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Concerto in a minor vivaldi11/23/2023 Vaughan Williams, Ralph: Symphony No 5 in D (1) - Atlanta SO/Robert Spano (TELARC CD 80676) Quilter, Roger: Now sleeps the crimson petal - Julien Van Mellaerts (bar), James Baillieu (pno) (Champs Hill CHRCD164)ĭebussy, Claude: Pour le Piano - John Chen (piano) (ABC 4766834)īloch, Ernest: Schelomo - Steven Isserlis (cello), German SO, Berlin/Hugh Wolff (BIS SACD 1992)ĭuarte, John W.: Variations on a Catalan folksong - András Csáki (gtr) (Naxos 8.57263) Sibelius, Jean: King Christian II, Suite (3) - New Zealand SO/Pietari Inkinen (Naxos 8.570068) Massonneau, Louis: Oboe Quartet in F - Paul Goodwin (ob), Terzetto (HARMONIA MUNDI HMU 90 7220)īerlioz, Hector: Rêverie & Caprice - Chantal Juillet (vln), Montreal SO (Decca 458 143) Liszt, Franz: Fantasy on Themes from Wagner's Rienzi - Terence Dennis (pno) (ODE CD MANU 2038)ĭvořák, Antonín: Serenade in E for strings Op 22 (3) - I Musici de Montréal/Yuli Turovsky (Chandos CHAN 9484)įranck, César: Symphony in D minor Op 48 (2) - Champs-Elysées Orch/Philippe Herreweghe (Harmonia Mundi HMC 90 1771) Handel, George Frideric: Alexander's Feast - Overture - English Baroque Soloists/John Eliot Gardiner (Philips 432 193) Thematically, rhythmically and dynamically, the last movement is a pure Capriccio, a form typical for finales. Three violins and a viola accompany the lyrical rhetoric of the solo, and the second violins (long held notes over the solo part) give a soft glow to the whole movement. What follows, in Alfred Einstein's view, is "a tender Intermezzo, raised to the regions of a more spiritual passion. One may note, too, that the solo violin refuses to play the theme as we hear it in tutti passages, and that concertino passages are nudging structure toward the development-group principle. The first movement is a vivid example of the ritornello technique he perfected - repeating a theme between flights of decoration and elaboration, looking forward to the rondo. This concerto (even if Bach passed on it in favor of others to arrange, and Stravinsky sneered that Vivaldi wrote the same concerto 500 times) is a choice specimen of his gift for sheer invention. As with Bach and other Baroque luminaries, we know that music was lost but how much will never be known. Even then, beginning with L'estro armonico, Vivaldi permitted the publication of only 86 concertos in his lifetime out of hundreds discovered since 1927. On the side, and not without double-dealing, he did a thriving business in manuscript copies - cheaper, quicker, and cleaner to produce than printing, until Amsterdam publishers achieved a technical breakthrough ca. Concerts at the Pietà produced significant endowments as well as ticket revenue, and Vivaldi the composer/violinist remained box-office for years. Venice was no longer a mercantile and maritime hub by the seventeenth century it had become what it is today - a tourist attraction, celebrated for the arts. Composing and performing were his chief occupations. He well may have been the Paganini of his age, minus the diablerie that nineteenth-century audiences imputed to artists with larger-than-life talent.Īt the Pio Ospedale della Pietà, one of four music-school orphanages in Venice for girls, Vivaldi taught music and conducted a chorus irregularly between 17, but never full time. L'estro armonico had widespread impact on Vivaldi's audiences as well as colleagues, yet it is not thought to represent his solo virtuosity. 8 collection, The Wedding of Harmony and Invention, published 14 years later. The original scoring was for solo violin, small string orchestra, and continuo.ĭuring the composer's largely mysterious lifetime - he left no correspondence, and few descriptions of him survive - the popularity of L'estro armonico (Harmonic Fire or Inspiration) was rivaled only by The Four Seasons, from his Op. But it was published in 1711 as the sixth in a set of 12 for one or more solo string instruments, with the collective title L'estro armonico, Op. When this Concerto in A minor was written no one knows.
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