VIVALDI | Concerto RV 212a in D major | Original manuscript
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- čas přidán 28. 07. 2024
- For solo violin, strings and basso continuo
Second version of concerto RV 212 ‘fatto per la Solennità della S. Lingua di S. Antonio in Padua’
I. Allegro (0:00)
II. Largo (7:03)
III. Allegro (9:57)
Composed: presumably 1712 (RV 212), revised c.1718-1720 (RV 212a)
Turin source: Giordano 29
Concordance: mvt 2 (Largo) = RV 22 mvt 3 (Andante)
Il Pomo d'oro, ‘Per Pisendel’
Dmitry Sinkovski, violino principale
Naïve OP 30538
Images provided by www.internetculturale.it - non-commercial use only. - Hudba
What beautiful handwriting Mr Vivaldi had ❤️
Not only that, but even today perfectly readable. Musical notation has undergone no change in 300 years while text is mostly very hard to read now.
This is one of my favourite concertos (certainly top ten) written by Vivaldi and one of the first ones I listened to in my childhood, soon after the "Quattro Stagioni", almost forty years ago. What a wonderful gift for my birthday today! Thank you!
Composed for the feast of the Holy Tongue of St. Anthony in Padua, 15 February 1712. There is little doubt that Vivaldi wrote it for himself and played the violin on that occasion, in the presence of his father.
The year and the occasion are known from an inscription in the hand of Johann Georg Pisendel on the manuscript that survives in parts in the Saxon State and University Library Dresden. It features additional wind parts (not by Vivaldi), two spare slow movements (one by Vivaldi), and heavy water damage from the bombing of Dresden in 1945. It is mainly from this source that the 1712 version (RV 212), today the best known, is drawn.
The Turin manuscript (RV 212a, heard here) is a revision of the original. Tuttis were shortened in various places, and one solo episode was omitted. The cadenza at the end of the first movement was turned into a solo with continuo; and the new score allows for another cadenza after that, but Vivaldi does not provide it. In the last movement, the original cadenza was retained, but also shortened.
Where the original had a Grave in recitative style, this has a Largo that is in all particulars a sonata movement, and is identical to the Andante of RV 22 (part of the so-called Manchester Sonatas). It strongly recalls some of the Opus 8 slow movements, and RV 212a as a whole is believed to date from the same period, e.g. 1718-1720.
The trail of letters in the margin, at 3:20 and onwards, reads: "don antonio vivaldi maestro di capela del sig.e prencipe".
Grande virtuosismo, W Vivaldi!!!
His father must have been quite proud!
10:11 those same descending fifths appear in the 3rd movement of RV 214
Intervalos maravilhosos no início; efeitos sonoros como o mestre gostava. Alguns harpejos lembram trecho do capricho "Il Labirinto" de Locatelli. No Largo estamos em plácidos campos. No Allegro voltam esses saltos (intervalos) incríveis. Viva Vivaldi!
This is an exceptional piece, but it also looks very tiring to play. Bravo to the soloist and Del Vivaldi!
Top 10, excellent
I suppose that von Uffenbach's interesting report might refer to cadenzas like those we can find in this concert or its twin (so to speak) "Grosso Mogul". Quoting some passages easily found on the web:
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I always think of this one in the last movement, where the violin reaches up to F#6, even higher (A6) in the 1712 version
Domanda a Riccardo Aramini..... Si può avere in lingua italiana,questa interessante .testimonianza? Da lungo tempo vivo a Francoforte, capisco poco l'inglese. Grazie!
Il facoltoso musicofilo tedesco J. F. A. von Uffenbach, dopo averlo ascoltato a Venezia, nel Teatro Sant’Angelo, il 4 febbraio 1715, così annotava nel suo diario:
« ...verso la fine, il Vivaldi eseguì un mirabile assolo con accompagnamento ("accompagnement solo"), seguito da una cadenza ("Phantasie") che mi lasciò veramente senza fiato. Una cosa simile non l’aveva mai suonata nessuno, né mai più alcuno la suonerà. Egli saliva con le dita fino a un pelo dal ponticello, tanto da non lasciar quasi più spazio per l'arco - e questo sulle quattro corde con imitazioni ("Fugen") e con velocità incredibili. Con ciò stupiva tutti, ma non posso dire di averne tratto godimento, perché non era così piacevole da udire quanto era abile nell’esecuzione».
@@DelVivaldi This is a good example of 'rule breaking' in Baroque technique. Once upon a time people thought the 'straws breadth from the bridge' comment was ignorant hyperbole. But it's in the Saint Anthony cadenza score. Vivaldi likely had an extra long fingerboard on his violin. I've seen it tackled on standard baroque setup with by fingering the highest notes without a fingerboard to press on, with squeaky results. Either way, even then, and treatises be damned, rules were meant to be broken.
0:04, 1:09-1:23, 4:21-6:48, 6:54
Grandiose merci beaucoup !
2:04, 5:37-6:48, 8:24, 10:33
Un grand merci d'avoir posté cette vidéo comme demandé ! C'est un concerto que je connais depuis longtemps et qui pourtant m'émerveille toujours autant : quel génie pour créer ce feu d'artifice musical à partir de ritournelles aussi simples. Je ne l'ai jamais malheureusement entendu en concert, mais je pense que peu de violonistes s'y aventurent (j'ai bien l'impression que la cadence finale est redoutable... à ce propos j'aime beaucoup ce qu'en fait Alana Youssefian (czcams.com/video/_V6HpGCmId0/video.html))... Continuez à nous faire redécouvrir la musique de Vivaldi avec le support des manuscrits et je termine en vous renouvelant mes remerciements d'avoir mis ce concerto en ligne.
D'accord avec vous pour Alana Youssefian, elle est merveilleuse dans cette oeuvre. Pour moi ce fut l'un des premiers concertos découverts après les Quatre Saisons, et il demeure dans une classe à part.
SU-BLI-ME !
It seems that some of the third movement is also used in RV 214's third movement.
where can i find this score? i have been looking for this on imslp and i found another version instead of this one:(
It's there, even though the quality is mediocre. Search for RV 212a not RV 212.
Mi spiace, ma devo correggere un errore precedente ( Vivaldi, non è di origine ligure) Vi porgo le mie scuse!
10:20
Eseguita con violino barocco o moderno?
I più grandi focosi violinisti " Vivaldi e Paganini. Paganini era ligure di Genova. Vivaldi lo è di origini. D.N,A regionale?
Si! Come no?
Alla fine siamo tutti genovesi.
No, mi scusi, nessun documento supporta le origini liguri di Vivaldi: il fatto che, nel XIII secolo, due navigatori genovesi si chiamassero Ugolino e Vadino (o Guido) Vivaldi non autorizza assolutamente a dedurre che Antonio Vivaldi fosse un loro discendente. Purtroppo la superficialità di alcuni musicologi diede adito, in passato, a questa congettura, che ancora oggi si trasforma, talvolta, in un dato di fatto nell'opinione pubblica. Cerchiamo di non confondere suggestive (ma infondate) ipotesi con la realtà documentale, grazie.
P. S.: sono ligure io stesso e mi piacerebbe essere "conterraneo" di Vivaldi.
Scusatemi l 'errore! Vivaldi e Paganini sono solo entrambi grandissimi virtuosi! L'unico legame che li accomuna!
I wonder why Hillary Hahn chose not to perform Vivaldi for a long time.
If it is wooden like her Bach then perhaps that is just as well?
@@DelVivaldi Surprised no TwoSet fans have murdered you. Though I suppose you can just ban those pests :)
@@TheOneAndOnlyZeno1889 No bans, except for bots; people who click on Vivaldi videos are unsurprisingly fine people on average.