A small inscription in the upper right corner of the first page reads: P[er] Sas[sonia], i.e. the Saxon court in Dresden. The work survives in a copy made by Giovanni Antonio Mauro, Vivaldi's brother-in-law and trusted music copyist. He worked closely with the composer for a period of over 20 years, faithfully reproducing his music. Dozens of Vivaldi works are in his hand, more than any other copyist and second only to Vivaldi himself in the whole surviving corpus of Vivaldi scores. In Mauro's handwriting, the long form of the F-clefs is indicative of a date before c. 1717. The presence of a Grave and the gigue of the finale also point to a relatively early date of origin, consistent with the first part of the 1710s. I. Allegro (0:00) II. Grave (3:42) III. Allegro (6:09) Composed: mid 1710s; before c. 1717 Turin source: Foà 32, ff. 361-368. L'Armonia e l'Inventione, ‘Concerti pour hautbois, basson et cordes’ Alfredo Bernardini, oboe Astrée Auvidis E 8537
S.A.S. is usually capitalized. Here we have the inscription "Ꝑ Sas:a" which is not an acronym but a standard abbreviation. Compare with the inscription on top of RV 576: "Ꝑ S.A.R. di Sas:a", that is Per Sua Altezza Reale di Sassonia. See ruclips.net/video/lL7AWeumsgs/видео.html
A small inscription in the upper right corner of the first page reads: P[er] Sas[sonia], i.e. the Saxon court in Dresden. The work survives in a copy made by Giovanni Antonio Mauro, Vivaldi's brother-in-law and trusted music copyist. He worked closely with the composer for a period of over 20 years, faithfully reproducing his music. Dozens of Vivaldi works are in his hand, more than any other copyist and second only to Vivaldi himself in the whole surviving corpus of Vivaldi scores.
In Mauro's handwriting, the long form of the F-clefs is indicative of a date before c. 1717. The presence of a Grave and the gigue of the finale also point to a relatively early date of origin, consistent with the first part of the 1710s.
I. Allegro (0:00)
II. Grave (3:42)
III. Allegro (6:09)
Composed: mid 1710s; before c. 1717
Turin source: Foà 32, ff. 361-368.
L'Armonia e l'Inventione, ‘Concerti pour hautbois, basson et cordes’
Alfredo Bernardini, oboe
Astrée Auvidis E 8537
Mauro sounds to have made Vivaldi’s life simpler - he was probably happy when the notation of clefs became smaller!
How could the contemporaries see this music as dated music!
It always sounds so fresh, especially coming from the likes of Vivaldi
Welcome back
Thanks!
Start a strong day with your music. Thank you.
Fa majeur est une tonalité assez rarement utilisée par Vivaldi ! Pourtant si belle
Vrai qu'il lui préfère souvent do majeur... mais il est absolument convaincant dans cette tonalité !
Please note in movement II "Violini suonano il basso senza Bassi". :D
Even when there are no basses... the bass continues, continously. (Anonymous)
Sly , witty , beautiful
Très bien, merci!
Wonderful! Thank you!
I am not sure that "per Sas" means "Sassonia", it is probably short for "Sua Altezza Serenissima"...nevertheless great concerto
S.A.S. is usually capitalized. Here we have the inscription "Ꝑ Sas:a" which is not an acronym but a standard abbreviation. Compare with the inscription on top of RV 576: "Ꝑ S.A.R. di Sas:a", that is Per Sua Altezza Reale di Sassonia. See ruclips.net/video/lL7AWeumsgs/видео.html