Antonio Vivaldi was one of the composers of the Baroque
era that changed the form of the concerto from the
Concerto Grosso to the Solo Concerto. The Concerto
Grosso divided the instrumental group into two
sections; the concertino, a small group of soloists and
the ripieno, the rest of the orchestra. The concertino
would take turns playing musical material as soloists
and play together as a small group while the ripieno
played between episodes of the concertino.
Arcangelo Corelli brought...(+)
Antonio Vivaldi was one of the composers of the Baroque
era that changed the form of the concerto from the
Concerto Grosso to the Solo Concerto. The Concerto
Grosso divided the instrumental group into two
sections; the concertino, a small group of soloists and
the ripieno, the rest of the orchestra. The concertino
would take turns playing musical material as soloists
and play together as a small group while the ripieno
played between episodes of the concertino.
Arcangelo Corelli brought the form of Concerto Grosso
to its peak early in the 18th century, and many
composers continued to use the form. While Corelli
usually used two violins and cello as the concertino
and a string orchestra as the ripieno (as did Handel),
the six Brandenburg Concertos of J.S. Bach saw many
different combinations of both concertino and ripieno.
As composers are as much evolutionary as revolutionary,
the concerto grosso began to go out of fashion and
something new was beginning. The newest form of
concerto was the Solo Concerto in which a single solo
instrument played musical material to the accompaniment
of the orchestra. Antonio Vivaldi was a composer that
became famous for his solo concertos (although he
continued to write concerto grossi for various
combinations). His music influenced Bach, Handel and
other composers to write in the form. Vivaldi wrote
over 500 solo concertos, with about half of them for
his instrument, the violin. But he wrote for most
instruments in the orchestra. No one knows who the
bassoonist was that he wrote his 39 bassoon concertos
for, but whoever it was must have been very good for
Vivaldi does not spare the soloist difficulties.
The Bassoon Concerto In E Minor (RV 484) is one of
Vivaldi's most recognizable and is constructed in the
typical three movements:
I. Allegro poco - A serious mood is set immediately by
the string orchestra as they begin the movement. The
bassoon enters and gives its take on the theme. The
orchestra and soloist alternate as was the usual
practice of the ritornello form Vivaldi used, and the
theme is developed and changed in the dialogue between
soloist and orchestra. Vivaldi has the soloist play
rapid arpeggios that are similar to what a solo violin
would do in a violin concerto.
II. Andante - A serious introduction is given by the
strings. When the bassoon enters the mood is softened
as the bassoon sings mellow music. The short movement
ends with the strings.
III. Allegro - Vivaldi returns to the quick music style
of the first movement. The string orchestra part leads
the bassoon to some rapid music and difficult
figurations.
Although originally created for Bassoon, Strings and
Continuo, I created this arrangement for Viola &
Strings (2 Violins, Viola, Cello & Bass).
PARTITION