VIVALDI | Grosso Mogul | Concerto RV 208 in D major | Original manuscript
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- Опубликовано: 17 июл 2024
- For solo violin, strings and basso continuo
I. Allegro (0:00)
II. Grave Recitativo (5:41)
III. Allegro (8:22)
Composed: c.1710, not later than 1717
Turin source: Giordano 29
Concordance: 2:52* = Op. 8 no. 11, mvt 1 (second version)
*Here the recording follows the non autograph sources and not the Turin manuscript.
For detailed description, see comments.
La Serenissima, ‘A Tale of Two Seasons’
Adrian Chandler, violino solo e direzione
Avie AV2287
www.laserenissima.co.uk
Images provided by www.internetculturale.it - non-commercial use only. 
Видеоклипы
Five Stars 🌟🌟🌟🌟🌟
I am amazed by how well Del Vivaldi is informed! To encourage creation of more videos, let's do more views!
One of my favourites by Vivaldi. It is earlier than I thought. Always seem to love the early ones!
One of the better-known concertos from the 1710s, when the Vivaldian concerto reached the form that was to be so widely imitated. There are some similarities with the grand concerto RV 212 in D major ‘per la Solennità della S. Lingua di S. Antonio’ (probably from 1712), down to the two elaborate cadenzas.
The slow movement Grave Recitativo, presumably meant to be performed in a free style of delivery akin to that of a recitative, is however unusual in Vivaldi’s concerto production; one other instance is perhaps the Grave of RV 562 (Dresden version).
‘Grosso Mogul’ exists in three manuscripts and appears to have been widely circulated shortly after it was composed. It is found 1) in the Turin manuscripts, Vivaldi’s personal archive. Though not a composition manuscript by the looks of it, but rather a fair copy (though this can be deceptive), it contains some deletions carried through in the other sources, and so would seem to antedate those.
As the video shows, it does not contains the two cadenzas, but only the indication ‘Qui si ferma a piaci[men]to’ (‘stop here ad libitum’). These cadenzas are found in the two non-autograph sources (both in parts) in slightly different versions: 2) in Cividale del Friuli, Italy, and 3) in Schwerin, Germany.
The title ‘Grosso Mogul’ comes from the German manuscript. Michael Talbot has speculated that this refers to a specific context of perfomance (as an intermezzo, possibly the drama ‘Il gran Mogol’ by Domenico Lalli premiered at Naples in 1713).
Another version, with a different slow movement, and without the cadenzas, was published in Vivaldi’s Opus 7 (as no. 11), c.1716/17, perhaps without Vivaldi’s supervision.
It is unfortunate that this important work cannot be more precisely dated and contextualized. If the Turin manuscript is indeed the first version, and not merely a later reworking, and if the dating of c.1710 by Ryom is to be believed, this would make it one of the earliest pieces to have survived in Vivaldi’s personal archive.
‘Grosso Mogul’ appears in J.S. Bach’s transcriptions of Italianate concertos (as BWV 594), generally dated to c.1713/14. Bach’s transcription is not of Op. 7 no. 11 (as sometimes erroneously reported), as it contains both cadenzas, as well as the ‘Grave Recitativo’ middle movement.
I. Allegro (0:00)
II. Grave Recitativo (5:41)
III. Allegro (8:22)
Composed: c.1710, not later than 1717
Turin source: Giordano 29
Concordance: 2:52* = Op. 8 no. 11, mvt 1 (second version)
*Here the recording follows the non autograph sources and not the Turin manuscript.
La Serenissima, ‘A Tale of Two Seasons’
Adrian Chandler, violino solo e direzione
Avie AV2287
Was at the Thomaskirche in Leipzig yesterday where La Cetra B.O. opened the 'Bach meets Vivaldi' concert with this!! Followed by Bach's BWV 594 transcription... :))
Currently transcribing Bach's arrangement of this Concerto, great Concerto especially when combined with Bach's genius, 2 together at once to make something higher than a masterpiece!
What is the BWV number for Bach's arrangement?
@@user-hc3ef6nq8l Bach transposed it to C Major: ruclips.net/video/_ZpHqc8B5Wo/видео.html
@@TheOneAndOnlyZeno1889 Thanks a lot!
@@user-hc3ef6nq8l as BWV 594 I believe as it is says in the description
The second movement may be my favourite slow movement by Vivaldi.
instablaster.
So do I.
It is for sure one of the best. I love the second movement from RV 522 too! (Two Violins in A Minor)
Me relaja mucho Vivaldi,sus obras son magnificas
Complimenti a tutti i musicisti che studiano questa arte stupenda.
Wooooow! What concert for violin... and love the Bach version for organ as well.
I really Love the Part at 2:39 - 2:49! But i Love the entire piece!
This is one of my favourite concerti by Vivaldi, but I cannot find free sheet music for the cadenzas. It’s not as if I could play them, however-they’re so virtuosic! Thank you for uploading this with the manuscript.
Same here! I’ve been enamored with this piece since the 7th grade. My love for Vivaldi goes wayyy back, haha :)
it's just so vibrant and wonderful... i can't stop listening to it
Comme les premières lueurs d’un soleil bienfaisant, cette musique ouvre les yeux à de nouvelles promesses et à toutes les merveilles de la nature. Evocatrices de pouvoirs au-delà de l'observation, ces pièces tirent les ficelles du cœur, attirent les nostalgies et réveillent les amours, les vies écorchés et la torpeur des veilleurs tourmentés 🤮
2:38 sublime !!!
2:52 = RV 582
Iconic!
Isn't it! On par with the best of L'Estro armonico.
@@DelVivaldi Yes!
I have a theory:
Vivaldi named this concerto in honor of the kingdom of India at the time of his life (the Mughal Empire) bc he borrowed the aspects of drone notes and sympathetic strings seen in Indian music. The virtuosic violin passages all contain a drone note that mimics a sympathetic string of the Indian instruments. Such an interesting piece of music
Vivaldi uses these drones in almost all of his works, eg, Four Seasons, D Minor cello concerto, &c
@@VoicesofMusic Hi there! Thanks for coming by.
@@DelVivaldi Thanks for your lovely notes!
@@VoicesofMusic Thank you! I took this opportunity to update them. ;)
Venice was a port city to many nations. It is possible Vivaldi heard the Indian drone instruments, but his composing seems s natural development for virtuoso violin playing.
Estupendo!!!
Amazing....thanks...
So great
Very beautiful! I need to hear more Vivaldi.
Score, parts, cadenzas, and facsimile in our edition! www.snakewoodeditions.com/product/vivaldi-concerto-in-d-rv-208-grosso-mogul-score-and-parts-cadenzas-facsimile-pdf/
Score and parts here! www.snakewoodeditions.com/index.php/product/vivaldi-concerto-in-d-rv-208-grosso-mogul-score-and-parts-pdf/
2:30 LETS GOOOOO
I was thinking about the inclusion of Grosso Mogul in Opus 7. Seemingly, Opus 7 was published without Vivaldi's supervision and contains Concerti by other composers. I was listening to RV Anh 143. It sounds Venetian but not especially like Vivaldi. In fact, it sounds a lot more like Tomaso Albinoni. I wonder who wrote it?
Does anyone know a link toward the score of the two cadenzas ?
Wich ? 🤔
This is wonderful
Would someone who knows about violin playing comment of how difficult this is. It sounds as though (I have no idea) that this was Vivaldi's showing off piece and I wonder how it compares in difficulty to (say) Paganini or Sarasate.
En général Paganini et Sarasate c'est largement au-dessus techniquement parlant. Ce concerto de Vivaldi est de difficulté moyenne hormis la cadence qui est plus difficile.
😊
9:40
Who are the performers?
La Serenissima with Adrian Chandler violin, direction. I always give performers' names, please see my descriptions.
@@DelVivaldi Thanks. I didn't spot that part in your very detailed description. I did think it was someone English-speaking.
@@cliveso Why?
@@DelVivaldi Just the style, hard to explain.
Eis "a truta" de Vivaldi, em correria cachoeira acima. Onde não há a natureza nesse mestre? Bem assim ví o 1o mov. O 2o mov com abre com um arpejo maravilhoso e o violino sola como um rouxinol; o 3o mov. Alegro é uma festa, o mestre sola percorrendo a mesa farta, risos, alegria, céu de nuvens claras a inspiração está no ar...
One God, one Farinelli - One God, One Vivaldi!!! WOW
vivaldi is the god..
too muddled and cloudy... there is no clarity and individuality between each part, especially at the circle of fifths around 2:40... it feels too rushed.