Vivaldi: Concerto for 4 Violins in D major [RV 549, Op. 3, No. 1] - 3. Allegro (Synthesized) скачать в хорошем качестве

Vivaldi: Concerto for 4 Violins in D major [RV 549, Op. 3, No. 1] - 3. Allegro (Synthesized)

During the time when Vivaldi was stated at the Ospedale della Pieta (the famous Venetian home for wayward and abandoned young girls), he not only taught violin but also developed an instrumental ensemble that became renowned for its spirited and professional playing. In 1709 he had become “Maestro del Concerti” – the official composer for the Ospedale, with the duty of teaching the girls the art of composing and performing concertos. This position allowed him to engage in a great deal of experimentation in terms of his compositions, since he had an orchestra on hand to tryout new works. And due to these opportunities, he became particularly renowned for his contributions to the development of the concerto form. A concerto is an instrumental composition for solo instrument(s), and is often structured in three movements with the sequence fast-slow-fast and its accompaniment is typically an orchestra. Prior to Vivaldi, many elements of the concerto were not standardized (the more weighty Roman model of Corelli, for example). Vivaldi helped establish the lighter "Venetian" model of the three-movement form, as well as inner features of the movements. In his lifetime, Antonio Vivaldi (1678-1741) wrote an estimated 500 instrumental concertos. The first published set of these concertos was named "L'estro armonico," roughly, "The Harmonic Inspiration." Vivaldi dedicated it to Ferdinando III de' Medici, Grand Prince of Tuscany. (Dedications were often a way to try to gain favour - and financial support of prominent patrons). Although Vivaldi sold much of his music through commissioned manuscripts, he also gained some profit from the printed sales of his compositions. And so this work became the most influential and innovative collection of orchestral music of the first half of the 18th century and had a tremendous impact on composers in Northern Europe. It was published as his "Opus No. 3" around 1710-11 in Amsterdam by Estienne Roger, one of the most esteemed printers of music in all of Europe, and its appearance brought Vivaldi fame all over the continent. It also attracted a number of musicians to come to Venice for the purpose of studying violin technique and performance practice under the Master himself. Others paid him the more subtle compliment of making arrangements of his music (such as J.S. Bach, who arranged five of work's concertos for keyboard). Composed of twelve concerti for one, two, or four violins and strings, "L'estro armonico" is a brilliant tribute to Vivaldi's unlimited creative talents and his ability to write concertos that are refreshingly diverse; in all twelve compositions the variety and subtlety of the myriad of moods he creates are quite astounding. Each concerto was printed in eight parts: four violins, two violas, cello and continuo (printed as a figured bass for violone and harpsichord). In each consecutive group of three concertos, the 1st is a concerto for four violins, the 2nd for two violins, and the 3rd, a solo violin concerto. Although Vivaldi composed a few concertos specifically for L'estro armonico, others of the set were written at an earlier date. The 3rd movement of the Concerto for Four Violins in D Major, RV 549 (the first Concerto of the twelve), is a lively and energetic Allegro, showcasing the virtuosity of the 4 soloists and the collaborative spirit of the ensemble. It is built on a brisk tempo and epitomizes the Italian Baroque concerto style with its dynamic interplay between the solo violins and the accompanying strings. The movement is characterized by its joyful, dance-like rhythm, often resembling a gigue, a lively Baroque dance in 6/8 time. Vivaldi's innovative use of the multiple soloists allows for the creation of a rich, textural complexity. The violins often play in unison, but they also split into contrasting lines, creating a sense of harmony and counterpoint. The occasional cadenzas (improvised or written out sections where soloists display their virtuosity) further amplify the technical brilliance required for performance. One of the hallmarks of this movement is the contrast between moments of intense, fast-moving activity and brief, more lyrical passages that allow the soloists to show their technical prowess and musical expression. The movement moves forward with a constant sense of momentum, driven by rhythmic energy and harmonic progressions. In sum, this movement is a vibrant, exuberant conclusion to the concerto, full of rhythmic vitality, contrast, and technical fireworks that highlight the brilliance of the individual players while maintaining a cohesive, joyful energy throughout. For those wanting to follow the music presented with the Music Animation Machine visualization, the instruments are as follows: Violin I - Orange Violin II - Yellow Violin III - Green Violin IV - Cyan Violas - Blue Cellos - Purple Double Bass - Pink Harpsichord (omitted) As always, the use of headphones will greatly enhance the listening experience.