I agree but I cannot quite identify what that quaIity is. I suspect there is a vein of regret and melancholy. It is said he was a greater teacher and having had classes with girls and adult classes with young women perhaps he had the same experience in the Pieta.. Classes of girls has a piquant quality because their personality matures earlier than boys, although menarchy can play havoc with their personality when the female invades the Feminine. There is a piquancy in his music like no other. I find it in may works that when there is a lady soloist there is an insight and ingress of emotion. What ever inspired Mozart to insert that Scottish Air into the Iast movement of Piano Concerto no 9. I onIy know that I was most Moved by performances by Iady soIoist, and it was composed for a young woman who was bIind, aIways wondered if she was f she was an exiIe Scottish girI,
Amazing! This one along with RV 420 and, of course RV 531, are probably my favourite of his cello concerti! :D Thank you once more for another quality upload!!
This cello concerto is truly historic for the artistic quality and technique it demands (in a typically idiomatic Vivaldian way). Yet, there's a dearth of quality recordings of it out there, particularly on a period cello that is a four, not five string instrument. (Not to be harsh, but I do think much better recordings can be made of this piece than this one). I hope Coin records it in the last Naive disc and does so on a 4 string, but it seems likely he'll go 5. Many have argued that this concerto and others like it must have been written for a piccolo cello (5 string) because at the date of composition and first performance, thumb position had not been invented yet. But this is based on incredibly scant documentation of cello technique in that age. Many scholars and practitioners of 'authentic' Baroque performance of music lean too heavily on these rare islands of direct discussion of these matters from the era (such as treatises etc). They both give too much weight to these rare documentations (the squeaky wheel isn't always the one you should listen closely to) and ignore the 'in between the lines' evidence in front of us in the form of music manuscripts. In the case of this topic specifically, I've heard rumblings of some baroque virtuosi using something like thumb position from rare, vague and not particularly learned contemporary observations written down. If you look at Vandini's music (who taught cello at the Pieta for a period when Vivaldi was there) you see high positions and some sort of technique to execute it. The explanation that all his works that require anything above traditional 4th position must have been for a 5 string instrument with an E string ring pretty hollow. It seems much more likely that Vivaldi, Vandini etc had cultivated technique stretching the range beyond 4th position long before treatises etc documented thumb position. In general, I feel like the piccolo cello cart has been put before the horse a little by the early music community. The rareness of surviving piccolo/5-string cellos plus the extremely rare mention of it, and also the lack of music (not specifically idiomatic to the Bass viol) for bass bowed instruments that clearly demand a 5 string with certainty suggest the piccolo cello use was scattered, regional and rare. Given this, caution should be taken in assuming a 5-string being used or acting as though it was a commonplace option. Most virtuoso cello music from circa 1705-1735 lacks the range that one would expect with an E string available on the instrument it was written for, yet sometimes teases higher notes and phrases out than what is under plain old 4th position. The Pieta could have been one of these regional piccolo cello enclaves, but there is no evidence of it, and yet some pretty specific documentation about instruments used there does exist. 418's score indicates nothing unusual about the Violoncello being used. Two examples that indeed favor the use of piccolo cellos are Bach's 6th Suite in D (which musically makes sense only on a 5 string instrument) and the direct correspondence evidence involving Platti when he worked for Johann Philipp Franz von Schönborn. This makes it nearly certain that Platti wrote for a 5 string cello in some of his chamber works. Other than that, I think use of a 5 string in works like RV 418 is speculative and maybe not the most grounded type of speculation. 418 is one of Vivaldi's later cello concerti, but I've hade trouble narrowing down the age range. It could be 2nd half of the 1720's, approaching 1730, or even up to or past it a bit. Extremely impressive work. 413 (in G) pairs with the type of language the best, and is also an all time great cello concerto. The more modest (and playable) RV 403 (in D major) is datable to circa 1730. It mixes in some French idioms, while not trying to hide Italian pathos.
@@aurora_streamIf only Vivaldi went to Amsterdam instead of Vienna and published more of his works (if not all of them), then maybe Paganini would've known about him...
@@moltzer this is perhaps the most idiotic thing someone can say. Vivaldi died almost 40 years before Paganini was born. Bach never met Vivaldi, yet his music is littered with inspiration from Vivaldi. He even transcribed several of the Red Priest’s works. I highly doubt that Paganini never listened and looked at Vivaldi’s PLETHORA of Violin Concerti. I mean for god sakes Niccolò was born in the Republic of Genoa… in fucking Italy…
@@aurora_stream I'm talking about this specific concerto and the 24th caprice. Bach didn't transcribe it (this concerto) and after Vivaldi's death no one cared about him ever since (except Bach) for almost two centuries, so all I meant was that Paganini and all the other composers including Mozart and Beethoven would've known about Vivaldi (they knew about the Well-Tempered Clavier) because of remainders of published works, but they didn't because Vivaldi only published 12 sets of concerti (8 of which contain violin concerti).
Vivaldi might not have the complexity in the orchestration that bach has but he has the BEST melodies.
I've been listening to Vivaldi for over 10 years, and it gives me the chills every single time I listen. It's on a totally different level.
I agree but I cannot quite identify what that quaIity is. I suspect there is a vein of regret and melancholy. It is said he was a greater teacher and having had classes with girls and adult classes with young women perhaps he had the same experience in the Pieta.. Classes of girls has a piquant quality because their personality matures earlier than boys, although menarchy can play havoc with their personality when the female invades the Feminine. There is a piquancy in his music like no other. I find it in may works that when there is a lady soloist there is an insight and ingress of emotion. What ever inspired Mozart to insert that Scottish Air into the Iast movement of Piano Concerto no 9. I onIy know that I was most Moved by performances by Iady soIoist, and it was composed for a young woman who was bIind, aIways wondered if she was f she was an exiIe Scottish girI,
Extremely beautiful music. Every movement is a world.
Vivaldi la passione il vigore barocco
ΜΑΥΒΕ THE BEST CHANNEL IN RUclips....
Maybe! lol
Amazing! This one along with RV 420 and, of course RV 531, are probably my favourite of his cello concerti! :D Thank you once more for another quality upload!!
stunning
Magnificent
Splendid music with splendid execution.
This cello concerto is truly historic for the artistic quality and technique it demands (in a typically idiomatic Vivaldian way).
Yet, there's a dearth of quality recordings of it out there, particularly on a period cello that is a four, not five string instrument. (Not to be harsh, but I do think much better recordings can be made of this piece than this one). I hope Coin records it in the last Naive disc and does so on a 4 string, but it seems likely he'll go 5.
Many have argued that this concerto and others like it must have been written for a piccolo cello (5 string) because at the date of composition and first performance, thumb position had not been invented yet. But this is based on incredibly scant documentation of cello technique in that age. Many scholars and practitioners of 'authentic' Baroque performance of music lean too heavily on these rare islands of direct discussion of these matters from the era (such as treatises etc). They both give too much weight to these rare documentations (the squeaky wheel isn't always the one you should listen closely to) and ignore the 'in between the lines' evidence in front of us in the form of music manuscripts.
In the case of this topic specifically, I've heard rumblings of some baroque virtuosi using something like thumb position from rare, vague and not particularly learned contemporary observations written down. If you look at Vandini's music (who taught cello at the Pieta for a period when Vivaldi was there) you see high positions and some sort of technique to execute it. The explanation that all his works that require anything above traditional 4th position must have been for a 5 string instrument with an E string ring pretty hollow. It seems much more likely that Vivaldi, Vandini etc had cultivated technique stretching the range beyond 4th position long before treatises etc documented thumb position.
In general, I feel like the piccolo cello cart has been put before the horse a little by the early music community. The rareness of surviving piccolo/5-string cellos plus the extremely rare mention of it, and also the lack of music (not specifically idiomatic to the Bass viol) for bass bowed instruments that clearly demand a 5 string with certainty suggest the piccolo cello use was scattered, regional and rare. Given this, caution should be taken in assuming a 5-string being used or acting as though it was a commonplace option. Most virtuoso cello music from circa 1705-1735 lacks the range that one would expect with an E string available on the instrument it was written for, yet sometimes teases higher notes and phrases out than what is under plain old 4th position. The Pieta could have been one of these regional piccolo cello enclaves, but there is no evidence of it, and yet some pretty specific documentation about instruments used there does exist. 418's score indicates nothing unusual about the Violoncello being used.
Two examples that indeed favor the use of piccolo cellos are Bach's 6th Suite in D (which musically makes sense only on a 5 string instrument) and the direct correspondence evidence involving Platti when he worked for Johann Philipp Franz von Schönborn. This makes it nearly certain that Platti wrote for a 5 string cello in some of his chamber works. Other than that, I think use of a 5 string in works like RV 418 is speculative and maybe not the most grounded type of speculation. 418 is one of Vivaldi's later cello concerti, but I've hade trouble narrowing down the age range. It could be 2nd half of the 1720's, approaching 1730, or even up to or past it a bit. Extremely impressive work. 413 (in G) pairs with the type of language the best, and is also an all time great cello concerto. The more modest (and playable) RV 403 (in D major) is datable to circa 1730. It mixes in some French idioms, while not trying to hide Italian pathos.
too beautiful
💛
The beginning theme reminds me of the theme of N. Paganini's op. 1 no. 24.
Yeah) 😅
I wonder where Paganini got the inspiration 🧐
@@aurora_streamIf only Vivaldi went to Amsterdam instead of Vienna and published more of his works (if not all of them), then maybe Paganini would've known about him...
@@moltzer this is perhaps the most idiotic thing someone can say. Vivaldi died almost 40 years before Paganini was born. Bach never met Vivaldi, yet his music is littered with inspiration from Vivaldi. He even transcribed several of the Red Priest’s works. I highly doubt that Paganini never listened and looked at Vivaldi’s PLETHORA of Violin Concerti. I mean for god sakes Niccolò was born in the Republic of Genoa… in fucking Italy…
@@aurora_stream I'm talking about this specific concerto and the 24th caprice. Bach didn't transcribe it (this concerto) and after Vivaldi's death no one cared about him ever since (except Bach) for almost two centuries, so all I meant was that Paganini and all the other composers including Mozart and Beethoven would've known about Vivaldi (they knew about the Well-Tempered Clavier) because of remainders of published works, but they didn't because Vivaldi only published 12 sets of concerti (8 of which contain violin concerti).
Impetuoso contrasta com o belo; ora uma após outro, ora simultaneamente.
It sounds like Paganini was inspired by this piece
Paganini used the same first notes in his 24th capriccio