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Vidéo :
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| Composer : | Vivaldi, Antonio (1678 - 1741) | ||||
| Instrumentation : | String Quartet | ||||
| Style : | Baroque | ||||
| Arranger : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Publisher : | MAGATAGAN, MICHAEL | ||||
| Date : | 1716 | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 02 Jan 2015 Although Antonio Vivaldi (1678-1741) had already accomplished himself as a composer of violin sonatas and of sacred music, nothing propelled his career more than his first set of concertos -- L'estro armonico (Op.3) -- which first appeared in 1711. Besides being widely popular with both musicians and audiences of the day, L'estro armonico had a significant impact on the development of the relatively new solo-concerto. The set's influence was felt all across Europe -- no less a figure than J.S. Bach transcribed six of the Op.3 concertos for keyboard. La Stravaganza (Op. 4) appeared shortly after, in around 1713, and was dedicated to Vettor Dolfin (the surname given in its Tuscan form, Delfino), a young Venetian noble to whom Vivaldi had taught the violin. While enormously successful in it's own right, this set of twelve concertos was a complete departure from Op.3. While the influence of the Corellian concerto grosso had been significant in L'estro armonico, in La Stravaganza Vivaldi severed himself completely from past traditions. The Op.4 set is characterized by harmonic daring, passage work bordering on the bizarre, and a new, uniquely flexible, solo-concerto "form" that would become so typical of Vivaldi. The originality and variety of material is also noteworthy; each work seems to systematically refute a different aspect of the traditional concerto, and even some standards of composition at the time. All this is not without its own sense of musical humor. However, the set also demonstrates the care the composer took over the selection and grouping of works destined for publication; i.e. grouping the concertos into pairs -- one major, one minor -- with an adjustment made to ensure that the whole set ends in major. The Op.4 concertos are the earliest examples of a theatri al conception of the solo concerto to be offered to international audiences of music lovers. This, even more than Vivaldi's daring writing for the solo violin, is the true significance of the word stravaganza in the title. Indeed, among Vivaldi's printed works, the road to the future is marked by the Stravaganza concerti rather than those of L'estro armonico. Vivaldi would never retrace his steps in the direction of Op.3, and the collections which followed Op.4 further develop the concept of the instrumental solo as outlined in Op.4. This, the Violin Concerto in C Major (RV 185 Op. 4 No. 7) was a departure in several ways. It is the only work of the set to have four (4) instead of three (3) and more closely follows the model and the style of the Concerto Grosso. Unusual in this concerto is that the opening movement is Largo (a departure from his earlier works) and the third movement is based on a dialog of 2 equal solo violins. The dance-like final Allegro employes the closed-Corellian 'concertino' of two violins and a cello as well as the corresponding interplay between the concertino and ripieno. Although originally scored for Violin and Strings (2 Violins, Viola, Cello, Bass & Continuo), I created this arrangement for String Quartet (2 Violins, Viola & Cello). Sheet central : | Concerto pour violon en ut majeur (2 sheet music) | | |||
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