “red-haired priest” gained extraordinary popularity. In just a few years, Antonio Vivaldi became the most famous violin composer in Europe. Subsequently, Vivaldi's works were published in London and Paris - the then publishing centers of Europe.
Antonio Lucio Vivaldi
At the beginning of 1718, he received an invitation to serve as conductor at the court in Mantua. The composer stayed here until 1720. And here, in Mantua, Vivaldi met the singer Anna Giraud, owner of a beautiful contralto. First she was his student, then the main performer in his operas and, finally, to everyone's outrage, she became his mistress.
Mantua
Returning to Venice, Vivaldi devoted himself entirely to theatrical activities. He tried his hand both as an author and as an impresario. In 1720-1730 Vivaldi is known throughout Italy. His fame reached such proportions that he was even invited to give a concert in front of the Pope himself.
In 1740, Vivaldi finally abandoned work at the Ospedale della Pietà and went to Vienna, to the court of Emperor Charles VI, his longtime and powerful admirer. But the rosy plans of the great composer were not destined to come true. Arriving in Vienna, he no longer found the monarch alive. In addition, by this time Vivaldi's popularity had begun to decline. The public's preferences changed, and baroque music quickly found itself on the periphery of fashion.
The sixty-three-year-old musician, who had never been in good health, was unable to recover from these blows of fate and fell ill with an unknown illness.
Vivaldi died on July 28, 1741 in Vienna from “internal inflammation” (as it was written in the funeral protocol), in the arms of his student and friend Anna Giraud. The funeral was modest: only a few bells sounded, and the procession consisted only of people hired to carry the coffin.
After his death, the musical heritage of Antonio Vivaldi was forgotten for almost 200 years. Only in the twenties of the twentieth century, an Italian musicologist accidentally discovered a collection of Vivaldi manuscripts. It contained 19 operas and more than 300 instrumental works, as well as a large number of works of vocal and sacred music. From that time on, the revival of the former glory of this once widely famous composer began.
Antonio Vivaldi was born on March 4, 1678, in Venice. His first lessons in playing the violin were given to him by his father. Antonio was such a capable student that at the age of 11 he could replace his mentor in the chapel of St. Mark's Cathedral.
From his early youth, having decided to devote his life to music, Anthony at the same time wanted to be a clergyman. He was ordained in 1704.
Unfortunately, Vivaldi's health was so poor that he was unable to celebrate the entire Mass. Therefore, he was given some relief. Vivaldi soon left his duties as a priest, but did not relinquish his priesthood.
The beginning of a creative journey
In 1709, Vivaldi was presented to the monarch of Denmark, Frederick IV. The composer dedicated 12 sonatas written for violin to him.
In 1712 Vivaldi met with German composer, G. Stötzl.
Composer's activities
Vivaldi began as an opera composer. In 1713 he created the 3-act work “Ottone at the Villa”. A year later, a new opera was created, “The Imaginary Madman.” It was based on the poem by L. Ariosto, “Roland the Furious.”
Around this time, the composer's talent was recognized by his colleagues, music critics, and opera fans. Vivaldi began to have more and more students. He devoted his free time from teaching to composing new musical works. The composer also actively collaborated with the theater, from where he regularly received a large number of orders.
Over time, the musician's name became known outside of Venice. In 1718, his opera “Skanderberg” was staged in Florence.
In the same year, the composer accepted the invitation of Prince F. Hesse-Darmstadt and, moving to Mantua, became bandmaster at his court.
There the musician met A. Giraud. She became a student of the great composer, and the latter played a significant role in her development as an opera singer.
When studying the biography of A. Vivaldi, you should know the most important thing. In 1725, a series of his works was published entitled “The Art of Harmony and Invention.” It included the “Seasons” concerts. The creativity of this period is filled with drama. Many works contain solemn and gloomy notes.
Vivaldi made his greatest contribution to the development of the orchestral ensemble concert.
Illness and death
Like many composers, Vivaldi was often in dire need of money. In 1740 he arrived in Vienna to stage his operas. But due to the worsening political crisis, the musician was forced to leave for Saxony.
The composer suffered from bronchial asthma since childhood, and this forced move adversely affected his health.
A year later he returned to Austria, but the public soon forgot their recent favorite. In July 1741, the great composer passed away. He was buried in a cemetery for the poor.
Other biography options
- Vivaldi was born at seven months old. According to some reports, the newborn was so frail and sickly that he was immediately baptized.
- Vivaldi never married. But because of his warm relationship with A. Giraud, which still remained platonic, the composer was more than once criticized by high-ranking clergy.
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Introduction
Chapter I. The role of A. Vivaldi in the development of the violin concerto in the 18th century
1.1. 1.2.A. Vivaldi’s creative contribution to the development of the instrumental concert Chapter II. The creative heritage of A. Vivaldi. Analysis of the composer's most famous works 1 "Seasons" 2 Violin Concerto “A minor” Conclusion Bibliography Introduction Antonio Vivaldi is a prolific composer, author of instrumental works and operas, the productions of which he largely directed himself, raising singers, conducting performances, even performing the duties of an impresario. The extraordinary intensity of this restless existence, seemingly inexhaustible creative forces, and the rare versatility of interests were combined in Vivaldi with manifestations of a bright, unrestrained temperament. These personality qualities are fully reflected in Vivaldi’s art, which is filled with a wealth of artistic imagination and strength of temperament and does not lose its vitality over the centuries. If some of his contemporaries saw frivolity in Vivaldi’s appearance and actions, then in his music the creative thought is always awake, the dynamics do not weaken, and the plasticity of form is not disturbed. Vivaldi's art is, first of all, a generous art, born from life itself, absorbing its healthy juices. There was and could not be anything in it that was far-fetched, far from reality, or untested by practice. The composer knew the nature of his instrument perfectly. The purpose of the course work: to study the interpretation of the instrumental concert genre in the works of Antonio Vivaldi. Objectives of this course work: .Study literature on a given topic; 2.Consider A. Vivaldi as a representative of the Italian violin school; 3.Analyze the most famous works of the composer. This course work is relevant today, since the work of the composer A. Vivaldi is interesting to his contemporaries, his works are performed in concert halls all over the world. Chapter I. The role of A. Vivaldi in the development of the violin concerto in the 18th century 1.1.Italian violin school and the development of instrumental and violin music genres The early flowering of Italian violin art had its own social and cultural reasons, rooted in the socio-economic development of the country. Due to special historical conditions in Italy earlier than in other European countries, feudal relations were supplanted by the bourgeois, who were more progressive in that era. In the country that F. Engels called the “first capitalist nation,” national features of culture and art began to take shape most early. The Renaissance flourished actively on Italian soil. It led to the emergence brilliant creations Italian writers, artists, architects. Italy gave the world the first opera, developed violin art, the emergence of new progressive musical genres, exceptional achievements of violin makers who created unsurpassed classic designs bowed instruments (Amati, Stradivarius, Guarneri). The founders of the Italian school of violin makers were Andrea Amati and Gasparo da Salo, and most outstanding masters during the heyday of the school (from the mid-17th to the mid-18th centuries) - Niccolò Amati and his two students, Antonio Stradivari and Giuseppe Guarneri del Gesù. It is believed that Antonio Stradivari was born in the year 1644, although his exact date of birth is not recorded. He was born in Italy. It is believed that from 1667 to 1679 he served as a free student of Amati, i.e. did the grunt work. The young man diligently improved Amati’s work, achieving melodiousness and flexibility of voices in his instruments, changing their shape to a more curved one, and decorating the instruments. The evolution of Stradivarius shows a gradual liberation from the influence of the teacher and the desire to create a new type of violin, distinguished by timbre richness and powerful sound. But the period of creative quest during which Stradivari searched for his own model lasted more than 30 years: his instruments achieved perfection of form and sound only in the early 1700s. It is generally accepted that his finest instruments were made from 1698 to 1725, exceeding in quality the instruments subsequently made from 1725 to 1730. Among the famous Stradivarius violins are the Betts, Viotti, Alard and Messiah. . In addition to violins, Stradivarius also made guitars, violas, cellos, and at least one harp—a total of more than 1,100 instruments, according to current estimates. The great master died at the age of 93 on December 18, 1837. His working tools, drawings, drawings, models, and some violins ended up in the collection of the famous 18th-century collector Count Cosio di Salabue. Nowadays this collection is kept in the Stradivarius Museum in Cremona. Changes in the historical situation, social and cultural needs, spontaneous development processes musical art, aesthetics - all this contributed to a change in styles, genres and forms musical creativity and performing arts, sometimes led to a motley picture of the coexistence of different styles in common path the advancement of art from the Renaissance to the Baroque, and then to the pre-classicist and early classicist styles of the 18th century. The art of violin played a significant role in the development of Italian musical culture. The leading role of Italian musicians in early bloom violin creativity as one of the leading phenomena of European music. This is convincingly evidenced by the achievements of Italian violinists and composers of the 17th-18th centuries, who led the Italian violin school - Arcangelo Corelli, Antonio Vivaldi and Giuseppe Tartini, whose work has retained great artistic significance. Arcangelo Corelli was born on February 17, 1653 in Fusignano, near Bologna, into an intelligent family. His musical talent was revealed early, and it developed under the direct influence of the Bolognese school: young Corelli mastered playing the violin in Bologna under the guidance of Giovanni Benvenuti. His successes amazed those around him and received high recognition from specialists: at the age of 17, Corelli was elected a member of the Bologna Philharmonic Academy. However, he then did not stay long in Bologna and in the early 1670s he moved to Rome, where he then spent his entire life. In Rome, the young musician further supplemented his education by studying counterpoint with the help of the experienced organist, singer and composer Matteo Simonelli from the Papal Chapel. Corelli's musical activity began first in the church (violinist in the chapel), then in the Capranica Opera House (kapellmeister). Here he distinguished himself not only as a wonderful violinist, but also as a leader of instrumental ensembles. Since 1681, Corelli began publishing his works: before 1694, four collections of his trio sonatas were published, which brought him wide fame. From 1687 to 1690 he headed the chapel of Cardinal B. Panfili, and then became the head of the chapel of Cardinal P. Ottoboni and organizer of concerts in his palace. This means that Corelli communicated with a large circle of art connoisseurs, enlightened art lovers and outstanding musicians of his time. A rich and brilliant philanthropist, passionate about art, Ottoboni hosted the performance of oratorios and “academy” concerts, which were attended by a large society. Young Handel, Alessandro Scarlatti and his son Domenico, and many other Italian and foreign musicians, artists, poets, and scientists visited his house. The first collection of Corelli trio sonatas is dedicated to Christina of Sweden, the queen without a throne who lived in Rome. This suggests that Corelli took one or another part in the musical festivals organized in the palace she occupied or under her auspices. Unlike most Italian musicians of his time, Corelli did not write operas (although he was associated with opera house) and vocal compositions for the church. He was completely immersed as a composer-performer only in instrumental music and a few of its genres associated with the leading participation of the violin. In 1700, a collection of his sonatas for violin with accompaniment was published. Since 1710, Corelli stopped performing in concerts; two years later he moved from the Ottoboni Palace to his own apartment. For many years, Corelli taught students. His students include composers and performers Pietro Locatelli, Francesco Geminiani, and J.B. Somis. He left behind a large collection of paintings, among which were paintings by Italian masters, landscapes by Poussin and one painting by Bruegel, highly valued by the composer and mentioned in his will. Corelli died in Rome on January 8, 1713. 12 of his concerts were published posthumously, in 1714. With all its roots, Corelli's art goes back to the tradition of the 17th century, without breaking with polyphony, mastering the heritage of the dance suite, developing further means of expression and thus the technique of his instrument. The work of Bolognese composers, especially based on trio sonata models, has already gained significant influence not only within Italy: as is known, it captivated Purcell in his time. Corelli, the creator of the Roman school of violin art, won truly world fame. In the first decades of the 18th century, his name embodied, in the eyes of his French or German contemporaries, the highest successes and the very specificity of Italian instrumental music in general. The violin art of the 18th century developed from Corelli, represented by such luminaries as Vivaldi and Tartini, and a whole galaxy of other outstanding masters. Corelli's creative legacy at that time was not so great: 48 trio sonatas, 12 sonatas for violin with accompaniment and 12 “grand concertos”. Modern Corelli Italian composers, as a rule, were much more prolific, creating many dozens of operas, hundreds of cantatas, not to mention a huge number of instrumental works. Judging by Corelli's music itself, it is unlikely creative work was difficult for him. Being, apparently, deeply focused on it, without scattering to the sides, he carefully thought through all his plans and was in no hurry at all to publish finished works. There are no traces of obvious immaturity in his early works, just as there are no signs of creative stabilization in his later works. It is quite possible that what was published in 1681 was created over a number of previous years, and that the concertos published in 1714 began long before the composer's death. 2 A. Vivaldi’s creative contribution to the development of the instrumental concert The outstanding violinist and composer Antonio Vivaldi (1678-1741) is one of the brightest representatives of Italian violin art of the 18th century. Its significance, especially in the creation of the solo violin concerto, goes far beyond the borders of Italy. A. Vivaldi was born in Venice, in the family of an excellent violinist and teacher, member of the chapel of the Cathedral of San Marco Giovanni Battista Vivaldi. From early childhood, his father taught him to play the violin and took him to rehearsals. From the age of 10, the boy began to replace his father, who also worked at one of the city’s conservatories. The head of the choir, G. Legrenzi, became interested in the young violinist and studied organ playing and composition with him. Vivaldi attended Legrenzi's home concerts, where new works by the owner himself, his students - Antonio Lotti, cellist Antonio Caldara, organist Carlo Polarolli and others - were heard. Unfortunately, Legrenzi died in 1790 and the studies ceased. By this time, Vivaldi had already begun to compose music. His first work that has come down to us is spiritual work, dating from 1791. The father considered it best to give his son a spiritual education, since his rank and vow of celibacy gave Vivaldi the right to teach at the women's conservatory. Thus began spiritual training at the seminary. In 1693 he was ordained abbot. This provided him with access to the most respected conservatory, the Ospedale della Piet. à " However, the holy order later turned out to be an obstacle to the development of Vivaldi’s enormous talent. After the abbot, Vivaldi moved up the ranks of the clergy and finally, in 1703, was ordained to the last lower rank - priest, which gave him the right to serve an independent service - the mass. His father fully prepared Vivaldi for teaching, having done the same himself at the Conservatory of the “Beggars”. Music was the main subject at the conservatory. The girls were taught to sing, play various instruments, and conduct. The conservatory had one of the best orchestras in Italy at that time, with 140 students participating in it. B. Martini, C. Burney, K. Dittersdorf spoke enthusiastically about this orchestra. Together with Vivaldi, Corelli and Lotti's student Francesco Gasparini, an experienced violinist and composer whose operas were staged in Venice, taught here. At the conservatory, Vivaldi taught violin and “English viola”. The conservatory orchestra became for him a kind of laboratory where his plans could be realized. Already in 1705, his first opus of trio sonatas (chamber sonatas), in which the influence of Corelli is still felt, was published. It is characteristic, however, that no sign of apprenticeship is noticeable in them. These are mature artistic writings, attracting with the freshness and imaginativeness of the music. As if emphasizing the tribute to Corelli's genius, he concludes Sonata No. 12 with the same variations on the Folia theme. Already next year, the second opus will be released - concerti grossi “Harmonic Inspiration”, which appeared three years earlier than Torelli’s concerts. It is among these concerts that the famous A-minor ny. The service at the conservatory was successful. Vivaldi is entrusted with leading the orchestra, then the choir. In 1713, due to the departure of Gasparini, Vivaldi became the main composer with the obligation to compose two concerts a month. He worked at the conservatory almost until the end of his life. He brought the conservatory orchestra to the highest perfection. The fame of Vivaldi the composer is quickly spreading not only in Italy. His works are published in Amsterdam. In Venice he meets Handel, A. Scarlatti, his son Domenico, who studies with Gasparini. Vivaldi also gained fame as a virtuoso violinist, for whom there were no impossible difficulties. His skill was evident in improvised cadences. On one such occasion, someone who was present at a production of Vivaldi’s opera at the San Angelo Theater recalled his performance: “Almost at the end, accompanying a superb solo singer, Vivaldi finally performed a fantasy that truly frightened me, because it was something incredible, like which no one has played and cannot play, for with his fingers he climbed so high up that there was no longer any room left for the bow, and this on all four strings he performed a fugue with incredible speed.” Records of several such cadenzas remain in manuscripts. Vivaldi composed rapidly. His solo sonatas and concerts are published. For the conservatory, he created his first oratorio, “Moses, God of the Pharaoh,” and prepared his first opera, “Ottone in the Villa,” which was successfully performed in 1713 in Vicenza. Over the next three years, he creates three more operas. Then comes a break. Vivaldi wrote so easily that even he himself sometimes noted this, as in the manuscript of the opera “Tito Manlio” (1719) - “worked in five days.” In 1716, Vivaldi created one of his best oratorios for the conservatory: “Judith triumphant, defeating Holofernes of the barbarians.” The music attracts with its energy and scope and at the same time amazing color and poetry. In the same year, during the musical celebrations in honor of the arrival of the Duke of Saxony in Venice, two young violinists were invited to perform - Giuseppe Tartini and Francesco Veracini. The meeting with Vivaldi had a profound impact on their work, especially on Tartini's concertos and sonatas. Tartini said that Vivaldi was a composer of concertos, but he thought that he was an opera composer by vocation. Tartini was right. Vivaldi's operas are now forgotten. Vivaldi's teaching activities at the conservatory gradually brought success. Other violinists also studied with him: J.B. Somis, Luigi Madonis and Giovanni Verocai, who served in St. Petersburg, Carlo Tessarini, Daniel Gottlob Troy - conductor in Prague. A student of the conservatory, Santa Tasca became a concert violinist, then a court musician in Vienna; Hiaretta also performed, with whom the prominent Italian violinist G. Fedeli studied. In addition, Vivaldi turned out to be a good vocal teacher. His pupil Faustina Bordoni received the nickname “New Siren” for the beauty of her voice (contralto). The most famous student of Vivaldi was Johann Georg Pisendel, concertmaster of the Dresden Chapel. In 1718, Vivaldi unexpectedly accepted an invitation to work as the head of the Landgrave's chapel in Mantua. Here he staged his operas, created numerous concerts for the chapel, and dedicated a cantata to the Count. In Mantua he met his former pupil, singer Anna Giraud. He undertook to develop it vocal abilities, succeeded in this, but became seriously interested in it. Giraud became a famous singer and sang in all Vivaldi operas. In 1722, Vivaldi returned to Venice. At the conservatory, he must now compose two instrumental concertos a month and conduct 3-4 rehearsals with students to learn them. In case of departure, he had to send concerts by courier. In the same year he created Twelve Concertos, which comprised op. 8 - “An Experience of Harmony and Fantasy”, which includes the famous “Seasons” and some other program concerts. It was published in Amsterdam in 1725. The concerts quickly spread throughout Europe, and the Four Seasons gained enormous popularity. During these years, the intensity of Vivaldi's creativity was exceptional. For the 1726/27 season alone, he created eight new operas, dozens of concerts, and sonatas. Since 1735, Vivaldi’s fruitful collaboration with Carlo Goldoni began, on whose libretto he created the operas “Griselda”, “Aristide” and many others. This also affected the composer’s music, in whose work the features of opera buffa and folk elements are more clearly manifested. Little is known about Vivaldi the performer. He performed as a violinist very rarely - only at the Conservatory, where he sometimes played his concertos, and sometimes at the opera, where there were violin solos or cadenzas. Judging by the surviving recordings of some of his cadenzas, his compositions, as well as the fragmentary testimonies of his contemporaries about his playing that have come down to us, he was an outstanding violinist who masterfully controlled his instrument. As a composer, he also thought like a violinist. The instrumental style shines through in his operatic creativity, oratorio works. The fact that he was an outstanding violinist is also evidenced by the fact that many violinists in Europe sought to study with him. The features of his performing style are certainly reflected in his compositions. Vivaldi's creative legacy is enormous. Over 530 of his works have already been published. He wrote about 450 different concerts, 80 sonatas, about 100 symphonies, more than 50 operas, and over 60 spiritual works. Many of them still remain in manuscript. Ricordi Publishing House has published 221 concertos for solo violin, 26 concertos for 2-4 violins, 6 concertos for viol d cupid, 11 cello concertos, 30 violin sonatas, 19 trio sonatas, 9 cello sonatas and other works, including for wind instruments. In any genre that Vivaldi’s genius touched, new, unexplored possibilities opened up. This was already evident in his first work. Vivaldi's twelve trio sonatas were first published as op. 1, in Venice in 1705, but were composed long before that; This opus probably included selected works of this genre. In style they are close to Corelli, although they also reveal some individual traits. It is interesting that, just as it happens in op. 5 Corelli, Vivaldi’s collection ends with nineteen variations on the then popular theme of the Spanish folia. Noteworthy is the different (melodic and rhythmic) presentation of the theme in Corelli and Vivaldi (the latter is more strict). Unlike Corelli, who usually distinguished between chamber and church styles, Vivaldi already in his first opus provides examples of their interweaving and interpenetration. In terms of genre, these are still rather chamber sonatas. In each of them, the first violin part is highlighted and given a virtuosic, freer character. The sonatas open with lush preludes of a slow, solemn nature, with the exception of the Tenth Sonata, which begins with a fast dance. The remaining parts are almost all genre. Here are eight allemandes, five jigs, six chimes, which are instrumentally reinterpreted. The solemn court gavotte, for example, he uses five times as a fast finale in Allegro and Presto tempo. The form of the sonatas is quite free. The first part gives a psychological mood to the whole, just as Corelli did. However, Vivaldi further refuses the fugue part, polyphony and elaboration, and strives for dynamic dance movement. Sometimes all the other parts run at almost the same tempo, thereby violating the ancient principle of contrasting tempos. Already in these sonatas one can feel the richest imagination of Vivaldi: no repetition of traditional formulas, inexhaustible melody, a desire for prominence, characteristic intonations, which would then be developed by Vivaldi himself and other authors. Thus, the beginning of the Grave of the second sonata will then appear in the “Seasons”. The melody of the prelude of the eleventh sonata will be reflected in the main theme of Bach's Concerto for two violins. Characteristics There are also broad movements of figuration, repetition of intonations, as if fixing the main material in the listener’s mind, and consistent implementation of the principle of sequential development. The strength and inventiveness of Vivaldi’s creative spirit was especially clearly demonstrated in the concert genre. It is in this genre that most of his works were written. At the same time, in the concert heritage Italian master works written in the form of concerto grosso and in the form of solo concert. But even in those of his concerts that gravitate towards the concerto grosso genre, the individualization of the concerto parts is clearly felt: they often acquire a concert character, and then it is not easy to draw the line between a concerto grosso and a solo concert. violin composer Vivaldi Chapter II. The creative heritage of A. Vivaldi. Analysis of the composer's most famous works 1 "Seasons" Cycle of four concertos for solo violin with string orchestra and the cymbal “The Seasons” was presumably written in 1720-1725. These concerts were later included in opus 8, “The Controversy of Harmony with Invention.” As N. Harnoncourt writes, the composer collected and published those of his concerts that could be combined with such a sonorous title. The “Spring” concert, like the other three “Four Seasons” concerts, is written in a three-part form, the establishment of which in the history of music is associated precisely with the name of A. Vivaldi. The extreme movements are fast and written in the old concert form. The second part is slow, with a melodious melody, written in the ancient two-part form. For the composition of the first part of the concert, the activity and energy of movement inherent in its title theme is of paramount importance. Repeating itself more than once in the Allegro, as if returning in a circle, it seems to spur the overall movement within the form and at the same time holds it together, retaining the main impression. The dynamic activity of the first parts of the cycle is contrasted with the concentration of the slow parts with the internal unity of their thematism and greater simplicity of composition. Within this framework, the numerous Largos, Adagios and Andantes in Vivaldi’s concertos are far from being of the same type. They can be calmly idyllic in various options, in particular, pastoral, stand out for the breadth of lyricism, they can even convey the constrained tension of feelings in the Sicilian genre or embody the severity of grief in the form of a passacaglia. The movement of music in the lyrical centers is more one-dimensional (internal contrasts are not characteristic of either thematics or the structure as a whole), more calm, but it is undoubtedly present here in Vivaldi - in the wide deployment of lyrical melodicism, in the expressive counterpointing of the upper voices, as if in a duet ( called Siciliana), in the variational development of the passacaglia. The thematic theme of the finales, as a rule, is simpler, internally homogeneous, and closer to the origins of the folk genre than the thematic theme of the first Allegro. Fast movement in 3/8 or 2/4, short phrases, sharp rhythms (dance, syncopated), fiery intonations “in the Lombard taste” - everything here is defiantly vital, sometimes cheerful, sometimes scherzoic, sometimes buffoonish, sometimes stormy, sometimes dynamically picturesque. However, not all finales in Vivaldi concertos are dynamic in this sense. Finale in concerto grosso op. 3 No. 11, where it is preceded by the mentioned Siciliana, is permeated with anxiety and is unusual in the sharpness of its sounds. The solo violins begin to lead in an imitative presentation of an alarming, evenly pulsating theme, and then, from the fourth bar, a chromatic descent in the same pulsating rhythm is marked in the bass. This immediately gives the dynamics of the concert finale a gloomy and even somewhat nervous character. In all parts of the cycle, Vivaldi’s music moves differently, but its movement occurs naturally both within each part and in the relationship between the parts. This is due to both the very nature of thematicism and the advancing maturity of mode-harmonic thinking in the new homophonic structure, when the clarity of mode functions and the clarity of gravity activate musical development. This is also entirely connected with the classical sense of form characteristic of the composer, who, without even avoiding the sharp intrusion of local folk-genre intonations, always strives to maintain the highest harmony of the whole in the alternation of contrasting patterns, on the scale of parts of the cycle (without lengths), in the plasticity of their intonation unfolding in the general dramaturgy of the cycle. As for the program subtitles, they only outlined the nature of the image or images, but did not affect the form of the whole, did not predetermine the development within its limits. The relatively extensive program includes scores for four concerts from the “Seasons” series: each of them has a corresponding sonnet that reveals the content of the parts of the cycle. It is possible that the sonnets were composed by the composer himself. In any case, the program declared in them does not at all require any rethinking of the form of the concert, but rather “bends” according to this form. The imagery of the slow movement and the finale, with the peculiarities of their structure and development, was generally easier to express in poetry: it was enough to name the images themselves. But the first part of the cycle, the concert rondo, received such a programmatic interpretation that did not prevent it from retaining its usual form and naturally embodying the chosen “plot” in it. This happened in each of the four concerts. In the “Spring” concert, the program of the first movement is revealed in the sonnet in this way: “Spring has come, and cheerful birds greet it with their singing, and brooks run and gurgle. The sky is covered with dark clouds, lightning and thunder also herald spring. And the birds return to their sweet songs again.” The light, strong, chord-dance theme (tutti) determines the emotional tone of the entire Allegro: “Spring has come.” Concert violins (episode) imitate birdsong. The “spring theme” sounds again. A new passage episode - a short spring thunderstorm. And again the main theme of the rondo “Spring has come” returns. So she dominates the first part of the concert all the time, embodying the joyful feeling of spring, and visual episodes appear as a kind of detail big picture spring renewal of nature. As you can see, the rondo form remains in full force here, and the program is easily “divided” into its sections. It seems that the sonnet “Spring” was actually composed by a composer who foresaw in advance the structural possibilities of its musical embodiment. In all the second parts of “The Seasons” there is a unity of texture throughout the entire movement (although the size of the movement does not allow for particular contrasts). The piece is written in the old two-part form. In total, the texture has three layers: upper - melodic - melodious, cantilen. Middle - harmonic filling - “rustling of grass and foliage”, very quiet, written in small dotted durations, conducting echoes in parallel thirds. The movement of the middle voices is mainly trill-like, circling. Moreover, the first two beats of the bar are static movement - a third “trill”, which, although monotonous, is moving, thanks to the exquisite dotted line. On the third beat, the melodic movement is activated - by this it seems to prepare the sound pitch of the next measure, creating a slight “shift” or “swaying” of the texture. And the bass - emphasizing the harmonic basis - is rhythmically characteristic, depicting the “barking of a dog.” It is interesting to trace exactly how Vivaldi thought about the figurative structure of the slow movements in the concert cycle. The music Largo (cis-minor) from the concert “Spring” corresponds to the following lines of the sonnet: “On a flowering lawn, under the rustle of oak forests, a goat shepherd sleeps with a faithful dog next to him.” Naturally, this is a pastoral in which a single idyllic image unfolds. The octave violins sing a peaceful, simple, dreamy melody against a poetic background of swaying thirds - and all this is shaded after the major Allegro by a soft parallel minor, which is natural for the slow part of the cycle. For the finale, the program also does not provide for any variety and does not even detail its content in the least: “Nymphs dance to the sounds of shepherd’s bagpipes.” Light movement, dance rhythms, stylization of a folk instrument - everything here might not depend on the program, since it is usually for finals. In each concerto from The Four Seasons, the slow movement is monotonous and stands out for its calm picturesqueness after the dynamic Allegro: a picture of the languor of nature and all living things in the summer heat; the peaceful sleep of the villagers after the autumn harvest festival; “It’s good to sit by the fireplace and listen to the rain hitting the window behind the wall” - when the icy winter wind is fierce. The finale of “Summer” is the picture of a storm, the finale of “Autumn” is “Hunting”. Essentially, the three parts of the program concert cycle remain in the usual relationships in terms of their figurative structure, the nature of internal development and contrasting comparisons between Allegro, Largo (Adagio) and the finale. And yet, the poetic programs revealed in four sonnets are interesting in that they seem to confirm with the author’s word the general impressions of the imagery of Vivaldi’s art and its possible expression in his main genre of concert. Of course, the “Seasons” cycle, somewhat idyllic in the nature of its images, reveals only a little of the composer’s work. However, its idyllism was very much in the spirit of his contemporaries and over time gave rise to repeated imitations of “The Seasons”, even to the point of individual curiosities. Many years passed, and Haydn, already at a different stage in the development of musical art, embodied the theme of the “seasons” in a monumental oratorio. As one might expect, his concept turned out to be deeper, more serious, more epic than Vivaldi’s; she touched on ethical issues in connection with work and life ordinary people, close to nature. However, the poetic and pictorial aspects of the plot, which once inspired Vivaldi, also attracted Haydn’s creative attention: he also has a picture of a storm and thunderstorm in “Summer”, “Harvest Festival” and “Hunting” in “Autumn”, contrasts of difficult winter road and home comfort in “Winter”. 2. Violin concerto “A minor” The theme of the famous concerto in a minor (Op. 3 No. 6) could have opened a fugue in its first intonation, but the flow of further repetitions and sequences gives it dance dynamics, despite the minor key and its sharply memorable appearance. Such naturalness of movement even within the first theme, such ease of combining various intonation sources is an amazing quality of Vivaldi, which does not leave him on a larger scale. Among his “headline” themes there are, of course, more homogeneous in intonation composition. In an a-minor concert, the opening tutti is built on bright fanfare intonations, repetitions of sounds and phrases. Already the initial formula, characterized by the “drilling in” of one sound, becomes typical for the composer. The prevailing principle is: “no lengths.” Extreme dynamics and strong-willed pressure help to embody a courageous, aspiring image. Strengthening the competitive nature, which gives special brightness to the music of Vivaldi's concertos, their genre and programmatic nature, the contrast not only between individual parts of the cycle, but also within its main, first part (in Vivaldi it usually takes on a ronda-shaped form) with a pointed contrast between tutti and soli, subtle use timbral, dynamic and rhythmic means of expression - all these features in their harmonious combination contributed to strengthening the features of concert performance and increasing the power of emotional impact on the listener. Already contemporaries emphasized in Vivaldi’s concertos the special inherent expressiveness, passion, and widespread use of the so-called “Lombard style.” If in his sonatas Vivaldi shifts the center of gravity to the middle movements, then in the concert there is a clear tendency to highlight the first movement as the main and most significant. In this regard, the composer somewhat complicates its traditional structure: he sequentially dynamizes the episodes from the first to the third, increasing the significance, scale and developmental - improvisational nature last episode, interpreted as an extended and dynamized reprise; comes close to two-darkness, which is of a contrasting nature. In the middle parts, it enhances the psychological depth of revealing the inner world of a person; introduces lyrical elements into the genre finale, as if drawing a single lyrical line. All these features outlined here will be fully revealed in the following concerts. In total, about 450 Vivaldi concertos have survived; approximately half of them are concertos written for solo violin and orchestra. Vivaldi's contemporaries (I. Quantz and others) could not help but pay attention to the new features he introduced into concert style XVIII century, which attracted their creative interest. Suffice it to recall that J. S. Bach highly valued Vivaldi’s music and made several keyboard and organ transcriptions of his concertos. Conclusion In their totality, the instrumental genres of the 17th - early 18th centuries, with their various compositional principles and special techniques presentation and development, embodied a wide range of musical images that were previously inaccessible to instrumental music, and thereby raised it to the first high level, on par with other genres of synthetic origin. The most significant thing, undoubtedly, was that the achievements of instrumental music by the beginning of the 18th century (and partly in its first decades) opened up great prospects for its further movement along one line to the classical polyphony of Bach, along another, more extended one, to the classical symphony of the end century. In general, both the figurative content of Vivaldi’s music and its main genres, without a doubt, reflected with great completeness the leading artistic aspirations of their time - and not only for Italy. Spreading throughout Europe, Vivaldi's concertos had a fruitful influence on many composers and served as examples of the concert genre in general for their contemporaries. When completing the course work, the set goal was achieved, namely, the interpretation of the instrumental concert genre in the work of Antonio Vivaldi was studied. The assigned tasks were also completed: literature on a given topic was studied, A. Vivaldi was considered as a representative of the Italian violin school, the most famous works of the composer were analyzed. Vivaldi's style is the same type of intonation, repeated from concert to concert with some changes, "twists", but always recognizable as typically "Vivaldi". What was new in Vivaldi’s concert genre was determined by the deepening musical content, its expressiveness and imagery, introducing programmatic elements, establishing, as a rule, a tripartite cycle (with a fast-slow-fast sequence), strengthening the actual concert performance, concert interpretation of the solo part, development of melodic language, broad motive-thematic development, rhythmic and harmonic enrichment . All this was permeated and united by the creative imagination and ingenuity of Vivaldi as a composer and performer. Bibliography 1.Barbier P. Venice Vivaldi: Music and holidays of the era St. Petersburg, 2009. 280 p. 2.Boccardi V. Vivaldi. Moscow, 2007. 272 p. .Grigoriev V. History of violin art. Moscow, 1991. 285 p. 4.Livanova T. History of Western European music until 1789. Volume 1. Moscow, 1983. 696 p. .Panfilov A. Vivaldi. Life and creativity//Great composers. No. 21. Moscow, 2006. 168 p. 6.Panfilov A. Vivaldi. Life and creativity//Great composers. No. 4. Moscow, 2006. 32 p. .Tretyachenko V.F. Violin “schools”: history of formation // Music and time. No. 3. Moscow, 2006. 71 p.Similar works to - Interpretation of the instrumental concert genre in the works of Antonio Vivaldi
Antonio Vivaldi (1678-1741) is one of the outstanding representatives of the Baroque era. He was born in Venice, where he first studied with his father, a violinist in the Chapel of St. Mark, then improved under Giovanni Legrenzi. He gave many concerts in various European countries and was very enthusiastic about teaching and staging his operas. For a long time he was a violin teacher in one of the Venetian orphanages for orphan girls.
Vivaldi was nicknamed “the red priest” (Prete rosso) for his hair color. Indeed, he combined the profession of a musician with the duties of a clergyman, but was then dismissed for “illegal” behavior during a church service. Last years The composer spent his time in Vienna, where he died in poverty.
Vivaldi's creative heritage covers more than 700 titles: 465 instrumental concertos (of which fifty are grossi), 76 sonatas (including trio sonatas), about 40 operas (one of his librettists was the famous C. Goldoni), cantata-oratorio works, including spiritual texts. The main historical significance of his work lies in the creation of a solo instrumental concert.
One of the most sensitive artists of his time, Vivaldi was among the first composers to bring open emotionality, passion (affect), and individual lyrical feeling to the forefront in art. Under his undoubted influence, the extremely typical type of baroque music concert for several soloists (concerto grosso) faded into the background in the classical era, giving way to a solo concert. The replacement of a group of soloists with one party was an expression of homophonic tendencies.
It was Vivaldi who developed the structure and thematic theme of the late Baroque recital. Under the influence of the Italian opera overture, he established a three-part concert cycle (fast - slow - fast) and ordered the sequence of tutti and solo based on the baroque concert form.
The concert form of the Baroque era was based on the alternation of the ritornello (main theme), repeatedly returned and transposed, with episodes based on new melodic themes, figurative material, or motivic elaboration of the main theme. This principle gave it a resemblance to a rondo. The texture is characterized by contrasts between orchestral tutti and solo, corresponding to the appearance of the ritornello and episodes.
The first movements of Vivaldi's concertos are energetic, assertive, varied in texture and contrasts. The second parts take the listener into the realm of lyrics. Songfulness, endowed with improvisational features, dominates here. The texture is predominantly homophonic. The finales are brilliant, full of energy, and they complete the cycle in a fast, lively movement.
The dynamic 3-movement cyclic form of Vivaldi's concertos expressed the artistic ideals of the art of "well-organized contrast." The logic of their figurative development reveals the influence of the general aesthetic concept of the Baroque era, which divided the human world into three hypostases: Action - Contemplation - Play.
Vivaldi's solo instrumental concert is focused on a small composition of stringed instruments led by a soloist. This could be a cello, viol damour, longitudinal or transverse flute, oboe, bassoon, trumpet, and even a mandolin or shawl. And yet, most often the violin plays the role of soloist (about 230 concerts). The violin technique of Vivaldi's concertos is varied: rapid passages, arpeggios, tremolo, pizzicato, double notes (up to the most difficult tenth stretches), scordatura, use of the highest register (up to the 12th position).
Vivaldi became famous as an outstanding expert on the orchestra, the inventor of many coloristic effects. Possessing keen sense sound color, he freely turned to many instruments and their combinations. He used oboes, horns, bassoons, trumpets, and cor anglais not as backup voices, but as independent melodic instruments.
Vivaldi's music absorbed elements of colorful Venetian musical folklore, rich in melodious canzones, barcarolles, and fiery dance rhythms. The composer was especially willing to rely on Siciliana and made extensive use of the 6/8 time signature typical of Italian folk dances. Often using a chord-harmonic structure, he masterfully used polyphonic development techniques.
Releasing his concerts in series of 12 or 6 works, Vivaldi also gave general designations for each series: “Harmonic Inspiration” (op. 3), “Extravagance” (op. 4), “Zither” (op. 9).
Vivaldi can be called the founder of software orchestral music. Most of his concerts have a specific program. For example: “Hunting”, “Storm at Sea”, “Shepherdess”, “Rest”, “Night”, “Favorite”, “Goldfinch”.
Vivaldi's violin concertos soon became widely known in Western Europe and especially in Germany. The great J. S. Bach, “for pleasure and instruction,” personally arranged nine Vivaldi violin concertos for clavier and organ. Thanks to these musicians, Vivaldi, who had never been to the northern German lands, turned out to be, in the full sense of the word, the “father” of German instrumentalism of the 18th century. Spreading throughout Europe, Vivaldi's concertos served as examples of the concert genre for his contemporaries. Thus, the clavier concerto developed under the undoubted artistic influence of the violin concerto (a convincing example can be served by).
Vivaldi's unique style revolutionized the European musical world of the early 18th century. This brilliant Italian made all of Europe talk about “great Italian music.”
Antonio Vivaldi was born in Venice on March 4, 1678. His father Giovanni Battista (nicknamed "Red" for his fiery hair color), the son of a baker from Brescia, moved to Venice around 1670. There for some time he worked as a baker, and then mastered the profession of a barber. In his free time from earning his daily bread, Giovanni Battista played the violin. And he turned out to be such a gifted musician that he
In 1685, the famous Giovanni Legrenzi, conductor of the Cathedral of St. Mark, accepted him into his orchestra.
The first and most famous of the six children of Giovanni Battista Vivaldi and Camilla Calicchio, Antonio Lucio, was born prematurely due to a sudden earthquake. The boy's parents saw the birth of a new life under such strange circumstances as a sign from above and decided that Antonio should become a priest.
When the future great composer was 15 years old, his tonsure (symbol of the crown of thorns) was shaved, and on March 23, 1703, twenty-five-year-old Antonio Vivaldi was ordained. However, he did not feel a sincere desire to be a priest and soon stopped celebrating mass. Although, as Carlo Goldoni testifies, Vivaldi read his prayer book every day throughout his life.
From his father, Antonio inherited not only his hair color (quite rare among Italians), but also a serious love of music, especially playing the violin. Giovanni Battista himself gave his son his first lessons and brought him to his place in the orchestra of the Cathedral of St. Brand. Antonio studied composition and learned to play the harpsichord and flute. In September 1703, Vivaldi began teaching music at the Ospe Dale della Pietà orphanage for girls.
The shelter “Ospedale della Pietà” (literally “hospital of compassion”) existed since 1348 and was always famous for the comprehensive (including musical) education that its pupils received.
F. Guardi. View of the Rialto Bridge from the Grand Canal. XVIII century.
Vivaldi was associated with this institution for almost his entire life. It must also be said that the composer’s teaching activity was not limited to work as a “maestro di violino” - that is, a violin teacher. Vivaldi gave private lessons to singers and taught them to play the viola. In addition, he conducted the orchestra at rehearsals and concerts when the chief conductor was not present. And he wrote music tirelessly.
First publications
In 1705, the Venetian publisher Giuseppe Sala published the first collection of sonatas for three instruments (two violins and bass) by Antonio Vivaldi. The next “portion” of Vivaldi’s violin sonatas was published four years later by Antonio Bortoli.
Soon the works of the “red priest” (as Vivaldi the Younger was dubbed by the same Venetian jokers who had previously given the nickname
“Red” to his father) gained extraordinary popularity.
In just a few years, Antonio Vivaldi became the most famous violin composer in Europe. The following fact testifies to his fame and incredible success: in 1711-1729. Twelve collections of Vivaldi's instrumental music were published in Amsterdam, including Ligo archoso ("Harmonic Inspiration"), La piçaranga ("Whims") and II skhyanno oeP"archosha e oeP"tueshupe ("Experience of Harmony and Fantasy") - a work , which includes the famous Le quattro 81a§yush (“Four Seasons” or simply “Seasons”). Subsequently, Vivaldi's works were published in
London and Paris - the then publishing centers of Europe.
Secular composer
In 1713, in Vicenza, Vivaldi presented his first opera to the public.
Top: Antonio Vivaldi. Caricature by P. L. Ghezzi. 1723
Bottom: G. Bella. Feast of the Ascension in St. Mark's Square in Venice.
Chronology of life
1693 Receives tonsure.
1703 Becomes ordained. Enters the Ospedale della Pietà as a violin teacher and composer.
1711 The Amsterdam publisher E. Roger publishes the first concerto of Vivaldi from the cycle C^go armonico. The composer's name becomes widely known.
1713 Vivaldi makes his debut in Vicenza as an opera composer (with the opera “Discipline at the Villa”).
1718 Moves to Mantua and enters the service of Prince Philip.
1720 Returns to Venice.
1727 Publication of II Ytpepkz sSeN"ag-gtyusha e sSeSht/enEyupe, containing the famous "Four Seasons".
1730-38 Vivaldi travels extensively throughout Europe, conducting his works.
1740 Finally abandons the Ospedale della Pietà and leaves for Vienna.
1741 Sudden illness and death of the composer.
After his death, Vivaldi was almost forgotten. His creative heritage was truly discovered in the 20th century. Of the 450 concerts known to us today, only about 80 saw the light of day during the composer’s lifetime.
The huge number of works by Vivaldi that have come down to us in manuscripts include not only instrumental concerts(for violin, cello, flute, horn, oboe, mandolin, horn, etc.), but also sonatas, cantatas and 48 operas.
"Escape at the villa." Over the next five years, he published five more operas, which conquered the largest Venetian theaters. Vivaldi was rapidly transforming from a completely modest “red-haired priest” into a brilliant secular composer.
At the beginning of 1718, he received an invitation to serve as conductor at the court in Mantua. The composer stayed here until 1720, that is, until the death of the wife of his employer, Prince Philip. And here, in Mantua, Vivaldi met the singer Anna Giraud, owner of a beautiful contralto. First she was his student, then the main performer in his operas, and finally, to everyone’s outrage, she became his mistress.
Returning to Venice, Vivaldi devoted himself entirely to theatrical activities. He tried his hand both as an author and as an impresario. In 1720-1730 Vivaldi is known throughout Italy. His fame reached such proportions that he was even invited to give a concert in front of the Pope himself.
One gets the impression that Vivaldi was constantly on the move and wrote his invariably talented works somewhere on the way from Verona to Mantua. He, however, was not burdened by the nomadic life and was always easy-going. So, in 1738, the composer came to Amsterdam only to conduct the orchestra at the celebration of the theater’s centenary, and a year later he went with Anna Giraud to Graz, where the singer received an engagement for the entire season.
Vienna sunset
In 1740, Vivaldi finally abandoned work at the Ospedale della Pietà and went to Vienna, to the court of Emperor Charles VI, his longtime and, importantly, powerful admirer.
Outstanding works
Concert cycles:
L "estro armonico op. 3 La stravaganza op. 4 II cimento dell"armonia e dell"inven-
zione op. 8 La cetra op. 9
Six concertos for flute
and string op. 10 Six violin concertos
and string op. 11 Six violin concertos
and string op. 12
Works for orchestra:
Al Santo Sepolcro RV 169 Concerto madrigalesco RV 129
Solo instrumental concerts:
La pastorella for flute RV 95 II sospetto for violin RV 199 L"inquietudine for violin RV 234 II ritiro for violin RV 256 L"amoroso for violin RV 271 II rosignuolo for violin RV 335 L"ottavina for violin RV 763 II Carbonelli for violin RV 366 Concerto for mandolin RV425 Concerto for oboe RV 447 La notte for bassoon RV 501
Double concerts:
Concerto for two mandolins RV 532 Concerto for two trumpets RV 537 Concerto for two oboes
and two clarinets RV 559 Funeral concert RV 579
Spiritual music:
Gloria (for soloists)
instruments, choir and orchestra)
RV589 Judith Triumphant
(for solo instruments,
choir and orchestra) RV 644
Otto at the Villa RV 729 The truth in the test RV 739
But, alas, the rosy plans of the great composer were not destined to come true. Arriving in Vienna, he no longer found the monarch alive. In addition, by this time Vivaldi's popularity had begun to decline. The public's preferences changed, and baroque music quickly found itself on the periphery of fashion.
The sixty-three-year-old musician, who had never been in good health, was unable to recover from these blows of fate and fell ill with an unknown illness.
Vivaldi died on July 28, 1741 in Vienna from “internal inflammation” (as it was written in the funeral protocol), in the arms of his student and friend Anna Giraud. Funeral of P. Longhi. Concert. were modest: only a few bells sounded, and the procession consisted only of people hired to carry the coffin.
Testimonies from contemporaries about the death of Vivaldi have reached us. One of them is: “Padre Don Antonio
Vivaldi, the incomparable violinist, nicknamed “the red priest,” highly valued for his concertos and other compositions, earned 50 thousand ducats during his lifetime, but due to immeasurable extravagance he died in poverty in Vienna.”
Four Seasons
Vivaldi wrote his four famous concertos for violin, strings and bass continuo, included in the cycle II seto with!eІІ"agggupia e Seii"ipunegiope (published in 1722 in Amsterdam), inspired by four sonnets of an unknown poet, named after the seasons.
The energetic Allegro with which “Spring” begins illustrates the following lines of the corresponding sonnet: “Spring has come, and the birds greet it with joyful singing, and the rivers carry their waters, gently murmuring. Clouds cover the sky with a black cloak, thunder and lightning foreshadow a storm, but soon the birds, as if stopping it, begin their enchanting song again.”
The second part - Largo - captivates the listener with a pastoral picture (“And then in a flowering meadow in the sweet rustle of leaves and grass a shepherd sleeps, and at his feet is a faithful dog”), and the final Allegro resembles a fast-paced village dance (“Nymphs dance to the joyful sounds of bagpipes , and the shepherd is dancing, and above them is the clear sky of spring gaining strength").
N. Poussin. Seasons: Spring, or Earthly Paradise.
N. Poussin. Seasons: Autumn, or the Promised Land.
Allegro non molto, the first part of “Summer,” paints a picture of a hot day and a gathering thunderstorm: “Under the cruel rays of the scorching sun, a man weakens, the herd scatters. The cuckoo crows, the turtle dove sings, a light breeze blows... and the shepherd cries, for he is afraid of the cruel Boreas and his fate.” The Adagio is also filled with this atmosphere of anticipation: “The fear of lightning and severe thunder, and the angry buzzing of flies and mosquitoes, does not give rest to the weary.” A storm finally broke out in Presto: “Ah, alas, it was not in vain that he was afraid: the menacing sky rumbles, sparkles, the rain lashes, and the grass in the fields bends.”
Adagio molto depicts the “drunk slumber” of the villagers: “The air is so calming that everyone stops singing and dancing... Autumn brings sweet dreams.” And in the final Allegro, echoes of the hunt can already be heard: “At dawn, the hunter comes out with a horn and dogs. The wild animal is frightened by the noise of gunfire and the barking of dogs; it is tired, exhausted from running and, hunted, dies.”
The last concert of the cycle, “Winter,” is the most expressive. Allegro non molto depicts a lonely traveler to the listener - “In an icy shiver, among the cold snow, blown strong wind, he wanders, his teeth chattering from the cold.” In Largo the warmth of a warming hearth appears; This part evokes thoughts about how nice it is to “spend calm, sweet days by the fireplace when the rain outside the window drenches the whole world.” But home peace and comfort do not last forever. The main characters of Allegro are ice and wind. Swift passages of the solo violin dramatically conclude the concert and the entire cycle: “People walk slowly on the ice, afraid of falling, stepping carefully. They slip, fall, get up and walk again... A fierce sirocco blows from behind the iron doors. This is winter."
Concertos for wind instruments
Before Vivaldi, wind instruments were considered primitive, “ungrateful” for the composer. The brilliant “red priest” proved that this is not so.
Vivaldi was one of the first to turn to composing serious music for wind instruments. The oboe, horn, trumpet and flute sounded in a completely new way in his concerts - so full and harmonious as no one could have expected. Vivaldi most likely wrote his concerto for two trumpets (published in 1729 in Amsterdam) at the request of two trumpet players who wanted to prove to the public that brilliant music can be performed brilliantly on the trumpet. This concert really requires remarkable skill from the performer. By the way, it is still a kind of measure of a trumpeter’s virtuosity.
Vivaldi also wrote a lot for the bassoon - more than thirty concertos for bassoon and orchestra alone have survived. In addition, the composer used it in almost all chamber concerts.
But among the wind instruments, Vivaldi gave the greatest preference to the flute - a delicate, “feminine” flute, as they called it. Possessing an inexhaustible creative imagination, the composer assigned the flute in his compositions precisely those parts in which it could sound in full voice and demonstrate all its merits.
This is especially clearly seen in two concertos for flute and orchestra, published in Amsterdam in 1728. In the first part of concert II dags!eshpo (“The Goldfinch”), the flute, echoing the orchestra, surprisingly accurately imitates the trills of the goldfinch, and in concert 1_a pope (“Night”) it immerses the listener in an unsteady, foggy world of dreams.
F. Guardi. Dancing ladies at the Casino dei Filarmonici.
Concertos for violin and orchestra are Vivaldi's strong point. They amazed and captivated their contemporaries. Some saw in them a manifestation of the Divine, others - devilish charm.
It would not be a great exaggeration to say that it was Vivaldi who created the concerto genre. Of course, it existed before him, but it was in his work that it was molded into a finished form, which was subsequently taken as a model by more than one generation of European composers. "Brand mark"
Vivaldi had three orchestral chords at the beginning of the concert. The sharp-tongued Venetian public called them “Vivaldi’s hammer blows.”
The cycle 1_"evp-o aggtyupyuo ("Harmonic Inspiration"), published in 1711-1717 in Amsterdam, is one of the most famous concert cycles in Vivaldi's legacy. The twelve concerts of this cycle became widely known even before they were printed. And with the release of I_"evp-o agtopiso the name of the composer became famous throughout Europe. J. S. Bach himself made harpsichord transcriptions for several concerts.
The cycle contains four concertos for four solo violins, four for two, and four for one. By the way, subsequently Vivaldi no longer wrote (with one exception) concertos for four solo violins.
The first listeners of “Harmonic Inspiration” experienced delight and amazement. Delight and amazement are still experienced by those who hear І_ "еigo агtopіso for the first time. Already in our days, a researcher wrote about this cycle: “It seems that in a luxurious hall of the Baroque era, windows and doors opened, and free nature entered with a greeting; the music sounds a proud, majestic pathos, not yet familiar to the 17th century: the exclamation of a citizen of the world.”
A. Visentini. Concert in a small palace (fragment).