Concerto in C Major (RV 534) for Small Orchestra
Uploaded on Mar 17, 2019
The creator of hundreds of spirited, extroverted instrumental works, Italian composer Antonio Vivaldi is widely recognized as the master of the Baroque instrumental concerto, which he perfected and popularized more than any of his contemporaries. Vivaldi's kinetic rhythms, fluid melodies, bright instrumental effects, and extensions of instrumental technique make his some of the most enjoyable of Baroque music. He was highly influential among his contemporaries and successors: even as esteemed a figure as Johann Sebastian Bach adapted some of Vivaldi's music. Vivaldi's variable textures and dramatic effects initiated the shift toward what became the Classical style; a deeper understanding of his music begins with the realization that, compared with Bach and even Handel, he was Baroque music's arch progressive. Though not as familiar as his concerti, Vivaldi's stage and choral music is still of value; his sometimes bouncy, sometimes lyrical Gloria in D major (1708) has remained a perennial favorite. His operas were widely performed in his own time.
Vivaldi is known mainly for his numerous violin concertos. But he came to explore woodwind instruments through his interactions with travellers to Venice (among them G. H. Stoltzel and Johann Heinichen) and his own travels to Germany and France. Also, his obligations to produce music for the instruments to be played at the Ospedale and abroad led to his using a variety of instruments in concerti. The oboe became very popular in the early eighteenth century. It first appeared in St. Mark's in 1698, and the Ospedale della Pieta employed oboe teachers from 1703 onwards. Vivaldi's sonata RV 779 contains a very demanding part for the oboe dated to 1710 and his opera 'Ottone in Villa' of 1713 contains a significant oboe part.
As was his way (and that of many others) Vivaldi did his share of self-borrowing, so that eight of the surviving oboe concertos exist in other forms. For instance RV448 was reworked both as a bassoon concerto (RV470) and another oboe concerto (RV447).
The concertos were not necessarily all written for use at the Pieta. Many of them may well have been written for virtuosos to play at private performances for the nobility either in Venice or perhaps at the Saxon Court in Dresden, where Vivaldi had contacts. The form and orchestration of the works make them eminently suitable for a small group of players to perform for the delectation of a group of aristocrats in a Venetian Palazzo.
Source: AllMusic (https://www.allmusic.com/artist/antonio-vivaldi-mn0000685058/biography ).
Although originally created for 2 Baroque Oboes, Strings & Continuo, I created this Interpretation of the Concerto in C Major (RV 534) for Small Orchestra (Piccolo Trumpet, Bb Trumpet, French Horn, Euphonium, Timpani, 2 Violins, Viola & Cello).
|Part names||Trumpet(2), French Horn, Tuba, Timpani, Violin(2), Viola, Cello|
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