 | Vivaldi, Antonio - Concerto in A Major (RV 158) for Winds & Strings RV 158 Vents & Orchestre Cordes |
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| Compositeur : | Vivaldi, Antonio (1678 - 1741) | ||||
| Instrumentation : | Vents & Orchestre Cordes | ||||
| Genre : | Baroque | ||||
| Tonalité : | La majeur | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 26 Mar 2019 Antonio Lucio Vivaldi (1678 – 1741) was an Italian Baroque musical composer, virtuoso violinist, teacher, and priest. Born in Venice, the capital of the Venetian Republic, he is regarded as one of the greatest Baroque composers, and his influence during his lifetime was widespread across Europe. He composed many instrumental concertos, for the violin and a variety of other instruments, as well as sacred choral works and more than forty operas. His best-known work is a series of violin concertos known as the Four Seasons. Antonio Vivaldi's Concerto ripieno in A major for strings and continuo, RV 158, counts among the 60 or so concertos considered concerti ripieni or concerti a quattro -- works written for performance by a small string ensemble without the featured player(s) of a solo concerto. The ripieno and concertino functions of the concerto grosso form, to the extent that they are employed, are thus articulated by a single group of players. Consequently, in these pieces, the clear-cut structural divisions of the ritornello form, with their repeated tutti/ripieno theme and intervening and contrasting solo/concertino sections, are sometimes subsumed by a more melodically or contrapuntally driven compositional scheme. In this regard, the Concerto ripieno (a term applied to such works generally as well as the RV 158 concerto specifically, suggesting its status as an exemplar of the sub-genre) exhibits elements of both the concerto principal and the operatic overture, which during this period enjoyed performances in concert settings as instrumental works extracted from stage settings. The dialogue that provides the structure of the quick opening movement of this concerto draws little attention to itself for any particular melodic profundity, but depends for its charm on its variety of subtle figures and gestures, such as the exchanges of ascending scalar lines, coy neighbor-note agogic accents, and the sudden acceleration of the diving triplet figures just before the ending cadences. The middle movement of the RV 158 concerto is more substantial than those encountered in many other concertos of this type, functioning as it does as a separate musical entity rather than a short, pensive interlude between the active outer movements. Its minor mode and subdued character contrast the bright mood of the opening Allegro molto, and its melodies follow new expressive contours, but certain gestural details -- such as the short, quick flourishes of ascending grace notes -- audibly connect with similar surface features in the first movement. The final movement is the most lively, its rhythms infused with a sense of perpetual motion that is fostered by the inertia of the melody. Particularly memorable is the way in which the ascent of the main melody is heightened by a sudden, syncopated leap upward to the tonic on the back of the beat. Like the previous two movements, the third remains in the key of A, though its form unfolds through a contrasting minor-mode diversion before returning to the major for the piece's conclusion. Source: AllMusic (https://www.allmusic.com/composition/concerto-ripieno- also-sinfonia-for-strings-continuo-in-a-major-rv-158-mc 0002357626 ). Although originally created for Strings & Basso Continuo, I created this Arrangement of the Concerto in A Major (RV 158) for Winds (Flute, Oboe, English Horn & Bassoon) & Strings (2 Violins, Viola & Cello). Partition centrale : | Concerto pour cordes en la majeur (2 partitions) | | |||
