Antonio Vivaldi
Concerto in do maggiore per ottavino (flautino), archi e basso continuo, RV 443
Year: 1720-24
Flautino Concerto in C major, RV 443 - Arr. in G major for Recorder: III. Allegro molto
Introduction:
The Concerto in C major for piccolo, strings and continuous bass, RV 443, attests to how much Vivaldi considered this small instrument of a dignity equal to that of a flute, if not even that of a violin. The short introductory phrase of the Allegro immediately initiates difficult flourishes that continuously enrich the musical fabric. Even in the second movement Largo, the virtuosic passages of the soloist continue to dominate the musical pace. It is very interesting to then listen to a large modulating section during which the solo instrument has ample space to exploit all its expressive abilities, beyond any imaginable limit. In the rapidity of the last movement Allegro molto, the brilliance of the attitudes of this work is enhanced, increasingly inclined to favor the virtuosity of the soloist, to whom even the orchestral writing, considerably simplified, grants maximum evidence to the insistent range of clever effects.
Antonio Vivaldi (1678-1741)
Antonio Lucio Vivaldi was a violinist, composer and priest of the Catholic Church. Vivaldi was one of the most famous and admired violin virtuosos of his time. He is also recognized as one of the most important composers of the Baroque period, as the main initiator of the concerto for soloist a genre derived from the concerto grosso. His influence, in Italy as throughout Europe, has been considerable, and can be measured by the fact that Johann Sebastian Bach adapted and transcribed more works by Vivaldi than any other musician. Born in Venice on March 4, 1678 the virtuoso suffered from a chronic respiratory illness probably asthma. He grew up on the margins of society, despite the fact that his father was an eminent violinist in the orchestra of Saint Mark's Basilica. It is almost certain that he was its first teacher, using his own contacts in the Venetian musical world to obtain lessons from some of the best musicians in the city. From his adolescence, Antonio Vivaldi prepared for the priesthood, one of the few career options available to him. At the same time, the young Vivaldi continued his studies of theology and entered the orders at an early age. His red hair and his sacred role earned him the nickname « il Prete rosso » the Redhead Priest, which suggests a colorful personality and lively temperament. Vivaldi joined the Ospedale della Pietà founded in 1346 which was an institution for orphaned or abandoned girls. The gifted pupils for music were selected and trained to play in the school choir and orchestra. By Vivaldi's time, their demonstrations had become famous throughout Europe. Accounts suggest that he was motivated more by music than by faith. His illness, however, did not seem to affect his activities as a composer, teacher and performer, which were prodigious at the dawn of his twenties.
The musical representations at the Ospedale della Pietà were lucrative for the institution. Vivaldi's brilliant compositions allowed his students to shine and brought greater notoriety to the school. In exchange for his talents, Vivaldi benefited a financial emanates which allowed him to write some of the most innovative Baroque compositions. In 1711, he published his first series of concertos for violin and string orchestra, L'estro armonico. Favoring instrumental music, religious and lyrical music, but also sonatas and then opera pieces. In 1718, Vivaldi took temporary leave from the institute to take up the post of musical director in Mantua, then under the control of Habsburg Austria. His stay in the city opened the doors to the German-speaking world for him, notably at the court of Count of Bohemia Wenzel von Morzin who appointed him music master. Among the works Vivaldi presented to count Morzin was a quartet of concertos with the gripping title: Le Quattro Stagioni (The Four Seasons). When he published this innovative work in 1725, Vivaldi included poems that accompanied each concerto. The narration of the concertos is enhanced by verses that highlight what Vivaldi's music is trying to evoke. In the 1730s, Vivaldi was at his apogee, but a decade later dark clouds began to obscure his future. Musical trends and tastes evolved and work became scarcer. His exuberant representations had accumulated debts as his career began to run out of steam. His creditors were quick to overwhelm him. Vivaldi's music was still performed at the Ospedale della Pietà but his reputation was declining. In 1740, he traveled to Vienna hoping to gain the patronage of Emperor Charles VI, but this one dies. The timing couldn't have been worse for Vivaldi. Cornered, poor and ill, the composer died on July 28, 1741 and was buried in an anonymous grave.
Lucien
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