 | Vivaldi, Antonio - Concerto in G Major for Viola & Piano RV 310 Op. 3 No. 3 Mvt. 1 Alto et Piano (ou orgue) |
VoirPDF : Concerto in G Major (RV 310 Opus 3 No. 3 Mvt. 1) for Viola & Piano (5 pages - 143.37 Ko)1 256x⬇ VoirPDF : Piano Part (99.88 Ko) VoirPDF : All Parts (215.21 Ko) VoirPDF : Alto Part (100.53 Ko) MP3 : Concerto in G Major (RV 310 Opus 3 No. 3 Mvt. 1) for Viola & Piano 237x⬇ 2120x
Concerto in G Major for Viola & Piano
MP3 (2.31 Mo) : (par Magatagan, Mike)122x⬇ 452x
Concerto in G Major for Viola & Piano
MP3 (2.31 Mo) : (par Magatagan, Mike)99x⬇ 247xVidéo :
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| Compositeur : | Vivaldi, Antonio (1678 - 1741) | ||||
| Instrumentation : | Alto et Piano (ou orgue) | ||||
| Genre : | Baroque | ||||
| Tonalité : | Sol majeur | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 04 Mar 2018 The creator of hundreds of spirited, extroverted instrumental works, Italian composer Antonio Vivaldi is widely recognized as the master of the Baroque instrumental concerto, which he perfected and popularized more than any of his contemporaries. Vivaldi's kinetic rhythms, fluid melodies, bright instrumental effects, and extensions of instrumental technique make his some of the most enjoyable of Baroque music. He was highly influential among his contemporaries and successors: even as esteemed a figure as Johann Sebastian Bach adapted some of Vivaldi's music. Vivaldi's variable textures and dramatic effects initiated the shift toward what became the Classical style; a deeper understanding of his music begins with the realization that, compared with Bach and even Handel, he was Baroque music's arch progressive. Though not as familiar as his concerti, Vivaldi's stage and choral music is still of value; his sometimes bouncy, sometimes lyrical Gloria in D major (1708) has remained a perennial favorite. His operas were widely performed in his own time. Published in 1711, the L'estro armonico, concertos (12) are among Vivaldi's earliest works. They are grouped in four sets of three, each containing a concerto for solo violin and one each for two and four violins. Written in a concerto grosso style, these works were tremendously influential in their time, virtually laying the foundations for the concerto form in the eighteenth century. This G major effort for solo violin appears in the first chapter of the L'estro armonico and is cast in three movements. It is one of the set's shorter concertos, with a duration of about six to seven minutes, each panel lasting only about two minutes. The Allegro first movement begins with a vigorous, lively theme in the strings, after which the solo violin enters, mostly contributing rhythmic music. The strings present the most important thematic material here, though the solo violin has an equal and crucial role. In the brief Largo that follows, the violin sings sadly between the dark repeated chords of the now-deferential orchestra. The Allegro finale finds the strings quite active again, but with the soloist vying for the spotlight, both producing colorful, joyous music brimming with vibrancy throughout. Source: AllMusic (https://www.allmusic.com/composition/violin-concerto-f or-violin-strings-continuo-in-g-major-lestro-armonico-n o-3-op-3-3-rv-310-mc0002404568). Although originally composed for Violin and Strings and later arranged for Violin & Piano by John Howard, I created this transcription of the Allegro from the Concerto in G Major (RV 310 Op. 3 No. 3 Mvt. 1) for Viola & Piano. Partition centrale : | Concerto pour violon en sol majeur (13 partitions) | | |||
