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This is an extensive and thorough survey of the Venetian instrumental concerto of the Baroque era. It provides sufficient details to identify composers of lesser and greater stature, but also to pinpoint relationships, similarities and stylistic differences between various authors and localities.
Definitive treatment traces instrumental music from 1550 to 1750; development of canzona, sonata, concerto; careers of Gabrieli, Albinoni, others.
Antonio Lucio Vivaldi was an acclaimed Italian composer, virtuoso violinist, teacher, impresario, and Catholic priest during the Baroque musical era. Born in Venice, the capital of the Venetian Republic, Vivaldi is regarded as one of the greatest Baroque composers. In his time, his influence was felt across Europe, inspiring countless imitators and admirers. He was instrumental in shaping the instrumental music of Johann Sebastian Bach as well as the French concerto tradition (including Michel Corrette, Jean-Joseph de Mondonville, Louis-Nicholas Clérambault). Vivaldi composed numerous instrumental concertos for violin and other instruments, sacred choral works, and over fifty operas. His most famous piece remains The Four Seasons, a sequence of violin concertos. Many of his works were written for the Ospedale della Pietà, a home for abandoned children, and its all-female music ensemble. Vivaldi served as a Catholic priest in two stints, from 1703-1715 and 1723-1740. In Venice, Mantua, and Vienna, Vivaldi enjoyed some success staging his operas in lavish productions. After meeting Emperor Charles VI, Vivaldi moved to Vienna in hopes of gaining imperial patronage. However, the Emperor died soon after Vivaldi's arrival, and Vivaldi himself died in poverty less than a year later.
Federico Maria Sardelli writes from the perspective of a professional baroque flautist and recorder-player, as well as from that of an experienced and committed scholar, in order to shed light on the bewildering array of sizes and tunings of the recorder and transverse flute families as they relate to Antonio Vivaldi's compositions. Sardelli draws copiously on primary documents to analyse and place in context the capable and surprisingly progressive instrumental technique displayed in Vivaldi's music. The book includes a discussion of the much-disputed chronology of Vivaldi's works, drawing on both internal and external evidence. Each known piece by him in which the flute or the recorder appears is evaluated fully from historical, biographical, technical and aesthetic standpoints. This book is designed to appeal not only to Vivaldi scholars and lovers of the composer's music, but also to players of the two instruments, students of organology and those with an interest in late baroque music in general. Vivaldi is a composer who constantly springs surprises as, even today, new pieces are discovered or old ones reinterpreted. Much has happened since Sardelli's book was first published in Italian, and this new English version takes full account of all these new discoveries and developments. The reader will be left with a much fuller picture of the composer and his times, and the knowledge and insights gained from minutely examining his music for these two wind instruments will be found to have a wider relevance for his work as a whole. Generous music examples and illustrations bring the book's arguments to life.
The Four Seasons and the rest of the concertos in Op. 8 represent Vivaldi's remarkable innovation in the field of the Baroque concerto. This detailed guide examines the work's origin and construction in a way that enables the reader to distinguish what is extraordinary about the Seasons and what constitutes the composer's customary method of 'characterising' the solo concerto. Drawing on recent research and his own expertise in the appraisal of Vivaldi's manuscripts, the author draws interesting and sometimes startling conclusions about the conception of the Seasons, the origin of their programme, the dating of the concertos and the rationale behind the collection's ritornello-form structures and aria-like slow movements. The significance of Vivaldi's idiosyncratic art is thus revealed in some of the most popular concert music of all time.
Named a Library Journal Best Reference of 2023 - "Bravo! An invaluable source for scholars and concertgoers.” - Library Journal In the history of the Western musical tradition, the Baroque period traditionally dates from the turn of the 17th century to 1750. The beginning of the period is marked by Italian experiments in composition that attempted to create a new kind of secular musical art based upon principles of Greek drama, quickly leading to the invention of opera. The ending is marked by the death of Johann Sebastian Bach in 1750 and the completion of George Frideric Handel’s last English oratorio, Jephtha, the following year. The Historical Dictionary of Baroque Music, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 500 cross-referenced entries on composers, instruments, cities, and technical terms. This book is an excellent resource for students, researchers, and anyone wanting to know more about baroque music.
The Vivaldi Compendium represents the latest in Vivaldi research, drawing on the author's close involvement with Vivaldi and Venetian music over four decades.
The knowledge that finales are by tradition (and perhaps also necessarily) 'different' from other movements has been around a long time, but this is the first time that the special nature of finales in instrumental music has been examined comprehensively and in detail. Three main types offinale, labelled 'relaxant', 'summative', and 'valedictory', are identified. Each type is studied closely, with a wealth of illustration and analytical commentary covering the entire period from the Renaissance to the present day. The history of finales in five important genres -- suite, sonata,string quartet, symphony, and concerto -- is traced, and the parallels and divergences between these traditions are identified. Several wider issues are mentioned, including narrativity, musical rounding, inter-movement relationships, and the nature of codas. The book ends with a look at thefinales of all Shostakovich's string quartets, in which examples of most of the types may be found.
Twelve-tone and serial music were dominant forms of composition following World War II and remained so at least through the mid-1970s. In 1961, Ann Phillips Basart published the pioneering bibliographic work in the field.