MuseData: Antonio Vivaldi - Revision history

Craig: /* Juditha triumphans */

2024-05-02T18:22:01Z

Juditha triumphans

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	=Oratorios=		=Oratorios=
	== ~~[http://wiki.ccarh.org/wiki/Juditha_triumphans~~ <i>Juditha triumphans</i>] ==		== <i>Juditha triumphans</i> ==

	See the dedicated page for Vivaldi's oratorio, [[Juditha triumphans]].		See the dedicated page for Vivaldi's oratorio, [[Juditha triumphans]].

	= References =		= References =

Craig: /* Juditha triumphans */

2024-05-02T18:21:41Z

Juditha triumphans

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	== [http://wiki.ccarh.org/wiki/Juditha_triumphans <i>Juditha triumphans</i>] ==		== [http://wiki.ccarh.org/wiki/Juditha_triumphans <i>Juditha triumphans</i>] ==

	~~Click title to see separate webpage~~.		See the dedicated page for Vivaldi's oratorio, [[Juditha triumphans]].

	= References =		= References =

Craig: /* Op. 1: Suonate da camera a trè, due violini e violone o cembalo */

2024-05-02T15:06:40Z

Op. 1: Suonate da camera a trè, due violini e violone o cembalo

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	[[File:Op1-12_Folia_V1.png\|400px\|thumb\|center\|Excerpt from the Violino primo (first violin) part of the Folìa of Vivaldi's Sonata Op. 1, No. 12 (Venice: Giuseppe Sala, 1705). Image from the partbook in the Conservatorio Benedetto Marcello, Venice. Used by permission.]]		[[File:Op1-12_Folia_V1.png\|400px\|thumb\|center\|Excerpt from the Violino primo (first violin) part of the Folìa of Vivaldi's Sonata Op. 1, No. 12 (Venice: Giuseppe Sala, 1705). Image from the partbook in the Conservatorio Benedetto Marcello, Venice. Used by permission.]]

	These trio sonatas contained various numbers of movements (3 to 6), most in binary form. The four outer works (Nos. 1, 2, 11, and 12) ~~were~~ in minor keys, the others in major ones. The best known work is Op. 1, No. 12, an ambitious set of variations on the <i>folìa</i>. Vivaldi may have been inspired by [http://scores.ccarh.org/corelli/op5/corelli-op5n12.pdf Arcangelo Corelli]'s set of Folìa variations [http://scores.ccarh.org/corelli/op5/corelli-op5n12.pdf Op. 5, No. 12] (1700), but the trio texture changes the dynamics of the realization substantially.		These trio sonatas contained various numbers of movements (3 to 6), most in binary form. The four outer works (Nos. 1, 2, 11, and 12) are in minor keys, the others in major ones. The best known work is Op. 1, No. 12, an ambitious set of variations on the <i>folìa</i>. Vivaldi may have been inspired by [http://scores.ccarh.org/corelli/op5/corelli-op5n12.pdf Arcangelo Corelli]'s set of Folìa variations [http://scores.ccarh.org/corelli/op5/corelli-op5n12.pdf Op. 5, No. 12] (1700), but the trio texture changes the dynamics of the realization substantially.

	The earliest surviving print of Op. 1 was published in Venice (G. Sala) in 1705. Only fragments of it survive today in the library of the "Benedetto Marcello" Conservatory in Venice. (Scholars suspect that the music predated Vivaldi's appointment at the Ospedale of the Pietà, it is not mentioned in the title-page of Op. 1.) Vivaldi's collection was reprinted in Amsterdam in 1723 (E. Roger, as print No. 363), in Paris in 1759 (Le Clerc), and in Austria in 1759. Many movements are brief and musically simple, so much so that were one to judge from this opus alone, one would not have anticipated the kind of success that Vivaldi later found. [https://docs.google.com/spreadsheets/d/1ESCaqRIJReiXkotziSUcIMfeihKXZWQb2_w-xs_GhFU/edit#gid=0 Critical notes for Vivaldi's Op. 1.]		The earliest surviving print of Op. 1 was published in Venice (G. Sala) in 1705. Only fragments of it survive today in the library of the "Benedetto Marcello" Conservatory in Venice. (Scholars suspect that the music predated Vivaldi's appointment at the Ospedale of the Pietà, it is not mentioned in the title-page of Op. 1.) Vivaldi's collection was reprinted in Amsterdam in 1723 (E. Roger, as print No. 363), in Paris in 1759 (Le Clerc), and in Austria in 1759. Many movements are brief and musically simple, so much so that were one to judge from this opus alone, one would not have anticipated the kind of success that Vivaldi later found. [https://docs.google.com/spreadsheets/d/1ESCaqRIJReiXkotziSUcIMfeihKXZWQb2_w-xs_GhFU/edit#gid=0 Critical notes for Vivaldi's Op. 1.]

Esfield: /* Op. 12: Sei concerti */

2024-03-30T19:19:58Z

Op. 12: Sei concerti

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	\|}		\|}

	===Op. 12: <i>Sei concerti</i>===		===Op. 12: <i>Sei concerti a violino principale</i>===
	Vivaldi's six concertos Op. 12 (1729) represent the final printed publication of his music. Like op. 11, op. 12 includes works (e.g. nos. 1, 2, 6) that lack inclusion in any other source, print or manuscript. This allows that the publication as a whole was not authorized by the composer. It also invited questions of attribution. The authorship of two other works (nos. 3 and 5) is confirmed by the presence of analogous pieces in the Giordano manuscript series in Turin. The gem of the collection is no. 4, with its brisk motifs and multiple stops, features not readily present in the other five concertos. Yet the brilliant final movement is unmistakably Vivaldi's.		Vivaldi's six concertos Op. 12 (1729) represent the final printed publication of his music. Like op. 11, op. 12 includes works (e.g. nos. 1, 2, 6) that lack inclusion in any other source, print or manuscript. This allows that the publication as a whole was not authorized by the composer. It also invited questions of attribution. The authorship of two other works (nos. 3 and 5) is confirmed by the presence of analogous pieces in the Giordano manuscript series in Turin. The gem of the collection is no. 4, with its brisk motifs and multiple stops, features not readily present in the other five concertos. Yet the brilliant final movement is unmistakably Vivaldi's.

Esfield: /* Op. 11: Sei concerti */

2024-03-30T19:19:28Z

Op. 11: Sei concerti

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	The parts provided here correspond to the Dover Publication entitled <i>Six Concertos for Flute and String Orchestra, Op. 10, and Related Variants</i>.		The parts provided here correspond to the Dover Publication entitled <i>Six Concertos for Flute and String Orchestra, Op. 10, and Related Variants</i>.

	===Op. 11: <i>Sei concerti</i>===		===Op. 11: <i>Sei concerti a violino principale</i>===
	In Opp. 11 and 12 Vivaldi returned to the practice of publishing six works at a time. His earlier 12-work prints are usually presented as two books of six, but there were practical benefits to grouping the works into two sets. Opp. 11 and 12 appear to be cut from the same cloth and may have been intended initially as a single publication. Their Amsterdam print numbers from presses of Michel Charles Le Cène (1729) were 545 and 546. In comparison to all of Vivaldi's music printed since 1711 they were poorly circulated. Some uncertainty hovers over the question of whether Vivaldi authorized these prints. He explicitly avoided publication of sets after the publication of Op. 12, preferring instead to sell pieces singly to well-heeled fans and amateurs.		In Opp. 11 and 12 Vivaldi returned to the practice of publishing six works at a time. His earlier 12-work prints are usually presented as two books of six, but there were practical benefits to grouping the works into two sets. Opp. 11 and 12 appear to be cut from the same cloth and may have been intended initially as a single publication. Their Amsterdam print numbers from presses of Michel Charles Le Cène (1729) were 545 and 546. In comparison to all of Vivaldi's music printed since 1711 they were poorly circulated. Some uncertainty hovers over the question of whether Vivaldi authorized these prints. He explicitly avoided publication of sets after the publication of Op. 12, preferring instead to sell pieces singly to well-heeled fans and amateurs.

	Many solo passages are a challenge to the principal violinist. Vivaldi's full catalog of virtuoso techniques--double, triple, and quadruple stops, bariolage and a host of other difficult manners of passagework lurk within them. Several of the works are well known today. Op. 11, No. 5 was especially popular. Vivaldi's autograph appeared as No. 3 in the set of twelve concertos he presented to the emperor Charles VI during a visit to Trieste (1728). Miscellaneous parts in the Austrian National Library MS 15996 omit the music for first violin.		Many solo passages are a challenge to the principal violinist. Vivaldi's full catalog of virtuoso techniques--double, triple, and quadruple stops, bariolage and a host of other difficult manners of passagework lurk within them. Several of the works are well known today. Op. 11, No. 5 was especially popular. Vivaldi's autograph appeared as No. 3 in the set of twelve concertos he presented to the emperor Charles VI during a visit to Trieste (1728). Miscellaneous parts in the Austrian National Library MS 15996 omit the music for first violin.

Esfield: /* Op. 11: Sei concerti */

2024-03-08T00:39:12Z

Op. 11: Sei concerti

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	\| Op. 11, No. 1 \|\| RV 207 \|\| Concerto / VPr; V1 V2 Va Vc Org \|\| D Major \|\| <small>The three known manuscript sources are in Turin, Dresden (partly copied by Joh. Georg Pisendel, Dresden's <i>Kapellmeister</i>), and Venice, where the conservatory title is dedicated to one of Vivaldi's most accomplished students, Anna Maria of the Pietà</small>. \|\| [https://pdf.musedata.org/?id=vivaldi-op11-no1 score]		\| Op. 11, No. 1 \|\| RV 207 \|\| Concerto / VPr; V1 V2 Va Vc Org \|\| D Major \|\| <small>The three known manuscript sources are in Turin, Dresden (partly copied by Joh. Georg Pisendel, Dresden's <i>Kapellmeister</i>), and Venice, where the conservatory title is dedicated to one of Vivaldi's most accomplished students, Anna Maria of the Pietà</small>. \|\| [https://pdf.musedata.org/?id=vivaldi-op11-no1 score]
	\|-		\|-
	\| Op. 11, No. 2 \|\| RV 277 \|\| Concerto / VPr; V1 V2 Va Vc Org \|\| E Minor \|\| <small>Nicknamed "Il Favorito". Appears as No. 11 of <i>La Cetra</i>, the concerto collection Vivaldi dedicated to the emperor (1728).</small> \|\| [https://pdf.musedata.org/?id=vivaldi-op11-no2 score]		\| Op. 11, No. 2 \|\| RV 277 \|\| Concerto / VPr; V1 V2 Va Vc Org \|\| E Minor \|\| <small>Nicknamed "Il Favorito". Appears as No. 11 of <i>La Cetra</i>, the concerto collection Vivaldi dedicated to the emperor Charles VI (1728).</small> \|\| [https://pdf.musedata.org/?id=vivaldi-op11-no2 score]
	\|-		\|-
	\| Op. 11, No. 3 \|\| RV 336 \|\| Concerto / VPr; V1 V2 Va Vc Org \|\| A Major \|\| <small>May be from the early 1720s.</small>\|\| [https://pdf.musedata.org/?id=vivaldi-op11-no3 score]		\| Op. 11, No. 3 \|\| RV 336 \|\| Concerto / VPr; V1 V2 Va Vc Org \|\| A Major \|\| <small>May be from the early 1720s.</small>\|\| [https://pdf.musedata.org/?id=vivaldi-op11-no3 score]

Esfield: /* Op. 7: Concerti a 5 strumenti: Tre violini, alto viola e basso continuo */

2024-02-23T00:45:32Z

Op. 7: Concerti a 5 strumenti: Tre violini, alto viola e basso continuo

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	===Op. 7: <i>Concerti a 5 strumenti: Tre violini, alto viola e basso continuo</i>===		===Op. 7: <i>Concerti a 5 strumenti: Tre violini, alto viola e basso continuo</i>===

	Vivaldi's 12 concertos <i>a 5</i> (three violins, viola, and basso continuo) were, like the works of Op. 6, planned with a <i>violino principale</i> for use in the solo episodes in the outer movements and the middle movement of three-movement works. These two opuses (6 and 7) were the first ones in which <i>all</i> the works contained only three movements. One can see that Vivaldi's idea of the concerto had evolved considerably over a decade. Note, though, that the oboe arrangements of Opp. 7, Nos. 1 and 7, as well as Op. 11, No. 6 (derived from Op. 7, No. 9) are now considered spurious. Three of the other works--Op. 7, Nos. 3, 5, and 10--appear in Jeanne Roger's serial prints (Nos. 470, 471, both of 1720) in variant versions of circulating manuscripts of the time.		Vivaldi's 12 concertos <i>a 5</i> (three violins, viola, and basso continuo) were, like the works of Op. 6, planned with a <i>violino principale</i> for use in the solo episodes in the outer movements and the middle movement of three-movement works. These two opuses (6 and 7) were the first ones in which <i>all</i> the works contained only three movements. One can see that Vivaldi's idea of the concerto had evolved considerably over a decade. Note, though, that the oboe arrangements of Opp. 7, Nos. 1 and 7, as well as Op. 11, No. 6 (derived from Op. 7, No. 9) are now considered spurious. Three of the other printed works--Op. 7, Nos. 3, 5, and 10--appear in Jeanne Roger's serial prints (Nos. 470, 471, both of 1720) capture variant versions of circulating manuscripts of the time (<i>c</i>1716-1717).

	As scores for Vivaldi's concertos passed through more hands and as Vivaldi himself branched out into new modes of musical expression, his works began to spawn ever-changing identities. (The Amsterdam print of Op. 7 was not a publication authorized by the composer.) Among these morphing presentations, Op. 7, No. 3 was revised by [https://en.wikipedia.org/wiki/Johann_Georg_Pisendel Johann Pisendel] (cf. RV 370), who played a significant role in performing and preserving Vivaldi's music in the Dresden <i>Hofkapelle</i>. No. 9 found a new life in a version for oboe and strings (RV 460), published as Op. 11, No. 6. No. 10 was nicknamed "Il Ritiro" (Withdrawal). No. 11 ("Il Grosso Mogul") was published with a different middle movement (RV 208a) in [https://en.wikisource.org/wiki/A_Dictionary_of_Music_and_Musicians/Walsh,_John Walsh] & Hare's anthology <i>Select Harmony</i> (London, 1730). Many of the works may have been composed considerably earlier than their print dates suggest, and in the case of this pair RV 208 is conjecturally from before 1710, its alternative arrangement from not later than 1720. One manuscript copy of the earlier work includes a written cadenza. It was also transcribed by J. S. Bach for organ as BWV 594. parts and/or scores for five of the works are preserved in early copies in the Sächsische Landesbibliothek, Dresden, while other early versions are found in manuscripts in Manchester (UK) and Trondheim (Norway), among other locations.		As scores for Vivaldi's concertos passed through more hands and as Vivaldi himself branched out into new modes of musical expression, his works began to spawn ever-changing identities. (The Amsterdam print of Op. 7 was not a publication authorized by the composer.) Among these morphing presentations, Op. 7, No. 3 was revised by [https://en.wikipedia.org/wiki/Johann_Georg_Pisendel Johann Pisendel] (cf. RV 370), who played a significant role in performing and preserving Vivaldi's music in the Dresden <i>Hofkapelle</i>. No. 9 found a new life in a version for oboe and strings (RV 460), published as Op. 11, No. 6. No. 10 was nicknamed "Il Ritiro" (Withdrawal). No. 11 ("Il Grosso Mogul") was published with a different middle movement (RV 208a) in [https://en.wikisource.org/wiki/A_Dictionary_of_Music_and_Musicians/Walsh,_John Walsh] & Hare's anthology <i>Select Harmony</i> (London, 1730). Many of the works may have been composed considerably earlier than their print dates suggest, and in the case of this pair RV 208 is conjecturally from before 1710, its alternative arrangement from not later than 1720. One manuscript copy of the earlier work includes a written cadenza. It was also transcribed by J. S. Bach for organ as BWV 594. parts and/or scores for five of the works are preserved in early copies in the Sächsische Landesbibliothek, Dresden, while other early versions are found in manuscripts in Manchester (UK) and Trondheim (Norway), among other locations.

Esfield: /* Op. 7: Concerti a 5 strumenti: Tre violini, alto viola e basso continuo */

2024-02-23T00:42:10Z

Op. 7: Concerti a 5 strumenti: Tre violini, alto viola e basso continuo

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	===Op. 7: <i>Concerti a 5 strumenti: Tre violini, alto viola e basso continuo</i>===		===Op. 7: <i>Concerti a 5 strumenti: Tre violini, alto viola e basso continuo</i>===

	Vivaldi's 12 concertos <i>a 5</i> (three violins, viola, and basso continuo) were, like the works of Op. 6, planned with a <i>violino principale</i> for use in the solo episodes in the outer movements and the middle movement of three-movement works. These two opuses (6 and 7) were the first ones in which <i>all</i> the works contained only three movements. One can see that Vivaldi's idea of the concerto had evolved considerably over a decade. Note, though, that the oboe arrangements of Opp. 7, Nos. 1 and 7, as well as Op. 11, No. 6 (derived from Op. 7, No. 9) are now considered spurious. Three of the other works--Op. 7, Nos. 3, 5, and 10--appear in Jeanne Roger's serial prints (Nos. 470, 471) in variant versions of circulating manuscripts of the time.		Vivaldi's 12 concertos <i>a 5</i> (three violins, viola, and basso continuo) were, like the works of Op. 6, planned with a <i>violino principale</i> for use in the solo episodes in the outer movements and the middle movement of three-movement works. These two opuses (6 and 7) were the first ones in which <i>all</i> the works contained only three movements. One can see that Vivaldi's idea of the concerto had evolved considerably over a decade. Note, though, that the oboe arrangements of Opp. 7, Nos. 1 and 7, as well as Op. 11, No. 6 (derived from Op. 7, No. 9) are now considered spurious. Three of the other works--Op. 7, Nos. 3, 5, and 10--appear in Jeanne Roger's serial prints (Nos. 470, 471, both of 1720) in variant versions of circulating manuscripts of the time.

	As scores for Vivaldi's concertos passed through more hands and as Vivaldi himself branched out into new modes of musical expression, his works began to spawn ever-changing identities. (The Amsterdam print of Op. 7 was not a publication authorized by the composer.) Among these morphing presentations, Op. 7, No. 3 was revised by [https://en.wikipedia.org/wiki/Johann_Georg_Pisendel Johann Pisendel] (cf. RV 370), who played a significant role in performing and preserving Vivaldi's music in the Dresden <i>Hofkapelle</i>. No. 9 found a new life in a version for oboe and strings (RV 460), published as Op. 11, No. 6. No. 10 was nicknamed "Il Ritiro" (Withdrawal). No. 11 ("Il Grosso Mogul") was published with a different middle movement (RV 208a) in [https://en.wikisource.org/wiki/A_Dictionary_of_Music_and_Musicians/Walsh,_John Walsh] & Hare's anthology <i>Select Harmony</i> (London, 1730). Many of the works may have been composed considerably earlier than their print dates suggest, and in the case of this pair RV 208 is conjecturally from before 1710, its alternative arrangement from not later than 1720. One manuscript copy of the earlier work includes a written cadenza. It was also transcribed by J. S. Bach for organ as BWV 594. parts and/or scores for five of the works are preserved in early copies in the Sächsische Landesbibliothek, Dresden, while other early versions are found in manuscripts in Manchester (UK) and Trondheim (Norway), among other locations.		As scores for Vivaldi's concertos passed through more hands and as Vivaldi himself branched out into new modes of musical expression, his works began to spawn ever-changing identities. (The Amsterdam print of Op. 7 was not a publication authorized by the composer.) Among these morphing presentations, Op. 7, No. 3 was revised by [https://en.wikipedia.org/wiki/Johann_Georg_Pisendel Johann Pisendel] (cf. RV 370), who played a significant role in performing and preserving Vivaldi's music in the Dresden <i>Hofkapelle</i>. No. 9 found a new life in a version for oboe and strings (RV 460), published as Op. 11, No. 6. No. 10 was nicknamed "Il Ritiro" (Withdrawal). No. 11 ("Il Grosso Mogul") was published with a different middle movement (RV 208a) in [https://en.wikisource.org/wiki/A_Dictionary_of_Music_and_Musicians/Walsh,_John Walsh] & Hare's anthology <i>Select Harmony</i> (London, 1730). Many of the works may have been composed considerably earlier than their print dates suggest, and in the case of this pair RV 208 is conjecturally from before 1710, its alternative arrangement from not later than 1720. One manuscript copy of the earlier work includes a written cadenza. It was also transcribed by J. S. Bach for organ as BWV 594. parts and/or scores for five of the works are preserved in early copies in the Sächsische Landesbibliothek, Dresden, while other early versions are found in manuscripts in Manchester (UK) and Trondheim (Norway), among other locations.

Esfield: /* Op. 7: Concerti a 5 strumenti: Tre violini, alto viola e basso continuo */

2024-02-23T00:27:33Z

Op. 7: Concerti a 5 strumenti: Tre violini, alto viola e basso continuo

← Older revision		Revision as of 00:27, 23 February 2024
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	===Op. 7: <i>Concerti a 5 strumenti: Tre violini, alto viola e basso continuo</i>===		===Op. 7: <i>Concerti a 5 strumenti: Tre violini, alto viola e basso continuo</i>===

	Vivaldi's 12 concertos <i>a 5</i> (three violins, viola, and basso continuo) were, like the works of Op. 6, planned with a <i>violino principale</i> for use in the solo episodes in the outer movements and the middle movement of three-movement works. These two opuses (6 and 7) were the first ones in which <i>all</i> the works contained only three movements. One can see that Vivaldi's idea of the concerto had evolved considerably over a decade. Note, though, that the oboe arrangements of Opp. 7, Nos. 1 and 7, as well as Op. 11, No. 6 (derived from Op. 7, No. 9) are now considered spurious. Three of the other works--Op. 7, Nos.		Vivaldi's 12 concertos <i>a 5</i> (three violins, viola, and basso continuo) were, like the works of Op. 6, planned with a <i>violino principale</i> for use in the solo episodes in the outer movements and the middle movement of three-movement works. These two opuses (6 and 7) were the first ones in which <i>all</i> the works contained only three movements. One can see that Vivaldi's idea of the concerto had evolved considerably over a decade. Note, though, that the oboe arrangements of Opp. 7, Nos. 1 and 7, as well as Op. 11, No. 6 (derived from Op. 7, No. 9) are now considered spurious. Three of the other works--Op. 7, Nos. 3, 5, and 10--appear in Jeanne Roger's serial prints (Nos. 470, 471) in variant versions of circulating manuscripts of the time.

	As scores for Vivaldi's concertos passed through more hands and as Vivaldi himself branched out into new modes of musical expression, his works began to spawn ever-changing identities. (The Amsterdam print of Op. 7 was not a publication authorized by the composer.) Among these morphing presentations, Op. 7, No. 3 was revised by [https://en.wikipedia.org/wiki/Johann_Georg_Pisendel Johann Pisendel] (cf. RV 370), who played a significant role in performing and preserving Vivaldi's music in the Dresden <i>Hofkapelle</i>. No. 9 found a new life in a version for oboe and strings (RV 460), published as Op. 11, No. 6. No. 10 was nicknamed "Il Ritiro" (Withdrawal). No. 11 ("Il Grosso Mogul") was published with a different middle movement (RV 208a) in [https://en.wikisource.org/wiki/A_Dictionary_of_Music_and_Musicians/Walsh,_John Walsh] & Hare's anthology <i>Select Harmony</i> (London, 1730). Many of the works may have been composed considerably earlier than their print dates suggest, and in the case of this pair RV 208 is conjecturally from before 1710, its alternative arrangement from not later than 1720. One manuscript copy of the earlier work includes a written cadenza. It was also transcribed by J. S. Bach for organ as BWV 594. parts and/or scores for five of the works are preserved in early copies in the Sächsische Landesbibliothek, Dresden, while other early versions are found in manuscripts in Manchester (UK) and Trondheim (Norway), among other locations.		As scores for Vivaldi's concertos passed through more hands and as Vivaldi himself branched out into new modes of musical expression, his works began to spawn ever-changing identities. (The Amsterdam print of Op. 7 was not a publication authorized by the composer.) Among these morphing presentations, Op. 7, No. 3 was revised by [https://en.wikipedia.org/wiki/Johann_Georg_Pisendel Johann Pisendel] (cf. RV 370), who played a significant role in performing and preserving Vivaldi's music in the Dresden <i>Hofkapelle</i>. No. 9 found a new life in a version for oboe and strings (RV 460), published as Op. 11, No. 6. No. 10 was nicknamed "Il Ritiro" (Withdrawal). No. 11 ("Il Grosso Mogul") was published with a different middle movement (RV 208a) in [https://en.wikisource.org/wiki/A_Dictionary_of_Music_and_Musicians/Walsh,_John Walsh] & Hare's anthology <i>Select Harmony</i> (London, 1730). Many of the works may have been composed considerably earlier than their print dates suggest, and in the case of this pair RV 208 is conjecturally from before 1710, its alternative arrangement from not later than 1720. One manuscript copy of the earlier work includes a written cadenza. It was also transcribed by J. S. Bach for organ as BWV 594. parts and/or scores for five of the works are preserved in early copies in the Sächsische Landesbibliothek, Dresden, while other early versions are found in manuscripts in Manchester (UK) and Trondheim (Norway), among other locations.

Esfield: /* Op. 7: Concerti a 5 strumenti: Tre violini, alto viola e basso continuo */

2024-02-23T00:23:50Z

Op. 7: Concerti a 5 strumenti: Tre violini, alto viola e basso continuo

← Older revision		Revision as of 00:23, 23 February 2024
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	===Op. 7: <i>Concerti a 5 strumenti: Tre violini, alto viola e basso continuo</i>===		===Op. 7: <i>Concerti a 5 strumenti: Tre violini, alto viola e basso continuo</i>===

	Vivaldi's 12 concertos <i>a 5</i> (three violins, viola, and basso continuo) were, like the works of Op. 6, planned with a <i>violino principale</i> for use in the solo episodes in the outer movements and the middle movement of three-movement works. These two opuses (6 and 7) were the first ones in which <i>all</i> the works contained only three movements. One can see that Vivaldi's idea of the concerto had evolved considerably over a decade. Note, though, that the oboe arrangements of Opp. 7, Nos. 1 and 7, as well as Op. 11, No. 6 (derived from Op. 7, No. 9) are now considered spurious.		Vivaldi's 12 concertos <i>a 5</i> (three violins, viola, and basso continuo) were, like the works of Op. 6, planned with a <i>violino principale</i> for use in the solo episodes in the outer movements and the middle movement of three-movement works. These two opuses (6 and 7) were the first ones in which <i>all</i> the works contained only three movements. One can see that Vivaldi's idea of the concerto had evolved considerably over a decade. Note, though, that the oboe arrangements of Opp. 7, Nos. 1 and 7, as well as Op. 11, No. 6 (derived from Op. 7, No. 9) are now considered spurious. Three of the other works--Op. 7, Nos.

	As scores for Vivaldi's concertos passed through more hands and as Vivaldi himself branched out into new modes of musical expression, his works began to spawn ever-changing identities. (The Amsterdam print of Op. 7 was not a publication authorized by the composer.) Among these morphing presentations, Op. 7, No. 3 was revised by [https://en.wikipedia.org/wiki/Johann_Georg_Pisendel Johann Pisendel] (cf. RV 370), who played a significant role in performing and preserving Vivaldi's music in the Dresden <i>Hofkapelle</i>. No. 9 found a new life in a version for oboe and strings (RV 460), published as Op. 11, No. 6. No. 10 was nicknamed "Il Ritiro" (Withdrawal). No. 11 ("Il Grosso Mogul") was published with a different middle movement (RV 208a) in [https://en.wikisource.org/wiki/A_Dictionary_of_Music_and_Musicians/Walsh,_John Walsh] & Hare's anthology <i>Select Harmony</i> (London, 1730). Many of the works may have been composed considerably earlier than their print dates suggest, and in the case of this pair RV 208 is conjecturally from before 1710, its alternative arrangement from not later than 1720. One manuscript copy of the earlier work includes a written cadenza. It was also transcribed by J. S. Bach for organ as BWV 594. parts and/or scores for five of the works are preserved in early copies in the Sächsische Landesbibliothek, Dresden, while other early versions are found in manuscripts in Manchester (UK) and Trondheim (Norway), among other locations.		As scores for Vivaldi's concertos passed through more hands and as Vivaldi himself branched out into new modes of musical expression, his works began to spawn ever-changing identities. (The Amsterdam print of Op. 7 was not a publication authorized by the composer.) Among these morphing presentations, Op. 7, No. 3 was revised by [https://en.wikipedia.org/wiki/Johann_Georg_Pisendel Johann Pisendel] (cf. RV 370), who played a significant role in performing and preserving Vivaldi's music in the Dresden <i>Hofkapelle</i>. No. 9 found a new life in a version for oboe and strings (RV 460), published as Op. 11, No. 6. No. 10 was nicknamed "Il Ritiro" (Withdrawal). No. 11 ("Il Grosso Mogul") was published with a different middle movement (RV 208a) in [https://en.wikisource.org/wiki/A_Dictionary_of_Music_and_Musicians/Walsh,_John Walsh] & Hare's anthology <i>Select Harmony</i> (London, 1730). Many of the works may have been composed considerably earlier than their print dates suggest, and in the case of this pair RV 208 is conjecturally from before 1710, its alternative arrangement from not later than 1720. One manuscript copy of the earlier work includes a written cadenza. It was also transcribed by J. S. Bach for organ as BWV 594. parts and/or scores for five of the works are preserved in early copies in the Sächsische Landesbibliothek, Dresden, while other early versions are found in manuscripts in Manchester (UK) and Trondheim (Norway), among other locations.