Ogni volta che ascolto questo concerto non posso non immaginare, nel primo tempo, una Venezia immersa nella nebbia, una persona mascherata con un ampio mantello che si muove per le calli. Una bautta frettolosa sche sparisce nel nulla. Davvero un'immagine che ormai mi si è stampata nella mente e riaffiora ogni volta che comincia la musica. Il secondo movimento, invece, sognante e dolcissimo, mi suggerisce una tranquilla serata davanti al camino, con la neve che scende al di là della finestra.
No Larghetto lembrei um cena do filme "Pi":( noite, brisa suave, morna, o barco flutuando quase imóvel sob o reflexo das estrelas na água...como a navegar no céu.)
You mean that the opening choral line of St. Matthew Passion resembles the sequence at 0:18. Bach borrowed a TON from Vivaldi and found his compositions to be brilliant enough to either imitate or borrow from
I first heard this concerto in 1978! Del Vivaldi is just amazing. Do you know what what looks like Bass means in the bassoon part right at the the beginning and then again at 10:19 Is it directing the bassoonist to play along with the bass part or something else
@@DelVivaldi Thank you. We are all in your debt. Would you be interested in reading a Sherlock Holmes story where the Baker Street sleuth helps Alberto Gentili (actually the star of the story) retrieve Vivaldi's Genoese manuscripts and uncovers Vivaldi's role in the writing of the Brandenburg concertos.
Looks like on the second page, Vivaldi mistakenly mixes up the staves and puts the viola where the bassoon should be, and the second violin where the viola should be. Yes, no?
You are right. It is the first physical page, second system: hence, second image in this vid at 0:27. Frequent error; and it is because Vivaldi is too much used to his standard five-staff layout: 1 Vl Principale, 2 Primi, 3 Secondi, 4 Violette, 5 Basso. That is why he automatically goes to the third staff for the second violins, fourth for the violas. He usually corrects this error by adding part designations at the start of the system but did not do so here. EDIT: I have just noticed other clues that point to a more complete explanation. In the first system, 3rd staff was originally a G-clef, subsequently erased and replaced with a C-clef; 4th staff was originally a C-clef, erased and replaced with an F-clef. Thus, in its original state, the score *was* in the standard layout described above: a concerto scored for Violino principale. This might have been a simple error, or it might be the sign of an instrument substitution early in the process of composition (from a treble instrument to a bass instrument, as suspected in the case of RV 398, 419 and 424 for cello, and RV 475 for bassoon). On the whole, the evidence here suggests that the work was intended for bassoon initially but that Vivaldi made two errors consecutively (out of habit) first with the clefs, then with the staves.
Cette écriture que vous voyez est celle de Vivaldi. Elle est identifiable par les lettres signées de sa main, sa signature dans les registres. Et sur les manuscrits musicaux, il signe "Del Vivaldi" et utilise parfois un monogramme, celui que j'ai en médaillon. Ce manuscrit est entièrement autographe, les notes aussi sont de sa main. Il s'agit ici de son écriture au net. Sur les brouillons, elle est un peu différente, mais toujours aisément identifiable.
Reposted in HD quality: czcams.com/video/JaIALBbG9R0/video.html
Le larghetto me fait penser aux rayons dorés et mourants d’une fin d’après-midi paisible.
Vivaldi's bassoon concertos are a treasure! Anzolini is brilliant - phrasing tells a specific story ! More bassoon concertos from Del Vivaldi, please!
Ogni volta che ascolto questo concerto non posso non immaginare, nel primo tempo, una Venezia immersa nella nebbia, una persona mascherata con un ampio mantello che si muove per le calli. Una bautta frettolosa sche sparisce nel nulla. Davvero un'immagine che ormai mi si è stampata nella mente e riaffiora ogni volta che comincia la musica. Il secondo movimento, invece, sognante e dolcissimo, mi suggerisce una tranquilla serata davanti al camino, con la neve che scende al di là della finestra.
No Larghetto lembrei um cena do filme "Pi":( noite, brisa suave, morna, o barco flutuando quase imóvel sob o reflexo das estrelas na água...como a navegar no céu.)
That first movement is really awesome!
I seriously doubt they were really mere humans like us: Vivaldi & J S Bach were magnificent archangels come down as gifts.
LOVE THE CONTINUO ORGAN
4:40 Larghetto...................Tanta belleza me conmueve. Maravilla !!!!
VIVALDI.., BENEDETTO IL SUO NOME NEI SECOLI... 💛💘😇🏆👑🧡❤🥰🎶🧡🎵🧡🎷👑🎷🌹🎷🌹🎷🌹🎷🌹
Ho vissuto l' avventura di provare e fare qualche nota con questo fagotto.
Molto artistico
Bravissimo.!
Divine!!
Avanti Sergio! Molto fantastico! 🇮🇹🇮🇹🇮🇹
I LOVE this concerto! This channel is a treasure! Thank you so much for sharing! You make my days!!
18/10/21.., vivaldi.., vivaldi.., vivaldi..., i 💘 VIVALDI.....
Un petit bijou musical
Unlike many versions I've heard, this one is the correct tempo. Excellent interpretation.
E bravo Azzolini! Il miglior fagottista italiano... lo adoro
Thanks!
il BASSON di VIVALDI SONO BENEDETTI........ 👑🏆😇💘👑🏆😇💘💛
I am certain that the second 0:20 part resembles the opening chorus of Bach's St. Matthew Passion (BWV 244-1: Koomt, ich töchter).
You mean that the opening choral line of St. Matthew Passion resembles the sequence at 0:18. Bach borrowed a TON from Vivaldi and found his compositions to be brilliant enough to either imitate or borrow from
It's a long time since I could play this on the bassoon sadly. Shame I gave it up.
I first heard this concerto in 1978! Del Vivaldi is just amazing.
Do you know what what looks like Bass means in the bassoon part right at the the beginning and then again at 10:19
Is it directing the bassoonist to play along with the bass part or something else
Yes, play with the bass. Often just B.
@@DelVivaldi Thank you. We are all in your debt.
Would you be interested in reading a Sherlock Holmes story where the Baker Street sleuth helps Alberto Gentili (actually the star of the story) retrieve Vivaldi's Genoese manuscripts and uncovers Vivaldi's role in the writing of the Brandenburg concertos.
Remarkable that musical notation is perfectly readable now after 300 years. Try reading other manuscript this will be difficult.
Looks like on the second page, Vivaldi mistakenly mixes up the staves and puts the viola where the bassoon should be, and the second violin where the viola should be. Yes, no?
You are right. It is the first physical page, second system: hence, second image in this vid at 0:27. Frequent error; and it is because Vivaldi is too much used to his standard five-staff layout: 1 Vl Principale, 2 Primi, 3 Secondi, 4 Violette, 5 Basso. That is why he automatically goes to the third staff for the second violins, fourth for the violas. He usually corrects this error by adding part designations at the start of the system but did not do so here.
EDIT: I have just noticed other clues that point to a more complete explanation. In the first system, 3rd staff was originally a G-clef, subsequently erased and replaced with a C-clef; 4th staff was originally a C-clef, erased and replaced with an F-clef. Thus, in its original state, the score *was* in the standard layout described above: a concerto scored for Violino principale. This might have been a simple error, or it might be the sign of an instrument substitution early in the process of composition (from a treble instrument to a bass instrument, as suspected in the case of RV 398, 419 and 424 for cello, and RV 475 for bassoon). On the whole, the evidence here suggests that the work was intended for bassoon initially but that Vivaldi made two errors consecutively (out of habit) first with the clefs, then with the staves.
Sait-on avec certitude s'il s'agit de l'écriture de Vivaldi lui même ou d'un copiste?
Cette écriture que vous voyez est celle de Vivaldi. Elle est identifiable par les lettres signées de sa main, sa signature dans les registres. Et sur les manuscrits musicaux, il signe "Del Vivaldi" et utilise parfois un monogramme, celui que j'ai en médaillon. Ce manuscrit est entièrement autographe, les notes aussi sont de sa main. Il s'agit ici de son écriture au net. Sur les brouillons, elle est un peu différente, mais toujours aisément identifiable.
1:56