Antonio Vivaldi
Violin Concerto in D major, Grosso Mogul
Year: 1710
Violin Concerto in D Major (Grosso Mogul) RV 208: I. Allegro | Augusta McKay Lodge · Les Petits Violons
Introduction: The strange title « Grosso Mogul » which appears on one of the manuscripts is that of Schwerin but in no way in the autograph kept in Turin refers to the most famous diamond of Vivaldi’s time. The jewel belonged to the Muslim Mughal emperor Shah Jahan who built the Taj Mahal in India. Very skillful at promoting his own works, Vivaldi is said to have borrowed the nickname attributed to « Grosso Mogul », thus taking advantage of the brilliance of the jewel for his work. The cadenza of the concerto was probably improvised by the soloist, in this case Vivaldi. The composer thus reserves the assurance of showing his crazy virtuosity. He does not deprive himself in the first movement, using all the technique of the time: double strings, modulated arpeggios, acrobatic chromatic figures. This piece plays on the agility of the soloist and the accompaniment. Here again, the only limits allowed are those of today's interpreters.
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 Antonio 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 in the indifference of Venice.
Lucien
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