In the Largo slow movement a simple ritornello provides a frame for the short, sad, generously embellished solo. But the first movement is remarkable for the leaping arpeggios it demands of the recorder player, derived from violin playing and much more difficult on the recorder. The minor mode is almost unrelieved throughout, with only a few momentary major moments. Structurally, each movement follows standard ritornello form, with typically Vivaldian touches like modulation within ritornello sections in the outer movements. The recorder certainly had to have been popular when Vivaldi wrote RV 441, for it demands a real recorder virtuoso. 10 of 1728 were adapted from works originally written for recorder shows that the two can be easily substituted for one another in concert.
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By contrast, 13 of Vivaldi's concerti specify the transverse flute ("flauto traverso"), but the fact that two of the flute concerti in his Op.
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The closing Allegro is as vigorous and dance-like as the finale from a divertimento.Ĭoncerto in C Minor for Recorder, Strings and Basso ContinuoĪntonio Vivaldi only wrote two concerti specifically for the recorder ("flauto"), one of which is the RV 441 concerto in C minor. The central Cantabile is as warm and lovely as a soprano aria from a pastorale. The opening Allegro is as light and evanescent as the opening of "Spring" from the Four Seasons. Called in both cases "Il gardellino," the work, with its gentle themes for the flute soloist and bucolic harmonies for the string ripieno, lives up to its name.
Vivaldi flauto traverso plus#
The third of the set is an adaptation of the Concerto in D major for violin or flute and violin, or oboe concertino plus strings, and basso continuo ripieno, RV 90, as the Concerto in D major for flute, strings, and basso continuo, RV 428. Most are transcriptions of earlier works or new compositions modeled on earlier works, usually chamber concertos from much earlier in Vivaldi's career. Published by Michel-Charles Le Cene in 1728, Antonio Vivaldi's set of Concertos (6) for flute was not only the first collection of flute concertos published in Italy, it was nearly the first set of flute concertos ever published. In this exciting work, Vivaldi packs much musical content into a brief time interval.Ĭoncerto Il Cardellino in D Major for Traverso, Strings and Basso Continuo Ornamental runs from a solo violin decorate the simple melody of the brief Adagio that follows, while the final movement, in dance rhythm, has a busy cello line to support its graceful violin melody. However, the high spirits are quickly and dramatically countered by an unexpected juxtaposition of the same material in a fierce minor, which ends the movement. The first movement Presto is a virtuoso showpiece for Baroque orchestra, with a bouncy melody that never stops moving.
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Despite the idea of provincialism implied in the title, this work is a brilliant, sophisticated example of late-Baroque style. All of these features manifest themselves in the Concerto alla rustica for strings in G major, RV 151.
Vivaldi flauto traverso professional#
Probably written for highly skilled professional orchestras, these works, mostly written in a contrapuntal style, show what the orchestra can do when it is not in any way subordinated to a soloist. Concerto alla Rustica in G Major for Strings and Basso ContinuoĪntonio Vivaldi's concerti without soloists are generally included among the antecedents of the Classical-period symphony.