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| Antonio Vivaldi |
Vivaldi has been also one of the most important Italian musician ever and composer of Italian classic music and Italian Baroque Music and one of most extraordinary violinist of his time.
We can also say that he was the most important and influent Italian author of his time; He helped to develop of 'concerto', together 'Torelli', another important Italian authors that we'll review. He wrote also: concerts, lyric music, 'sonate' and sacre music.
His music influenced many classic musicians; one of most knows is Bach . The life hasn't too evidences, but we knows something thanks to some his famouses contemporary the teathre author Carlo Goldoni and German architet Johann Friedrich Armand von Uffenbach; as many others big music talents - Mozart for example - he dies forgot and alone about all the world.
He has 24 years old, when becames 'master of violin' ( maestro di violino) at an orphanage institute where he gives lessons. His father plays violin with Church's band and with a sort of trade union for musicians and composers, where plays'first' baroque music', Antonio takes his first lessons in that place.
In that times many children were abandoned or orphaned or his familiars cannot support them also if Repubblic of Venice was very rich; in fact were was four of that kind of institutes, most talents of these boys and girls cluld go to choir or goes to do musicians.
Finally success becames and his operas are in Rome, Mantova, Milan, Venice.
Is that time he writes "The four seasons" (Le quattro stagioni), his most knows concerts for violin: The nature's scene in music.
They were a revolution in musical conception: in them Vivaldi represented flowing creeks, singing birds (of different species, each specifically characterised), barking dogs, buzzing mosquitoes, crying shepherds, storms, drunken dancers, silent nights, hunting parties (both from the hunter's and the prey's point of view), frozen landscapes, children ice-skating, and burning fires. Each concerto was associated with a sonnet of Vivaldi's hand, describing the scenes depicted in the music.
Most of Vivaldi's repertoire was rediscovered only in the first half of the 20th century in Turin and Genoa and was published in the second half. Vivaldi's music is innovative, breaking a consolidated tradition in schemes; he gave brightness to the formal and the rhythmic structure of the concerto, repeatedly looking for harmonic contrasts and invented innovative melodies and themes.
Moreover, Vivaldi was able to compose non-academic music, particularly meant to be appreciated by the wide public and not only by an intellectual minority.
The joyful appearance of his music reveals in this regard a transmissible joy of composing.
These are among the causes of the vast popularity of his music.
This popularity soon made him famous in other countries such as France which was, at the time, very independent concerning its musical taste.
He dies on 1741.
He has 24 years old, when becames 'master of violin' ( maestro di violino) at an orphanage institute where he gives lessons. His father plays violin with Church's band and with a sort of trade union for musicians and composers, where plays'first' baroque music', Antonio takes his first lessons in that place.
In that times many children were abandoned or orphaned or his familiars cannot support them also if Repubblic of Venice was very rich; in fact were was four of that kind of institutes, most talents of these boys and girls cluld go to choir or goes to do musicians.
Finally success becames and his operas are in Rome, Mantova, Milan, Venice.
Is that time he writes "The four seasons" (Le quattro stagioni), his most knows concerts for violin: The nature's scene in music.
They were a revolution in musical conception: in them Vivaldi represented flowing creeks, singing birds (of different species, each specifically characterised), barking dogs, buzzing mosquitoes, crying shepherds, storms, drunken dancers, silent nights, hunting parties (both from the hunter's and the prey's point of view), frozen landscapes, children ice-skating, and burning fires. Each concerto was associated with a sonnet of Vivaldi's hand, describing the scenes depicted in the music.
Most of Vivaldi's repertoire was rediscovered only in the first half of the 20th century in Turin and Genoa and was published in the second half. Vivaldi's music is innovative, breaking a consolidated tradition in schemes; he gave brightness to the formal and the rhythmic structure of the concerto, repeatedly looking for harmonic contrasts and invented innovative melodies and themes.
Moreover, Vivaldi was able to compose non-academic music, particularly meant to be appreciated by the wide public and not only by an intellectual minority.
The joyful appearance of his music reveals in this regard a transmissible joy of composing.
These are among the causes of the vast popularity of his music.
This popularity soon made him famous in other countries such as France which was, at the time, very independent concerning its musical taste.
He dies on 1741.
Vivaldi Opus Work Date
- Twelve sonatas for two violins and basso continuo (Opus 1) 1705
- Twelve sonatas for violin and basso continuo (Opus 2) 1709
- L'estro Armonico (Harmonic Inspiration), twelve concertos for various combinations. Best known concerti are no. 6 in A minor for violin, no. 8 in A minor for two violins and no. 10 in B minor for four violins 1711
- La stravaganza (The Extraordinary), twelve violin concertos c. 1714
- Four sonatas for violin and two sonatas for two violins and basso continuo (Opus 5) 1716
- Six violin concertos 1716–1721
- Twelve Concertos, two oboe concertos and 10 violin concertos 1716–1717
- Il cimento dell'armonia e dell'inventione (The Contest between Harmony and Invention), twelve violin concertos including Le quattro stagioni (The Four Seasons) (the first four concertos) 1723
- La cetra (The Lyre), twelve violin concertos and one for two violins 1727
- Six flute concertos (two versions, one for recorder, printed in Venice) c. 1728
- Five violin concertos, one oboe concerto, the second in E minor, RV 277, being known as Il favorito 1729
- Five violin concertos and one without solo
Vivaldi Sacred music:
Work RV Notes- Missa Sacrum 586 disputed
- Kyrie 587
- Gloria 588
- Gloria 589
- Gloria 590 lost
- Credo 591
- Credo 592 disputed
- Domine ad adiuvandum me 593
- Dixit Dominus 594
- Dixit Dominus 595 "di Praga"
- Confitebor tibi, Domine 596
- Beatus vir 597
- Beatus vir 598
- Beatus vir 599 lost
- Laudate pueri Dominum 600
- Laudate pueri Dominum 601
- Laudate pueri Dominum 602
- Laudate pueri Dominum 603
- In exitu Israel 604
- Credidi propter quod 605 now RV Anh. 35b
- Laudate Dominum 606
- Laetatus sum 607
- Nisi Dominus 608
- Lauda Jerusalem 609
- Magnificat 610/610a/610b/611
- Deus tuorum militum 612
- Gaude Mater Ecclesia 613
- Laudate Dominum 614 disputed
- Regina coeli 615 incomplete
- Salve Regina 616
- Salve Regina 617
- Salve Regina 618
- Salve Regina 619 lost
- Sanctorum meritis 620
- Stabat Mater 621
- Te Deum 622 lost
- Canta in prato, ride in monte 623 not to be confused with RV 636, which is "Canta in prato, ride in fonte"
- Carae rosae respirate 624 incomplete without reconstruction of lost second violin and viola parts
- Clarae, stellae 625
- In furore iustissimae irae 626
- In turbate mare 627
- Invicti bellate 628 incomplete, yet reconstructed and recorded by Academia Montis Regalis
- Longe mala, umbrae, terrores 629 not to be confused with RV 640, which is a similar motet on the same text but intended for different purposes
- Nulla in mundo pax sincera 630
- O qui coeli terraeque serenitas 631
- Sum in medio tempestatum 632
- Vestro principi divino 633
- Vos aurae per montes 634
- Introduzione al Dixit (RV 595) "Ascende laeta" 635
- Introduzione al Dixit (RV 594?) "Canta in prato, ride in fonte" 636 not to be confused with RV 623, which is "Canta in prato, ride in monte"
- Introduzione ad un Gloria "Cur sagittas" 637 the preceding work that was to follow this introductory motet, most likely a lost setting of the Gloria in B-flat (RV 590), is now presumably lost
- Introduzione al Miserere "Filiae maestae Jerusalem" 638
- Introduzione al Gloria (RV 588) "Jubilate o amoeni chori" 639 Introductory motet has third movement interwoven with Gloria (RV 588)
- Introduzione al Gloria (RV 589) "Longe mala, umbrae, terrores" 640 not to be confused with RV 629, which is a similar motet on the same text but intended for different purposes
- Introduzione al Miserere "Non in pratis" 641
- Introduzione al Gloria (RV 589) "Ostro picta" 642
- Oratorio Moyses Deus Pharaonis 643 lost
- Oratorio Juditha triumphans 644
- Oratorio L'adorazione delli tre re magi al bambino Gesu 645 lost
- Ad corda reclina 646 new text on the aria from Act II, Scene 8 of Arsilda, regina di Ponto RV 700
- Eja voces plausum date 647 new text on the aria from Act II, Scene 2 of Orlando furioso RV 728
- Ihr Himmel nun 648 new text on the aria from Act II, Scene 2 of Arsilda, regina di Ponto RV 700
- Bajazet 703
- Aria per la communione 748 lost
- Oratorio La vittoria navale predetta dal S Pontefice Pio V Ghisilieri 782 lost
- Confitebor tibi, domine 789 manuscript found in damaged condition
- Beatus vir 795
- Magnificat 797 lost – possibly related to the extant settings of RV 610/610a/610b/611
- Nisi Dominus 803
- Salve Regina 804 lost
- Dixit Dominus 807
- Vos invito, barbare faces 811