That furious 3rd mvt ritornello followed by a memorable cantabile tune to open the solo is so effective! Vivaldi brings that tune back to close the final solo (a more common device, probably also originating with Vivaldi, is to start the last solo with the heading of the opening solo). I recall reading some scholar say (paraphrased) 'The Viola d'amore concerti are solid samples of concerto architecture.' And that rings pretty true. In some ways they seem a little unambitious and prosaic in approach. But they are well built and have deep feeling. The technique required doesn't always make huge attempts to show off the unique aspects of the Viola d'amore, but there are subtle attempts at that throughout. In this concerto there are a some, but perhaps the decision to do a 'dotted rhythm with large intervals slow mvt' (which was a small sub-genre of slow mvt for Vivaldi, with bassoon and cello versions) sticks out. The intervals introduce deep notes, and the attack required shows unique aspects of the instrument's tone. No offense to Anna Maria, for she was an internationally known violin virtuoso and a multi-instrumentalist, but I suspect that these works were written to give her some chance at a new instrument she'd recently mastered, rather than for Vivaldi himself. When we hear the story of people pouring out on the street trying to hear Vivaldi play the Viola d'amore at a church, and having some idea of the violin technique he was capable of, it seems unlikely he'd write works this technically manageable and serviceable in tone for himself. They are beautiful but take some willingness to absorb hidden subtleties to work their magic. RV 397 is in some ways the most rough-hewn and brutal of the group, at times blunt to the point of insult. Yet it contains a grace, too, and some thoughtful devices and structure. The part writing in the opening of the 3rd mvt is quite compelling in an odd way.
This is one of my favourite concerti and likely also my favourite viola d’amorce concerto! This is also, coincidentally, my favourite interpretation-the improvisations are amazing.
That furious 3rd mvt ritornello followed by a memorable cantabile tune to open the solo is so effective! Vivaldi brings that tune back to close the final solo (a more common device, probably also originating with Vivaldi, is to start the last solo with the heading of the opening solo).
I recall reading some scholar say (paraphrased) 'The Viola d'amore concerti are solid samples of concerto architecture.' And that rings pretty true. In some ways they seem a little unambitious and prosaic in approach. But they are well built and have deep feeling. The technique required doesn't always make huge attempts to show off the unique aspects of the Viola d'amore, but there are subtle attempts at that throughout. In this concerto there are a some, but perhaps the decision to do a 'dotted rhythm with large intervals slow mvt' (which was a small sub-genre of slow mvt for Vivaldi, with bassoon and cello versions) sticks out. The intervals introduce deep notes, and the attack required shows unique aspects of the instrument's tone.
No offense to Anna Maria, for she was an internationally known violin virtuoso and a multi-instrumentalist, but I suspect that these works were written to give her some chance at a new instrument she'd recently mastered, rather than for Vivaldi himself. When we hear the story of people pouring out on the street trying to hear Vivaldi play the Viola d'amore at a church, and having some idea of the violin technique he was capable of, it seems unlikely he'd write works this technically manageable and serviceable in tone for himself. They are beautiful but take some willingness to absorb hidden subtleties to work their magic. RV 397 is in some ways the most rough-hewn and brutal of the group, at times blunt to the point of insult. Yet it contains a grace, too, and some thoughtful devices and structure. The part writing in the opening of the 3rd mvt is quite compelling in an odd way.
Lovely
So a very nice handwriting ! and music !
This is one of my favourite concerti and likely also my favourite viola d’amorce concerto! This is also, coincidentally, my favourite interpretation-the improvisations are amazing.
Thank you very much for this
I listened this on accademia bizantina's channel, i think they deleted or got copyright claim trouble on the video. Thank you by the way!
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MASTER!!!
😅😊😊😊😊😊😊😊😊😊😊😊😊😊😊😊😊😊
Splendid!
A partir de 0:43 Vivaldi utiliza um fragmento variado de "La Folia".