VIVALDI | Concerto RV 257 in E♭ major | Original manuscript
Vložit
- čas přidán 28. 07. 2024
- For solo violin, strings and basso continuo
I. Andante molto e quasi allegro (0:00)
II. - (4:41)
III. Allegro (7:23)
Composed: after 1720/1724, presumably 1730s or later
Turin source: Giordano 30
The second-to-last page of the manuscript is an inserted folio that gives an ornamented version of the last solo (starting from the marking ‘O’). This sheet also bears a few Vivaldi doodles (seen at the beginning of the video).
The Ryom catalogue and the present recording both list the third movement as a Presto but it is most definitely ‘Allegro’ in the manuscript.
Accademia Bizantina, ‘Concerti per violino VII 'Per il castello'’
Alessandro Tampieri, violino solo
Ottavio Dantone, direzione
Naïve OP7078
Images provided by www.internetculturale.it - non-commercial use only. - Hudba
This is exceptionally beautiful. No one else but Vivaldi could have written this.
The 32nd (then 16th) notes at the beginning with the long notes and at 1:09 by the 1st violins, along with the gallant/rococo style at 0:53 is basically a transition to the Classical age. I was reading about how CPE/JC Bach (whom were musical geniuses) are considered to be the artists who transitioned us to the Classical period. Something needs to be said for Vivaldi. It’s tough, because even within 2-3 minutes of the 1 allegro movement Vivaldi keeps some of his typical, original motifs such as ascending chromatics (0:19 - only two passages in the sequence as opposed to four as was typical in his earlier days,) descending/fifth sequences (0:29, 2:12, 2:23 - note the staccato bow style and only twice on that one then a brief cadence to another sequence in the solo) and fast, Baroque style segues, which were known to have inspired Bach (2:32, 12 ascending changes on the D string, 6 for the E,) which is fantastic and pleasurable for those who have come to adore his music and personal uniqueness but held him back in real life (the masses of Venice whose tastes were evolving rapidly, which is why he stayed for a short time after in Prague and moved to Vienna) and in today’s classical world.
I love vivaldi's music...I could listen to it all day long... From 0.32 is divine hahaha
Brilliant concerto
2:32 absolutely crazy.
v̶i̶v̶a̶l̶d̶i̶ vivaldi v̶i̶v̶a̶l̶d̶i̶ vivaldi =)
love your channel
Wunderbar
Textura maravilhosa! Vivaldi primou pela sonoridade com belos efeitos, ondulações, e solo que em alguns momentos nos lembram de concertos posteriores ( de fins do século XVIII). O lento apresenta resquícios de As Quatro Estações.
I wonder why Vivaldi crossed out so many passages. They seem all right to me.
This Concerto is one of the purest forms of 'galant' Vivaldi, and thus a late work. Even so, the elegant opening theme, almost more classical than Classicism, eventually gives way to absolute fury at 2:30. This work is notable for its complex solo accompaniment schemes that somehow don't cloud the music whatsoever. Overall, this work could fit right into the pre-classical wave that was slowly washing over Europe, but Vivaldi enlivens this often too easy going style with an interest and emotional authenticity few were able (or willing) to manage.
Excellent!
Vivaldi is the greatest violin virtuoso in Italy. Period ❤️👍🙏. Thank you for sharing😍💗♥️
I truly wish that these unknown pieces were his most famous.
'Before Paganini'
Vivaldisimo!!!
Que bonito 😊 vivaldi escribió mucho su apellido.
Wunderbar ❤Schön 😊
its good music
Outstanding!
Thanks for another fascinating concerto! The stray "Vivaldi" signatures in the first frame are intriguing....the very specific bowing/articulation directions imply, to me, Vivaldi may not have been on hand to coach the performer, whether a student or customer.
What does it mean?
There appears to be a correlation between the relative abundance of directions (and also the more specific tempo markings such as "andante molto e quasi allegro") and what seem to be (stylistically) late compositions.
@@DelVivaldi I agree:
"(stylistically) late compositions"
I thought - and I may be mistaken - that poor Vivaldi composed these late pieces mainly to be sold for his upkeep. Might explain the completeness of the written instructions.
Top
🥰I cannot thank you enough for this. You really made my day. I've searched for the score since I first heard it in the Carmignola/Venice recording.
How did you get the music? Do you know if there is any legal issue if I write it down from the video?👀
No issues at all! This is public domain. You're welcome.
@@DelVivaldi ❤🎵again, cannot thank you enough😁 Best wishes
Simon
It reminds me Mozart.
It also reminds of Mozart!
Vivaldivivaldivivaldivivaldivivaldivivaldivivaldi
Anyways what is a Folio?
An individual sheet of paper.
@@DelVivaldi ah thanks for the answer
Is the same person putting one dislike on every video? Shame on them
Yes. I suspect this person of browsing through Vivaldi videos and downvoting every non I Musici performance.
@@DelVivaldi hmm.
I don't personally think I Musici are the best recordings we have now. I also have their version of Albinoni Opus 10, which is a bit muffled.
@@Ed_UKation I was sort of joking, but you know some people are vehemently opposed to period performance practice. It's fine because I have the same opinion about the kind of playing they evidently prefer. Without the hate.
@@DelVivaldi I personally prefer modern instruments and modern interpretation, but I do not go around downvoting period performances. I like what you are doing. I believe your videos are of Historical Significance!
@@fuadjada4155 Thank you.
It stands to reason that listeners who were "brought up" with modern interpretations tend be partial to that aesthetic, and even more to the interpretations of specific works which they encountered at the time of their release. Music has a special significance in the time and place that it exists.
However I would be interested to know if you know of modern interpreters that are currently active in this repertoire whom you find of special interest. I am not too knowledgeable about that. I know mostly of orchestras who have guest conductors specialized in the Baroque, but other than that, and so far as I know, not many orchestras venture far outside the Seasons nowadays, if at all.
The manuscrpt looks like its instructing the violas to play semi-demi-quavers (32nds) from the start, but i can only hear semiquavers. Or its my ears!
There is a inscription above the notes: "Write semiquavers in place of demisemiquavers." So it is a change of mind.
@@DelVivaldi ah thank you!
8:03-8:34, 9:32
0