Concerto in A minor Op.22 Mvt 1 Giovanni Battista Viotti скачать в хорошем качестве

Concerto in A minor Op.22 Mvt 1 Giovanni Battista Viotti

Concerto in A minor Op.22 Mvt 1 Giovanni Battista Viotti performed by Yong Yang at his recent recital at the Australian Institute of Music. Check out all our You Tube Channels AIMtvSydney -    / aimtvsydney   AIMtvStage -    / aimtvstage   AIMtvTestimonials -    / aimtvtestimonials   AIMtvDramaticArt -    / aadatvchannel   Our Website - http://www.aim.edu.au/ AIMtv on our Website - http://www.aim.edu.au/student-life/ai... Facebook -   / australianinstituteofmusic   Twitter -   / aimsydney   Instagram -   / australianinstituteofmusic   Linkedin - http://www.linkedin.com/company/73930... Google Plus - https://plus.google.com/+AimEduAu/posts AIM To study music at AIM is all about having a fun, professional, academic experience, that helps set you up for a diverse lifelong career in the music industry, from performing to studio work, teaching, publishing, entertainment management, music business and a whole lot more, all connected as part of the AIM learning experience. The best thing you can from here do is to come along to an OPEN Day or check out our website at http://www.aim.edu.au Concerto in A minor Op.22 Giovanni Battista Viotti (1755 -- 1824) Viotti wrote 29 important and imaginative violin concertos, containing features of early romantic music. The best known of these is No 22 in A minor c. 1792-97. In the violin concertos, Viotti maintains, formally at least, the division into three movements based on the Allegro, a central Adagio or Andante, and finally the classical Rondo, this being a form which remained in fashion for almost all of the nineteenth century. The Allegro is often preceded by an extended introduction sometimes in a different time (for example Maestoso) which then gives way to the soloist then called the "first violin". From the first concerto to No 18, Viotti employs a chamber formation consisting of 2 oboes, 2 horns and strings, with the single exception of Concerto No 16, to the score of which Mozart added trumpets and timpani. For Concerto No 19, Viotti introduced clarinets and flutes which appear only in the central movement (Adagio non Troppo). This is an important addition which is undoubtedly aimed at achieving a richer timbre overall. In the following concertos, Viotti introduced bassoons and made increasing use of timpani. The concertos can be subdivided into the 'Parisian' concertos Nos 1-19, and the 'London' concertos (after 1792). The concerto type developed by Viotti became known as the 'French violin concerto' because it reflected Parisian taste of the 1780's, and spread its influence throughout Europe. Viotti had arrived at his style by fusing the tradition of the Italian violin school with the operatic brio of French music and the symphonic experience of German masters, notably Haydn. His French disciples, particularly Pierre Rode, Rodolphe Kreutzer and Pierre Baillot, moulded there concertos in the master's image but reinforced the typically French ingredients. Viotti's concertos have symphonic scope, particularly in the first movements; the quality of orchestral writing was such that the public would applaud after the opening exposition as if it were a symphony. Beethoven's Violin Concerto shows traces of Viotti's influence; Spohr germanized the Viotti concerto type, and Brahms and Joachim were fervent admirers of Viotti's Concerto No 22 in A minor. The last of Viotti's concertos hint at Romaticism; they were written in the first decade of the 19th century but published later.