In the shadow of two giants – J.S. Bach and George Frideric Handel, from the late Baroque period – we find the formidable Italian virtuoso, violinist, and composer, Antonio Vivaldi.
Vivaldi was born in Venice, Italy in 1678 (his actual year of birth is disputed by some historians; a few believe it was 1675.) His family was of modest means as his father was a baker, who later became a violinist in the employ of St. Mark’s Cathedral in Venice.
The young Vivaldi started training for the priesthood when he was 15. He was ordained in 1703, but did not celebrate mass after 1705, presumably because of a chest complaint. Vivaldi was known as the “Red Priest” due to his red hair. During this time, he studied and practiced violin, becoming quite excellent on the instrument.
During 1703, he also became maestro di violin at the Pio Ospedale della Pieta, a girl’s orphanage in Venice. His tenure at the orphanage was a long and fruitful 36 years. The Venetian Ospedales were considered embryonic music conservatories, where young musicians honed their skills under the instruction of master teachers.
Many 17th and 18th century Italian composers were either students or teachers at these institutions. The orphanages offered frequent concerts for the public. Music was an extremely important part of the curriculum. Some of the concerts were so excellent they were considered almost professional.
During the late Baroque period, an interesting practice was playing other composer’s music. Often a piece was composed, played at a concert once, forgotten, and often discarded. What a waste of time and energy – it might have been a masterpiece! The ability to write quickly was required and thought essential to becoming a successful composer.
While at the Ospedale, Vivaldi composed many works and brought the violin concerto to a very high artistic level. He also “produced a large number of works for unusual combinations of instruments as aids to his teaching,” wrote, John Stanley in his book, Classical Music.
“He was of especial importance in the history of the solo violin concerto, as opposed to the concerto grosso,” wrote Homer Ulrich in his book, Chamber Music. A concerto grosso is a Baroque concerto that uses a full orchestra (or ripieno) and a group of soloists (or concertino.)
The trio sonata was brought to new heights and further developed by Vivaldi. The trio sonata, an early form of chamber music, consists of violin I and II, cello or bass, and harpsichord. The trio sonata evolved from both the sonata da camera (chamber sonata) that was slow and serious and the sonata da chiesa (church sonata) that was light and dance-like.
The two types of sonatas began to influence each other and eventually the distinctions between them disappeared into one combined form. Vivaldi’s format became known as the Italian Concerto. The concerto was in three movements designated fast, slow, fast. This format became the “standard.” His concept of the solo violin in a quasi-leadership position in the concerto, remained the norm for the violin concerto thereafter.
Vivaldi’s first opera – Ottone in Villa of 1713, was performed in the Vicenza, followed by forty more operas during his career – an astonishing number considering his prolific output of other works. In 1737 one opera was banned by the church because he was a non–practicing priest and had an alleged relationship with a singer. Whether this reason was the cause of the banning is open for speculation.
A practice, that might be termed questionable today was, when visiting dignitaries or important people came to Venice, Vivaldi altered the dedication of his work to flatter and gain fame, notoriety or money from the distinguished guests.
Ethan Mordden, wrote in A Guide to Orchestral Music, “Vivaldi traveled widely and left a prolific oeuvre which has yet to be fully appreciated.” Vivaldi was inspired to write his famous work, The Four Seasons – Le Quattro Stagioni while traveling to Mantua in northern Italy. This great work was composed circa 1725 and is enjoyed worldwide to this day.
The four sections of the concerto are: Spring, Summer, Autumn, and Winter. However, musicologists have assigned each season or section as a separate concerto. Vivaldi wrote many similar concerti but this one has achieved enormous acclaim, popularity and fame in modern times. It is his most famous signature work. This piece is so unique because it is an early example of programme music, (where the music relates a story.) He assigned various instruments to represent objects or persons, things such as animals, birds, or natural phenomena.
In the concerto each section or season describes musically the story or description of what is happening during each season.
Spring
This movement is characterized by the violin soloist imitating bird calls and chirps, trickily streams, a passing storm and the birdsong returning. The second part, or slow movement, is reminiscent of a slumbering goatherder and his dog. The fast third movement represents a dance of nymphs and shepherds.
Summer
The fast, first movement, suggests the intense atmosphere of the dog days of summer. The strings imitate an ill wind rushing by, and the solo violin and harpsichord imitate a shepherd worried about a gathering storm. The movement concludes with storm effects in both solo and orchestral parts.
Autumn
The first part depicts the inebriate spirits in scales and runs.
Sleep is suggested in the slow or second movement. The
third movement is subtitled, “The Hunt.” The soloist depicts the flight of a stag from the hunt and hound, his wound and eventual death.
Winter
The first movement starts with discordant repeated notes from the cello, then viola followed by the violins. The sound is empty of feeling. The soloist enhances the scene by depicting a snowy street and a bitter cold wind. The second movement goes indoors to a blazing hearth. The violin’s pizzicatos or plucked notes, imitate the rain falling outside. The third movement reflects the perils of the season and the slickness of the ice.
Each of The Four Seasons is accompanied by a poem, supposedly written by the composer. The poems tell of the textual foundations for the music.
It is obvious that The Four Seasons is indeed a programmatic composition. Each section tells about the different seasons of the year. Again, this was not common in the Baroque period. It is a rather unique departure for a concerto setting. Mordden comments that this was, “In an epoch that generally disliked extramusical allusions in music.” In other words, Vivaldi stepped out of the mainstream structure that was expected of composers.
In his own time, he was recognized by the master himself, J.S. Bach, who transcribed some of Vivaldi’s concerti grossi for organ or harpsichord. Obviously, he wouldn’t have done this unless he thought Vivaldi’s music was worthy.
In the 20th and 21st centuries, it is apparent that Vivaldi’s music became more popular than when he was alive. What a testament to his genius, talent, productivity and inspiring music he penned.
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