![]() Letters preceding the lines of each sonnet can be found in the scores at the corresponding passages, along with the appropriate line of text and, often, further descriptive subtitles. Each work was accompanied by a sonnet of unknown authorship (probably Vivaldi) which served as a program. Prior to publication, they were frequently performed at the Italian court of Count Morzin, Prince of Hohenelbe, for whom they were presumably written. ![]() The concerti were published in 1725 as the first four works of Opus 8. They are, in fact, one of the earliest attempts to compose music of this type. In the case of the four violin concerti known collectively as The Seasons, there was a conscious attempt to write programmatic works. Rarely are the titles meant to be programmatic, and there is evidence that more than a few of them were nothing more than jests. ![]() Vivaldi showed a predilection for using descriptive titles. Considering Vivaldi’s training, it should not be surprising that the vast majority of the solo concerti (220) were written for the violin. During his forty year tenure, he wrote over 450 concerti. Weekly concerts featured either the most outstanding students or Vivaldi himself performing concerti written for the occasion. Mark’s Cathedral as early as the age of ten.Īccording to reports by contemporary reviewers, the conservatory orchestra under Vivaldi’s direction maintained very high standards. Additionally, he had established a reputation as an outstanding violinist, having substituted for his father in the orchestra at St. Vivaldi’s interest in concerto writing was to a large degree brought about by his employment as the “conservatoire director” at the Ospedale della Piera, a home for orphaned and illegitimate girls which specialized in the teaching of music. He and Scarlatti were to be the last important Italian composers until Rossini and Verdi. Within the works of Vivaldi, we see a perfection of the 17th century Italian concerto and opera forms. Like Bach, his energy was primarily directed toward perfecting existing forms rather than creating new ones. Of the many composers who helped to bring the Italian Baroque style to its zenith at the beginning of the 18th century, Antonio Vivaldi stands out as perhaps the most creative. 8, RV 293, “L'autunno” (Autumn)Ĭoncerto No. 8, RV 315, “L'estate” (Summer)Ĭoncerto No. 8, RV 269, “La primavera” (Spring)Ĭoncerto No.
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