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LA DOMENICA DI AMERIA RADIO
20 – 02 – 2022
PROGRAMMA
Antonio Vivaldi (1678 – 1741)
Concerto per archi e basso continuo in sol maggiore, RV 151 “Concerto alla Rustica”
1. Presto
2. Adagio
3. Allegro
The English Concert
Trevor Pinnock, direttore
Concerto per oboe, violino, archi e basso continuo in si bemolle maggiore, RV 548
1. Allegro
2. Adagio
3. Allegro
David Reichenberg, oboe
Simon Standage, violino
The English Concert
Trevor Pinnock, direttore
Concerto con molti stromenti in do maggiore, RV 558
1. Allegro molto
2. Andante molto
3. Allegro
The English Concert
Trevor Pinnock, direttore
Concerto per 2 violini, archi e basso continuo, RV 516
1. Allegro molto
2. Andante (molto)
3. Allegro
Simon Standage, violino
Elizabeth Wilcock, violino
The English Concert
Trevor Pinnock, direttore
Concerto per oboe in la minore, RV 461
1. Allegro non molto
2. Larghetto
3. Allegro
David Reichenberg, oboe
The English Concert
Trevor Pinnock, direttore
Concerto per 2 mandolini, archi e basso continuo, RV 532
1. Allegro
2. Andante
3. Allegro
James Tyler, mandolino
Robin Jeffrey, mandolino
The English Concert
Trevor Pinnock, direttore
Concerto per archi e basso continuo, RV 159
1. Allegro
2. Adagio
3. Allegro
The English Concert
Trevor Pinnock, direttore
Concerto per violino in mi maggiore, RV 271 “L’amoroso”
1. Allegro
2. Cantabile
3. Allegro
Simon Standage, violino
The English Concert
Trevor Pinnock, direttore
Musica dalla rete
Antonio Vivaldi wrote an enormous amount of compositions and he has 450 concerts, 23 symphonies, 75 solo sonatas and three sonatas, 49 operas and many cantatas, motets and oratorios. Today, however, his name is mainly linked to instrumental music.
His concerts impose themselves on listening for the melodic freshness, the rhythmic vivacity, the right dosage of the color of the solo instrument and the orchestra and the clarity of the form. Most of Vivaldi's concertos are written for solo instrument with orchestra, mainly for violin, but also for cello, flute, bassoon and oboe.
Normally the Vivaldi orchestral ensemble is made up of twenty or twenty-five string instruments, with harpsichord or organ for the continuo; this is the base group.
Furthermore, the Vivaldi concertos as a whole obey the pattern of the three movements typical of the eighteenth century: an Allegro, a slow tempo in the same key or another closely related, and a final Allegro, shorter and more lively than the first. presenting spontaneous musical ideas, solid harmonies, lively and stimulating rhythmic textures. Furthermore, Vivaldi creates a particular dramatic tension between the orchestra and the solo part, the latter being the dominant musical personality with respect to the instrumental ensemble. Marc Pincherle notes in his volume on Vivaldi, full of precious observations, that «the orchestral tutti announces the phrases that will be debated during the movement; and the arguments that these phrases solicit give rise to a musical competition between the soloist and the orchestra which ends with a reconciliation or synthesis of emotions and ideas ».
Antonio Vivaldi wrote an enormous amount of compositions and he has 450 concerts, 23 symphonies, 75 solo sonatas and three sonatas, 49 operas and many cantatas, motets and oratorios. Today, however, his name of him is mainly linked to instrumental music.
His concerts di lui impose themselves on listening for the melodic freshness, the rhythmic vivacity, the right dosage of the color of the solo instrument and the orchestra and the clarity of the form. Most of Vivaldi's concertos are written for solo instrument with orchestra, mainly for violin, but also for cello, flute, bassoon and oboe.
Normally the Vivaldi orchestral ensemble is made up of twenty or twenty-five string instruments, with harpsichord or organ for the continuo; this is the base group.
Furthermore, the Vivaldi concertos as a whole obey the pattern of the three movements typical of the eighteenth century: an Allegro, a slow tempo in the same key or another closely related, and a final Allegro, shorter and more lively than the first. presenting spontaneous musical ideas, solid harmonies, lively and stimulating rhythmic textures. Furthermore, Vivaldi creates a particular dramatic tension between the orchestra and the solo part, the latter being the dominant musical personality with respect to the instrumental ensemble. Marc Pincherle notes in his volume on Vivaldi, full of precious observations, that «the orchestral tutti announces the phrases that will be debated during the movement; and the arguments that these phrases solicit give rise to a musical competition between the soloist and the orchestra which ends with a reconciliation or synthesis of emotions and ideas ".