Difference between revisions of "MuseData: Antonio Vivaldi"

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As published, Vivaldi's Opus 10 is a straightforward collection of concertos for flute and string orchestra. Within the large corpus of works that remained unpublished when Vivaldi died, almost every work in the print had a cousin that differed by key or instrumentation. Cousins could also differ somewhat in content. Solo episodes might change from one source to the next. Ritornelli might vary by length without varying much in essential content. Vivaldi frequently adapted previous works to suit a new performance venue.
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As published, Vivaldi's Opus 10 is a straightforward collection of concertos for flute and string orchestra.  
 
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Most works with obbligato flutes seem to have originated during the composer's intermittent Roman sojourn (1719 or 1720 to 1724). Throughout his life Vivaldi responded to circumstances. In his concertos for instruments other than violin and <i>viola d'amore</i> it is likely that the availability of excellent players prompted the composition of these works. In Venice he is unlikely to have found true virtuosi on the transverse flute, which flourished in Prussia (north Germany) many years before it was easily available in northern Italy. It may be for that reason that the published flute concertos did not appear until 1729, in rough coincidence with the violin concertos Opp. 11 and 12. All three volumes were published in Amsterdam.  
Vivaldi was not as much at ease in writing for woodwinds as he was for violins. Most works with obbligato flutes seem to have originated during his Roman sojourn (intermittent, 1719 or 1720 to 1724). Throughout his life he responded to circumstances, and in his concertos for instruments other than violin and viola d'amore it is likely that the available of excellent players prompted the composition of these works. In the "extended family" of Op. 10 there is only one change of key/mode (No. 2/No. 2alt), which also exhibits significant changes of content.
 
  
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The best known works of the collection are the first three. Among the images that they each cultivate instrumentally, the first two--storms at sea and phantoms of the night--were staples of opera staging, especially at Sant'Angelo, the Venetian theater with which Vivaldi and his father were most firmly associated. Both played a prominent role in Venetian scene paintings contemporary with Vivaldi. Sleep, depicted in the fourth movement of Op 10, No. 2, expressed a fascination with the supernatural that was cautiously probed on the stage.
  
 
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===Related Works===
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Within the large corpus of works that remained unpublished when Vivaldi died, almost every work in Op. 10 found a cousin that differed, usually in small ways, from the published work. Rarely, cousins differed substantially in content. Solo episodes might change from one source to the next. Ritornelli might vary in number and length.
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In the "extended family" of Op. 10 there is only one change of key/mode (No. 2/No. 2alt), which also exhibits significant changes of content. This is No. 2, the concerto subtitled "La Notte" ("Night"). The most dramatic differences occur in the second movement.
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Chamber concertos, scored for woodwind trio (flute, oboe, bassoon) and strings, had few analogues during Vivaldi's lifetime, although they paved the way to the rich chamber repertory of the later eighteenth century.
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The <i>sopranino</i> recorder concerto RV 444 is a unique work among Vivaldi's <i>oeuvre</i>, although it could easily have been adapted to a different soloist.

Revision as of 19:47, 5 January 2011


L'estro armonico: Twelve Concertos for Violins and String Orchestra, Op. 3

Op3DoverCover.jpg

The following parts are in PDF and CFT formats. CFT files may be viewed or printed in Microsoft Windows by downloading the DMuse Viewer. These parts for Antonio Vivaldi's Op.3 concerti accompany the full score available from Dover Publications (conver shown on the left):

    Vivaldi, Antonio. "L'Estro armonico", Op. 3 in Full Score: 12 Concertos for Violins and String Orchestra. Ed. by Eleanor Selfridge-Field. Mineola, New York: Dover Publications; 1999. ISBN 0-486-40631-8.

Il cimento dell'armonia e dell'invenzione: Twelve Concertos for Violin and String Orchestra, Op. 8

The following parts for Antonio Vivaldi's Op.8 concerti accompany the full score available from Dover Publications:

  • Vivaldi, Antonio. "The Four Seasons" and Other Violin Concertos in Full Score; Opus 8, Complete. Ed. by Eleanor Selfridge-Field. Mineola, New York: Dover Publications; 1995. ISBN 0-486-28638-X.


Opus, Work No. Ryom No. Genre / Instrumentation Key Nickname; Related works Score Parts
Op. 8, No. 1 RV 269 Concerto / VPr; V1 V2 Va Vc Org E Major "La Primavera" ("Spring") score

VPr V1 V2 Va Org

Op. 8, No. 2 RV 315 Concerto / VPr; V1 V2 Va Vc Org G Minor "L'Estate" ("Summer") score

VPr V1 V2 Va Org

Op. 8, No. 3 RV 293 Concerto / VPr; V1 V2 Va Vc Org F Major "L'Autunno" ("Autumn") score

VPr V1 V2 Va Org

Op. 8, No. 4 RV 297 Concerto / VPr; V1 V2 Va Vc Org F Minor "L'Inverno" ("Winter") score

VPr V1 V2 Va Vc Org

Op. 8, No. 5 RV 253 Concerto / VPr; V1 V2 Va Vc Org in E Major "La Tempesta di Mare" ("The Storm at Sea") score

VPr V1 V2 Va Org

Op. 8, No. 6 RV 180 Concerto / VPr; V1 V2 Va Vc Org C Major "Il Piacere" ("Pleasure") score

VPr V1 V2 Va Org

Op. 8, No. 7 RV 242 Concerto / VPr; V1 V2 Va Vc Org D Minor RV 242a score

VPr V1 V2 Va Org

Op. 8, No. 8 RV 332 Concerto / VPr; V1 V2 Va Vc Org G Minor score

VPr V1 V2 Va Org

Op. 8, No. 9 RV 236 Concerto / VPr; V1 V2 Va Vc Org D Minor RV 454 score

VPr V1 V2 Va Org

Op. 8, No. 10 RV 362 Concerto / VPr; V1 V2 Va Vc Org B Major "La Caccia" ("The Hunt") score

VPr V1 V2 Va Org

Op. 8, No. 11 RV 210 Concerto / VPr; V1 V2 Va Vc Org D Major RV 210a, B. Marcello Op. 1, No. 8 score

VPr V1 V2 Va Org

Op. 8, No. 12 RV 178 Concerto / VPr; V1 V2 Va Vc Org C Major score

VPr V1 V2 Va Org

Six Concertos for Flute and String Orchestra, Op. 10; Related Variants

As published, Vivaldi's Opus 10 is a straightforward collection of concertos for flute and string orchestra. Most works with obbligato flutes seem to have originated during the composer's intermittent Roman sojourn (1719 or 1720 to 1724). Throughout his life Vivaldi responded to circumstances. In his concertos for instruments other than violin and viola d'amore it is likely that the availability of excellent players prompted the composition of these works. In Venice he is unlikely to have found true virtuosi on the transverse flute, which flourished in Prussia (north Germany) many years before it was easily available in northern Italy. It may be for that reason that the published flute concertos did not appear until 1729, in rough coincidence with the violin concertos Opp. 11 and 12. All three volumes were published in Amsterdam.

The best known works of the collection are the first three. Among the images that they each cultivate instrumentally, the first two--storms at sea and phantoms of the night--were staples of opera staging, especially at Sant'Angelo, the Venetian theater with which Vivaldi and his father were most firmly associated. Both played a prominent role in Venetian scene paintings contemporary with Vivaldi. Sleep, depicted in the fourth movement of Op 10, No. 2, expressed a fascination with the supernatural that was cautiously probed on the stage.

Opus, Work No. Ryom No. Genre / Instrumentation Key Nickname Parts
Op. 10, No. 1 RV 433 Concerto / Flute; V1 V2 Va Vc BC F Major "The Sea Tempest" parts
Op. 10, No. 2 RV 439 Concerto / Flute; V1 V2 Va Vc BC G Minor "Night" parts
Op. 10, No. 3 RV 428 Concerto / Flute; V1 V2 Va Vc BC D Major "The Goldfinch" parts
Op. 10, No. 4 RV 435 Concerto / Flute; V1 V2 Va Vc BC G Major parts
Op. 10, No. 5 RV 434 Concerto / Flute; V1 V2 Va Vc BC F Major parts
Op. 10, No. 6 RV 437 Concerto / Flute; V1 V2 Va Vc BC G Major parts
Related concertos
Unpublished RV 444 Concerto / Sopranino Recorder; V1 V2 Va Vc Bn C Major parts
Op. 10, No. 1 (alt.) RV 570 Concerto / Flute, Oboe, Bassoon; VPr V1 V2 Va BC F Major parts
Op. 10, No. 2 (alt.) RV 501 Concerto / Bassoon; V1 V2 Va BC B Major parts
Op. 10, No. 3 (alt.) RV   90 Concerto / Flute, Oboe, Violin and Bassoon D Major parts
Op. 10, No. 5 (alt.) RV 442 Concerto / Recorder; V1 V2 Va BC F Major parts
Op. 10, No. 6 (alt.) RV 101  Concerto / Flute, Oboe, Violin, Bassoon, BC G Major parts

Related Works

Within the large corpus of works that remained unpublished when Vivaldi died, almost every work in Op. 10 found a cousin that differed, usually in small ways, from the published work. Rarely, cousins differed substantially in content. Solo episodes might change from one source to the next. Ritornelli might vary in number and length.

In the "extended family" of Op. 10 there is only one change of key/mode (No. 2/No. 2alt), which also exhibits significant changes of content. This is No. 2, the concerto subtitled "La Notte" ("Night"). The most dramatic differences occur in the second movement.

Chamber concertos, scored for woodwind trio (flute, oboe, bassoon) and strings, had few analogues during Vivaldi's lifetime, although they paved the way to the rich chamber repertory of the later eighteenth century.

The sopranino recorder concerto RV 444 is a unique work among Vivaldi's oeuvre, although it could easily have been adapted to a different soloist.