This manuscript in Turin is special, because it preserves the original composition manuscript of a relatively well-known work: La Cetra Op. 9, Concerto No. 4 (RV 263). The third movement, however, is different from the one that was published in Amsterdam and was recorded, I think for the first time, only a year ago. It is a movement of great character with alternating moments of calm and agitation. The whole manuscript bears traces of pretty extensive revisions (perhaps prior to publication): notes and bars deleted or replaced (often on the page, once with an added paper slip, once with an additional sheet). The last pages use a different kind of music paper, perhaps another sign of revision. The orchestration of the Largo was also changed. The note to the copyist reads: ‘You need to roll out two staves. One for the bass and the other for two violins and violas all in unison.’ This was done in the Amsterdam version. The Roman provenance of the music paper hints at a possible composition date c. 1723-1724, i.e. the two carnival seasons that Vivaldi spent in Rome staging operas. The third movement of the ‘La Cetra’ version (1727) is from another E major work (RV 762, in Manchester), for which the original manuscript is lost. I. Allegro non molto (0:00) II. Largo (4:21) III. Allegro (7:00) Composed: not later than 1727 Turin source: Foà 30, ff. 214-226 Movements I and II L'Arte dell'Arco, ‘La Cetra’ Federico Guglielmo, violino solo e direzione Brilliant Classics 95046 Movement III Infermi d'amore, ‘Lost in Venice’ Vadym Makarenko, violino solo Eudora Records EUD-SACD-2206
One of the ways this is trademark Vivaldi is how he plays with concision. Look at how Vivaldi shortens what follows the light sixteenth notes after the chords: First, he uses two eighth notes, next a quarter note; he then just jumps straight to the chords. Subtly genius... At 2:23, he only uses the last one to develop the harmony, also changing the direction of the sixteenth notes. 3:22 comes, and Vivaldi's mixing the chords with the soloist's material. Vivaldi's fragmentation is amazing.
Also this material at the beginning (0:08 up until the solo section at 0:44) is in reality unmeasured. Even though Vivaldi uses common time (C, 4/4), there is no fixed metre. It is a kind of mixed metre.
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This manuscript in Turin is special, because it preserves the original composition manuscript of a relatively well-known work: La Cetra Op. 9, Concerto No. 4 (RV 263). The third movement, however, is different from the one that was published in Amsterdam and was recorded, I think for the first time, only a year ago. It is a movement of great character with alternating moments of calm and agitation.
The whole manuscript bears traces of pretty extensive revisions (perhaps prior to publication): notes and bars deleted or replaced (often on the page, once with an added paper slip, once with an additional sheet). The last pages use a different kind of music paper, perhaps another sign of revision. The orchestration of the Largo was also changed. The note to the copyist reads: ‘You need to roll out two staves. One for the bass and the other for two violins and violas all in unison.’ This was done in the Amsterdam version.
The Roman provenance of the music paper hints at a possible composition date c. 1723-1724, i.e. the two carnival seasons that Vivaldi spent in Rome staging operas.
The third movement of the ‘La Cetra’ version (1727) is from another E major work (RV 762, in Manchester), for which the original manuscript is lost.
I. Allegro non molto (0:00)
II. Largo (4:21)
III. Allegro (7:00)
Composed: not later than 1727
Turin source: Foà 30, ff. 214-226
Movements I and II
L'Arte dell'Arco, ‘La Cetra’
Federico Guglielmo, violino solo e direzione
Brilliant Classics 95046
Movement III
Infermi d'amore, ‘Lost in Venice’
Vadym Makarenko, violino solo
Eudora Records EUD-SACD-2206
One of the ways this is trademark Vivaldi is how he plays with concision. Look at how Vivaldi shortens what follows the light sixteenth notes after the chords: First, he uses two eighth notes, next a quarter note; he then just jumps straight to the chords. Subtly genius... At 2:23, he only uses the last one to develop the harmony, also changing the direction of the sixteenth notes. 3:22 comes, and Vivaldi's mixing the chords with the soloist's material. Vivaldi's fragmentation is amazing.
Also this material at the beginning (0:08 up until the solo section at 0:44) is in reality unmeasured. Even though Vivaldi uses common time (C, 4/4), there is no fixed metre. It is a kind of mixed metre.
Wow, this 3rd movement was stuning🎉
Maravilloso prete rosso !❤@Del Vivaldi te luces como siempre. Eres super !! 👏👏👏
Such a lighthearted first movement, love it. Thank you Del Vivaldi!
Top, thank you
Finally❤
Vivaldi's third movement knockout. Endless genius.