This concerto was once believed to be an early work, due to use of soprano clef, the strange 2nd violin/viola reading off the same line, the somber nature, and the seemingly old-fashioned harmonic colors and canons. In reality, it is likely a mature work from the 1720's. Talbot notes that the paper is Italian but not Venetian, and unique in Vivaldi manuscripts. This tells us almost certainly that this was written away from Venice (Talbot throws out the possibility of Rome and the tone of the work instinctively melds with this suggestion). It's an odd work. Vivaldi commonly used simplification of parts, such as putting the violins together to create a 3 part texture (and within that he often gleefully makes the music only 2 real parts). On rare occasion, Vivaldi has the violas double the bass, even for whole movements (concerto for 2 mandolins). However, having 2nd violins and violas in unison is a texture that is extremely rare, if not unique for Vivaldi. The writing is nostalgic and pensive, esp orchestrally. Possibly most odd, the 1st Violin part is in soprano clef. For this even Talbot seems to lack a theory. It is possible that it was written for an institution famous for choral church music, as an instrumental between masses, and that they made practice of using this clef. It is also possible that high range viols were considered for the orchestra, rather than violins, which might explain the clef and somewhat lower tessitura than normal in the high instruments. Talbot says the 3 part texture, with violas made redundant to the 2nd violins, suggests Roman origin, as they often didn't include a viola part in orchestral music. However, the violas are mentioned in this of the score, where they could have easily not been if it were simply written for a Roman orchestra without violas. I believe Leonardo Leo's cello concerti are written without a viola line. They have a much more hollow sound than 401 because Vivaldi truly wrote the 2nd violin/viola line as a hybrid of the range and functions of both, so the part spacing, harmony and tone feel amazingly rich for only 3 parts. The writing in tutti and solo is quite beautiful and advanced (again not an early work) but the solos give a glimpse into the modern mind of Vivaldi while the tuttis more fully play their 'antique' role with thick canons, mournful dissonance and limited range. Another slightly odd feature is the ritornello exchanges in the slow mvt, rather than only tutti bookends. This would likely become tiresome if Vivaldi did it all the time, but every now and again, and in the case of this piece, it works wonderfully. It remains in c minor. This seems like a work written for an unusual occasion in an usual place. It is clearly a 1720's work by Vivaldi, despite all the odd aspects (some even unseen elsewhere in Vivaldi's whole oeuvre). The cello is perfectly suited for its mood and seriousness, and the cello part is idiomatic to that instrument with no unusual deviations to go along with the strange stuff in the orchestral parts.
I have always adored this piece for its emotion. The first movement is so dark and philosophical in nature, the second so tranquil with the solo lines but taunting with the tuttis. The third movement has a masked intensity behind it, achieved with a moderate tempo. Great choice (as usual)!
The melody of Vivaldi is fantastic very elaborated. Bach stays stable on counterpoint. Vivaldi is very free from counterpoint where his themes fly high on the blue sky of sentiments...great Vivaldi.
On this recording Ensemble Explorations plays one instrument to a part. It works well here, obviously. However, since the viola part is identical with that of the second violins, there are no violas playing here, it would seem.
Considero uma perspicácia de Vivaldi escrever partes de solo explorando algumas possibilades de execução no cello. Embora as partes não possuam longa elaboração são suficientemente lentas e transitam bem nos registros. O caráter em geral é reflexivo.
This concerto was once believed to be an early work, due to use of soprano clef, the strange 2nd violin/viola reading off the same line, the somber nature, and the seemingly old-fashioned harmonic colors and canons. In reality, it is likely a mature work from the 1720's. Talbot notes that the paper is Italian but not Venetian, and unique in Vivaldi manuscripts. This tells us almost certainly that this was written away from Venice (Talbot throws out the possibility of Rome and the tone of the work instinctively melds with this suggestion).
It's an odd work. Vivaldi commonly used simplification of parts, such as putting the violins together to create a 3 part texture (and within that he often gleefully makes the music only 2 real parts). On rare occasion, Vivaldi has the violas double the bass, even for whole movements (concerto for 2 mandolins). However, having 2nd violins and violas in unison is a texture that is extremely rare, if not unique for Vivaldi. The writing is nostalgic and pensive, esp orchestrally. Possibly most odd, the 1st Violin part is in soprano clef. For this even Talbot seems to lack a theory. It is possible that it was written for an institution famous for choral church music, as an instrumental between masses, and that they made practice of using this clef. It is also possible that high range viols were considered for the orchestra, rather than violins, which might explain the clef and somewhat lower tessitura than normal in the high instruments. Talbot says the 3 part texture, with violas made redundant to the 2nd violins, suggests Roman origin, as they often didn't include a viola part in orchestral music. However, the violas are mentioned in this of the score, where they could have easily not been if it were simply written for a Roman orchestra without violas. I believe Leonardo Leo's cello concerti are written without a viola line. They have a much more hollow sound than 401 because Vivaldi truly wrote the 2nd violin/viola line as a hybrid of the range and functions of both, so the part spacing, harmony and tone feel amazingly rich for only 3 parts. The writing in tutti and solo is quite beautiful and advanced (again not an early work) but the solos give a glimpse into the modern mind of Vivaldi while the tuttis more fully play their 'antique' role with thick canons, mournful dissonance and limited range. Another slightly odd feature is the ritornello exchanges in the slow mvt, rather than only tutti bookends. This would likely become tiresome if Vivaldi did it all the time, but every now and again, and in the case of this piece, it works wonderfully. It remains in c minor. This seems like a work written for an unusual occasion in an usual place. It is clearly a 1720's work by Vivaldi, despite all the odd aspects (some even unseen elsewhere in Vivaldi's whole oeuvre). The cello is perfectly suited for its mood and seriousness, and the cello part is idiomatic to that instrument with no unusual deviations to go along with the strange stuff in the orchestral parts.
SI strano , ma emozionante come pochi altri !
Великий. Уникальнейший. Композитор от Бога.
I have always adored this piece for its emotion. The first movement is so dark and philosophical in nature, the second so tranquil with the solo lines but taunting with the tuttis. The third movement has a masked intensity behind it, achieved with a moderate tempo. Great choice (as usual)!
You wrote it better than I would have!
Jayden Fung love your comment and is de Vivaldi I like the most
The melody of Vivaldi is fantastic very elaborated. Bach stays stable on counterpoint. Vivaldi is very free from counterpoint where his themes fly high on the blue sky of sentiments...great Vivaldi.
Thanks!❤❤❤
On this recording Ensemble Explorations plays one instrument to a part. It works well here, obviously. However, since the viola part is identical with that of the second violins, there are no violas playing here, it would seem.
I love this recording!
Bravo!! Lui ha una voce!!
Considero uma perspicácia de Vivaldi escrever partes de solo explorando algumas possibilades de execução no cello. Embora as partes não possuam longa elaboração são suficientemente lentas e transitam bem nos registros. O caráter em geral é reflexivo.
Very unique concerto for Vivaldi, represented by the treatment of viola and soprano clef.
Meravigliosa interpretazione!🌷
Vivaldi è il migliore🔝
Thank you so much! I haven't logged in these days, so I did't see it until just now.
Five Stars 🌟🌟🌟🌟🌟
One of Vivaldi's greatest works!
Delightful piece!
Very lovely❤
Any information on the strange choice he made? Soprano clef, I mean-quite rare for Vivaldi, if not for most of his contemporaries.
Muy bella la melodía del allegro
Gran veneciano
Thanks so much!
I suggest violin concerto RV 245. Its solo parts are a bit in l'estro armonico style.
For that one the only manuscript source is a copy preserved in Dresden.
@@DelVivaldi You are so knowledgeable!