Difference between revisions of "MuseData: Antonio Vivaldi"

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== <i>Il cimento dell'armonia e dell'invenzione</i>: Twelve Concertos for Violin and String Orchestra, Op. 8 ==
 
== <i>Il cimento dell'armonia e dell'invenzione</i>: Twelve Concertos for Violin and String Orchestra, Op. 8 ==
  

Revision as of 18:53, 8 February 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 Parts
Op. 8, No. 1 RV 269 Concerto / VPr; V1 V2 Va Vc Org E Major "La Primavera" ("Spring") parts
Op. 8, No. 2 RV 315 Concerto / VPr; V1 V2 Va Vc Org G Minor "L'Estate" ("Summer") parts
Op. 8, No. 3 RV 293 Concerto / VPr; V1 V2 Va Vc Org F Major "L'Autunno" ("Autumn") parts
Op. 8, No. 4 RV 297 Concerto / VPr; V1 V2 Va Vc Org F Minor "L'Inverno" ("Winter") parts
Op. 8, No. 5 RV 253 Concerto / VPr; V1 V2 Va Vc Org in E Minor "La Tempesta de Mare" ("The Storm at Sea") parts
Op. 8, No. 6 RV 180 Concerto / VPr; V1 V2 Va Vc Org C Major "Il Piacere ("Pleasure") parts
Op. 8, No. 7 RV 242 Concerto / VPr; V1 V2 Va Vc Org D Minor RV 242a parts
Op. 8, No. 8 RV 332 Concerto / VPr; V1 V2 Va Vc Org G Minor parts
Op. 8, No. 9 RV 236 Concerto / VPr; V1 V2 Va Vc Org D Minor RV 454 parts
Op. 8, No. 10 RV 362 Concerto / VPr; V1 V2 Va Vc Org B Major "La Caccia" ("The Hunt") parts
Op. 8, No. 11 RV 210 Concerto / VPr; V1 V2 Va Vc Org D Major RV 210a, B. Marcello Op. 1, No. 8 parts
Op. 8, No. 12 RV 178 Concerto / VPr; V1 V2 Va Vc Org C Major parts

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 which originally called for obbligato flutes seem to have originated during the early 1720s, perhaps reflecting opportunities that Vivaldi encountered in Rome, where he stayed intermittently between c. 1719 and 1724. Although the transverse flute was then little known in Italy, the availability of an excellent player is was essential for the execution of several of his works for it.

Opus 10 appear in 1729, in rough coincidence with Vivaldi's violin concertos Opp. 11 and 12. All three volumes were published in Amsterdam. Although published set was designed for a market oriented towards some kind of standardized, relatively neutral instrumentation, the origins of the individual works were heterogeneous. The indications suggested by the related concertos show on the lower half of the chart below do not include subtle differences of instrumental alternatives and/or pairings--for example, an independent oboe part vs. an oboe part duplicating a second violin, a separate cello part vs. an unspecified Basso, and so forth. One manuscript source for No. 3 is scored for recorder rather than violin.

The transverse flute and the recorder were both associated with a certain freedom of timbral composition. The so-called chamber concertos (RV 570, 90, and 101) for flute (or recorder), oboe, bassoon, violin, and bass can be understood to signify this sense of free play, rather than a subgenre cast in concrete. Although Vivaldi's chamber concertos had few analogues during Vivaldi's lifetime, they paved the way to a rich chamber repertory in the later eighteenth century.

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

The first three works are the best known ones of the collection. Their programmatic allusions are largely confirmed in associated manuscripts. Storms at sea and phantoms of the night (the images cultivated by the first two) were staples of opera staging at Venice's Teatro Sant'Angelo, the Venetian theater with which Vivaldi and his father were most consistently associated. Both played a prominent role in Venetian scene paintings contemporary with Vivaldi.

The representation of sleep in the fourth movement of Op 10, No. 2, is illustrative of a fascination with dreams and the supernatural that was probed cautiously on the stage because of the pervasive scrutiny of religious censors. However, the dramatization of darkness fed Sant'Angelo's penchant for grottoes and grotesque scenes. It is darkness that the bassoon invokes in the manuscript RV 501 (the loose analogue of No. 2), where the the key is Bb Major rather than G Minor.

Vivaldi's depictions of bird-calls (in Op. 10, No. 3 a bullfinch) were prevalent not only in his concertos but also in his operas, and in dozens of works by other composers of the time. Also elsewhere they often suggested the formal gardens that were so much promoted by the aristocracy, in Vivaldi's case they are more often a natural depiction of bucolic habitats consistent with the imagery of Arcadian shepherds than of programmed landscapes abroad.

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. It would have suited a virtuoso of considerable renoun.

The parts above 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.10 accompany the full score available as 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 0-486-42243-7.