An introductory section was struck out at the beginning of the manuscript. This deleted section can be heard in the following video: th-cam.com/video/8Q0pPObnppw/w-d-xo.html A copy of the concerto was sold to count Vinciguerra di Collalto on 28 June 1741, merely a month before Vivaldi's death; so probably a very late composition. I. Andante molto - Allegro non molto (0:00) II. Larghetto (6:21) III. Allegro molto (8:57) Composed: presumably not before 1734 Turin source: Foà 31 Concordance: 1:06 = RV 168 (1st movement) Europa Galante, ‘I concerti dell’addio’ Fabio Biondi, violino solo e direzione Glossa GCD923402
The opening ritornello of the first Allegro is the 2nd theme from Vivaldi's Sinfonia in B minor RV 168 (with a little tail piece added to lead into the solo, where at this spot 168 goes back to 1st theme material). I have not looked into it, but I assume that the Sinfonia is earlier. The 'rules of style' for Sinfonias of the time are so stringent that it actually makes a general date estimate based on style tougher than most types of pieces. However, it is likely also a late work. I'd guess the material was borrowed from the Sinfonia and not the other way around, but that the Sinfonia wasn't too many years in the past. Vivaldi was a huge self-borrower. I feel like historians (particularly a while back) excused this practice for the likes of Handel and Bach, while using it as evidence that Vivaldi composed too fast, only cared about about finishing a passable work for money, or ran out of ideas at times. In reality, he borrowed from himself for the same motives as Bach, Handel and others from the era. Sometimes, these motives are unclear. Handel, in particular also 'borrowed' things from other composers rather freely (much moreso than Vivaldi or Bach). Vivaldi seemed to do this only when in a jam, such as his borrowing of the Cum Sancto Spiritu mvt (from Gloria RV 588 and 589) from Ruggieri. Vivaldi was an excellent contrapuntalist, but labored at the slower puzzle solving composition method, esp in a stile antico choral idiom. He was taking the Pieta sacred music composition role on in addition to his normal duties as a fill in, and this borrowing comes with strong reasons. Even so, by the time RV 589 came about, Vivaldi had carefully altered and adjusted the Ruggieri original to improve it and match it to the his current use. Little borrowings (there are countless smaller, even more confusing examples) like this one are quite mysterious. While Vivaldi is often looked down upon for his speed (a trait he likely shared with many composers of his time) it rarely caused poor workmanship or staid ideas lacking in spontaneity--in fact his speed was as much to keep up with his ideas and fuel spontaneous inspiration as it was to get music down fast for purely pragmatic reasons. That said, Vivaldi was quick and probably markedly quicker than average for his time. So it makes borrowings like this strange. He didn't really need to save time. Looking up the Sinfonia and copying out the segment and figuring how to paste it in, musically, so it fit it's new home would take as much time and effort (if not more) than just writing a new ritornello for the concerto. It seems Vivaldi may have enjoyed reusing bits and pieces, perhaps for nostalgia, fun self reference, or to give favorite ideas from the past new life. With greater knowledge of his corpus, we see the mass of borrowings, most very small, and yet have generally not come to find a new idiom for the borrowing, such as pieces collaged out of old material on occasion to truly 'cheat' to save time. Bach also seemed fond of this. He reused mvt 1 from the 3rd Brandenburg for a Sinfonia to open a Cantata. It would have been easy enough for him to write an acceptable new one. In this case, he added woodwinds and the whole process wouldn't have been a huge time saver (although probably somewhat). The more likely reason is that he simply enjoyed that piece and was looking for an excuse to play around with it a little for the joy of it. Vivaldi's self references often seem to come from the same school of thought.
Composing for a special patron, orchestra, soloist or occasion might also have been a reason to revisit earlier material because it fit exactly for the situation at hand. The interchangeability of much baroque music to our ears is because it is too far removed from our time and most of it is impossible to contextualize in terms of the who, when, where, of actual performance. Saying that a composer "cheated" or was "pressed for time" is just modern flippancy, like telling secrets that prove the teller wise, but those CD booklets don't just write themselves, do they.
@@DelVivaldi Yes, it is possible that the references of borrowings had significance to the patron or soloist. I tend to think only on rare occasion would a small scale borrowing like the one above be about finding the perfect material for the soloist or groups. It would be easy enough to write a new ritornello section (or solo section) that perfectly suited the performers--Vivaldi did that all the time in his composition. It's pretty obvious looking at his cello of violin concerti at a glance that he wrote effectively for a wide variety of skill levels. In works written for or inscribed to Pisendel, I've noticed an outsized amount of double stops and related technique and this shows a sensitivity to the performer's strengths and desires. This is true of Albinoni's sonatas dedicated to Pisendel as well. Baroque composers thought in a more modular way than composers in a lot of later styles tended to. This is taken by modern ears and minds as an old-fashioned, underdeveloped feature of the music, but this view is looking at the Baroque music out of context and with great bias. I think making effort to remove this bias results in admitting the extreme effectiveness of the music regardless of the artistic means used (such as modular techniques) and reveals the inherent strengths of the approaches they used. An example is that scholars are always talking about the sonata-allegro form as the ultimate in musical forms, and measuring Baroque composers by how close they got to it, how much they helped its creation. Vivaldi's binary 3rd mvt of RV 158 is often cited as in impressive precursor of the sonata form. Scholars laud Vivaldi for his logical, structurally stable ritornello form, while treating in some ways as a primitive stepping stone to superior forms. But another way of looking at it is that its flexibility and the ability for it to be used in different ways by different composers while giving shape and form to music is already superior. In this line of thinking, isn't the sonata form a bit too predictable as a story telling shape? Isn't it just as vague as the ritornello form, in its' own way, yet more controlling over when the composer is allowed to make the music sound unstable and visit exotic modulations? Historical context is an odd thing. It's not just about structure, either. I feel the length of music in the Baroque (minus opera) is more attuned to actual human attention span than later periods. Personally, I'd rather a composer write 7 e minor violin concertos that all have their own flavor than one single 'magnum opus' e minor violin concerto that feels the need to be unendingly serious (this is my only chance to prove my worth!) and is a huge intellectual, time and effort project to tackle as a listener. As related to this topic, if Mendelssohn had written 100 14 minute concertos instead of 2 28 minute concertos, would he not have been tempted to make some illusions to other music in them in moments? E.g. some sort of small scale borrowing could have worked quite well in post-baroque musical language had the cultural conditions to encourage it existed. (Though the opportunities are probably greater in Baroque music with its proud modular aspects and higher level of interest in texture compared to memorable, lengthy melodic periods.) The post-baroque approach on this is based on a totally different time scale and musical culture. I personally, feel that scholars have come a long way on this, and yet even the best Vivaldi scholars are prone to judge the music by incorrect, later standards that were driven into us when we grew up in this musical time. They aren't always fair to Vivaldi and others from the period even when they are trying to be and driven by their passion for the music. This goes for other aspects of Baroque composers' music, too, perhaps save Bach and maybe Handel, who've been accepted into the cannon so long (since Mozart's time) and have 'excuses' made for their 'quirks' because they are essentially heard as the grandfathers of modern music. Yet this is certainly true of Vivaldi just as much, and scholars should be better about judging within context than they have been in the past.
It's so wonderful to hear his euphoric music while reading (although I don't know how to read a score) an original 17-18 century handwriting autograph of this amazing Baroque compositor. I love his music, but more I love reading a such old original manuscript! Simply exciting!
The notation in this fantastic baroque period piece by the great master himself vivaldi never disappoints his fluid progression through each bar is sensational.
Vivaldi, o mestre dos contrastes; sua música é feita com esses saltos (intervalos), repetição de notas e saltos, harpejos, contrastando com o suave descanso das notas longas. Vivaldi é como o nosso "chorinho" ele canta com a divisão, canta com a matéria prima! Vivaldi, the master of contrasts; his music is made with these jumps (intervals), repetition of notes and jumps, arpeggios, contrasting with the soft rest of long notes. Vivaldi is like our "chorinho" he sings with the division, sings with the raw material! (translation for english - (original in Portuguese, Brazil)
Vivaldi il Paganini of his period, for more deep in sentiments though. His melodies are full of colour life joy, meditative deep to the soul. I believe no composer of his period was so deep concentrated with great unity and contrast of each note before and after the note played. for me greatest composer of his period....love him.
When u c dots under a slur the spiccatto is performed by throwing or hurling the bow against the string resulting in 4 notes @ once This called jete (thrown in french), or saltando
The same technique is found in Mendelssohn's violin cto,1st mvt,end of the cadenza in arpeggio section Other names are ricochet since it resembles skimming a stone across a lake and is great fun. Saltando means jumping in Italian so all the synonyms suggest the same idea. Hope that supplements the 2 question re if a special spiccato was marked. Yes and u can hear that the performance uses that technique.
Just a little improvisation for the transition between movements. / Concordance is a term in Vivaldi studies meaning identical or similar musical material between two different works, i.e. concordant passages.
An introductory section was struck out at the beginning of the manuscript. This deleted section can be heard in the following video: th-cam.com/video/8Q0pPObnppw/w-d-xo.html
A copy of the concerto was sold to count Vinciguerra di Collalto on 28 June 1741, merely a month before Vivaldi's death; so probably a very late composition.
I. Andante molto - Allegro non molto (0:00)
II. Larghetto (6:21)
III. Allegro molto (8:57)
Composed: presumably not before 1734
Turin source: Foà 31
Concordance: 1:06 = RV 168 (1st movement)
Europa Galante, ‘I concerti dell’addio’
Fabio Biondi, violino solo e direzione
Glossa GCD923402
Keep showing us the autographical scores of the greatest composer that ever lived.
The opening ritornello of the first Allegro is the 2nd theme from Vivaldi's Sinfonia in B minor RV 168 (with a little tail piece added to lead into the solo, where at this spot 168 goes back to 1st theme material). I have not looked into it, but I assume that the Sinfonia is earlier. The 'rules of style' for Sinfonias of the time are so stringent that it actually makes a general date estimate based on style tougher than most types of pieces. However, it is likely also a late work. I'd guess the material was borrowed from the Sinfonia and not the other way around, but that the Sinfonia wasn't too many years in the past.
Vivaldi was a huge self-borrower. I feel like historians (particularly a while back) excused this practice for the likes of Handel and Bach, while using it as evidence that Vivaldi composed too fast, only cared about about finishing a passable work for money, or ran out of ideas at times. In reality, he borrowed from himself for the same motives as Bach, Handel and others from the era. Sometimes, these motives are unclear. Handel, in particular also 'borrowed' things from other composers rather freely (much moreso than Vivaldi or Bach). Vivaldi seemed to do this only when in a jam, such as his borrowing of the Cum Sancto Spiritu mvt (from Gloria RV 588 and 589) from Ruggieri. Vivaldi was an excellent contrapuntalist, but labored at the slower puzzle solving composition method, esp in a stile antico choral idiom. He was taking the Pieta sacred music composition role on in addition to his normal duties as a fill in, and this borrowing comes with strong reasons. Even so, by the time RV 589 came about, Vivaldi had carefully altered and adjusted the Ruggieri original to improve it and match it to the his current use.
Little borrowings (there are countless smaller, even more confusing examples) like this one are quite mysterious. While Vivaldi is often looked down upon for his speed (a trait he likely shared with many composers of his time) it rarely caused poor workmanship or staid ideas lacking in spontaneity--in fact his speed was as much to keep up with his ideas and fuel spontaneous inspiration as it was to get music down fast for purely pragmatic reasons. That said, Vivaldi was quick and probably markedly quicker than average for his time. So it makes borrowings like this strange. He didn't really need to save time. Looking up the Sinfonia and copying out the segment and figuring how to paste it in, musically, so it fit it's new home would take as much time and effort (if not more) than just writing a new ritornello for the concerto. It seems Vivaldi may have enjoyed reusing bits and pieces, perhaps for nostalgia, fun self reference, or to give favorite ideas from the past new life. With greater knowledge of his corpus, we see the mass of borrowings, most very small, and yet have generally not come to find a new idiom for the borrowing, such as pieces collaged out of old material on occasion to truly 'cheat' to save time. Bach also seemed fond of this. He reused mvt 1 from the 3rd Brandenburg for a Sinfonia to open a Cantata. It would have been easy enough for him to write an acceptable new one. In this case, he added woodwinds and the whole process wouldn't have been a huge time saver (although probably somewhat). The more likely reason is that he simply enjoyed that piece and was looking for an excuse to play around with it a little for the joy of it. Vivaldi's self references often seem to come from the same school of thought.
Composing for a special patron, orchestra, soloist or occasion might also have been a reason to revisit earlier material because it fit exactly for the situation at hand. The interchangeability of much baroque music to our ears is because it is too far removed from our time and most of it is impossible to contextualize in terms of the who, when, where, of actual performance. Saying that a composer "cheated" or was "pressed for time" is just modern flippancy, like telling secrets that prove the teller wise, but those CD booklets don't just write themselves, do they.
@@DelVivaldi Yes, it is possible that the references of borrowings had significance to the patron or soloist. I tend to think only on rare occasion would a small scale borrowing like the one above be about finding the perfect material for the soloist or groups. It would be easy enough to write a new ritornello section (or solo section) that perfectly suited the performers--Vivaldi did that all the time in his composition. It's pretty obvious looking at his cello of violin concerti at a glance that he wrote effectively for a wide variety of skill levels. In works written for or inscribed to Pisendel, I've noticed an outsized amount of double stops and related technique and this shows a sensitivity to the performer's strengths and desires. This is true of Albinoni's sonatas dedicated to Pisendel as well.
Baroque composers thought in a more modular way than composers in a lot of later styles tended to. This is taken by modern ears and minds as an old-fashioned, underdeveloped feature of the music, but this view is looking at the Baroque music out of context and with great bias. I think making effort to remove this bias results in admitting the extreme effectiveness of the music regardless of the artistic means used (such as modular techniques) and reveals the inherent strengths of the approaches they used. An example is that scholars are always talking about the sonata-allegro form as the ultimate in musical forms, and measuring Baroque composers by how close they got to it, how much they helped its creation. Vivaldi's binary 3rd mvt of RV 158 is often cited as in impressive precursor of the sonata form. Scholars laud Vivaldi for his logical, structurally stable ritornello form, while treating in some ways as a primitive stepping stone to superior forms. But another way of looking at it is that its flexibility and the ability for it to be used in different ways by different composers while giving shape and form to music is already superior. In this line of thinking, isn't the sonata form a bit too predictable as a story telling shape? Isn't it just as vague as the ritornello form, in its' own way, yet more controlling over when the composer is allowed to make the music sound unstable and visit exotic modulations?
Historical context is an odd thing. It's not just about structure, either. I feel the length of music in the Baroque (minus opera) is more attuned to actual human attention span than later periods. Personally, I'd rather a composer write 7 e minor violin concertos that all have their own flavor than one single 'magnum opus' e minor violin concerto that feels the need to be unendingly serious (this is my only chance to prove my worth!) and is a huge intellectual, time and effort project to tackle as a listener. As related to this topic, if Mendelssohn had written 100 14 minute concertos instead of 2 28 minute concertos, would he not have been tempted to make some illusions to other music in them in moments? E.g. some sort of small scale borrowing could have worked quite well in post-baroque musical language had the cultural conditions to encourage it existed. (Though the opportunities are probably greater in Baroque music with its proud modular aspects and higher level of interest in texture compared to memorable, lengthy melodic periods.) The post-baroque approach on this is based on a totally different time scale and musical culture. I personally, feel that scholars have come a long way on this, and yet even the best Vivaldi scholars are prone to judge the music by incorrect, later standards that were driven into us when we grew up in this musical time. They aren't always fair to Vivaldi and others from the period even when they are trying to be and driven by their passion for the music. This goes for other aspects of Baroque composers' music, too, perhaps save Bach and maybe Handel, who've been accepted into the cannon so long (since Mozart's time) and have 'excuses' made for their 'quirks' because they are essentially heard as the grandfathers of modern music. Yet this is certainly true of Vivaldi just as much, and scholars should be better about judging within context than they have been in the past.
It's so wonderful to hear his euphoric music while reading (although I don't know how to read a score) an original 17-18 century handwriting autograph of this amazing Baroque compositor. I love his music, but more I love reading a such old original manuscript! Simply exciting!
Glad you like it.
The notation in this fantastic baroque period piece by the great master himself vivaldi never disappoints his fluid progression through each bar is sensational.
4:50 this is so calming for me
All his music is awespme
Vivaldi, o mestre dos contrastes; sua música é feita com esses saltos (intervalos), repetição de notas e saltos, harpejos, contrastando com o suave descanso das notas longas. Vivaldi é como o nosso "chorinho" ele canta com a divisão, canta com a matéria prima!
Vivaldi, the master of contrasts; his music is made with these jumps (intervals), repetition of notes and jumps, arpeggios, contrasting with the soft rest of long notes. Vivaldi is like our "chorinho" he sings with the division, sings with the raw material! (translation for english - (original in Portuguese, Brazil)
Viva Vivaldi 🎻
Eso es lo que lo hace el mejor compositor barroco junto con bach, su estilo es único e irrepetible
@@ellenchagas3488 viva Vivaldi.
Adorado por siempre . Mi favorito Barroco. Antonio Lucio Vivaldi maravilloso !! 🌹❤
Mi adorado Vivaldi !❤🌹
Man, I love the third movement! The accent on the second beat in each measure is so fun.
Fascinating the bits he crossed out, presumably changing his mind when he thought he could do better!
Vivaldi il Paganini of his period, for more deep in sentiments though. His melodies are full of colour life joy, meditative deep to the soul. I believe no composer of his period was so deep concentrated with great unity and contrast of each note before and after the note played. for me greatest composer of his period....love him.
Masterpiece! 👏🏼
Absolutely!
Magnificent 🌟🌟🌟🌟🌟
Fabio suoni veramente da Dio👏👏👏👏👏👏
Perfection!
Like Mozart, so incredible in minor keys.
Outstanding Composition!!!!! LOVE IT!!!
Bravo
Hermoso me encanta ♥️😍♥️
1:07 = RV 37 5th movement
رائع
Is there any recording with the crossed out introductory section?
I have answered my question: Check out Le Concert Idéal.
@@moltzer Thank you
@@DelVivaldith-cam.com/video/bsVU1GHNqtk/w-d-xo.html
1:07
Are the 'comma' notation at 3:00 a special kind of spiccato, or just written in a hurry?
Notation. Vivaldi uses dots, pins and slurs to indicate different bow strokes.
When u c dots under a slur the spiccatto is performed by throwing or hurling the bow against the string resulting in 4 notes @ once
This called jete (thrown in french), or saltando
The same technique is found in Mendelssohn's violin cto,1st mvt,end of the cadenza in arpeggio section
Other names are ricochet since it resembles skimming a stone across a lake and is great fun. Saltando means jumping in Italian so all the synonyms suggest the same idea. Hope that supplements the 2 question re if a special spiccato was marked. Yes and u can hear that the performance uses that technique.
This are the original sheet?
Yes
What is concordance in music? I don't see the notes in 1:02
Just a little improvisation for the transition between movements. / Concordance is a term in Vivaldi studies meaning identical or similar musical material between two different works, i.e. concordant passages.
@@DelVivaldi okay, thank you.
I dont reading, edit please
Antonio Vivaldi si è reincarnato come Fabio Biondi
1:06