Contemporâneo de Johann Sebastian Bach (1685-1750), Vivaldi é um dos grandes nomes da música pré-romântica. Seus numerosos concertos (mais ou menos 500) incluem 350 deles para um instrumento solo e cordas, dos quais 230 para violino (o principal instrumento em sua vida de músico). Uma das partes mais interessantes do New Grove Dictionary of Music and Musicians ref. a Vivaldi é a seguinte:
7. Points of style.
Vivaldi's musical language is so distinctive that it is worth mentioning a few of its peculiarities. His melody shows a penchant for Lombardic rhythms (which, according to Quantz, he was the first to introduce) and for syncopation – betraying, perhaps, Venice's connections with Dalmatia and the Slavonic hinterland. His treatment of the variable sixth and seventh degrees of the minor scale was amazingly flexible, admitting the augmented 2nd as a melodic interval even in an ascending line. Compound intervals, including the octave, could assume an expressive melodic value hitherto barely exploited. He transported ideas from the major into the minor mode (and vice versa) with almost Schubertian freedom. He formed melodies from mere cadential fragments (a phenomenon well described by Kolneder as ‘Kadenzmelodik’). His harmony abounds in 7th chords, and he used the higher dominant discords (9th, 11th, 13th) over pedals with near recklessness. He can modulate extremely abruptly, often through a VII–I rather than V–I progression. Juxtapositions of very slow and very fast harmonic rhythms are frequent. His phrasing often includes irregular groups (e.g. of one and a half bars' length). His two violins frequently toss a pair of contrapuntally contrasted motifs back and forth over several bars, either at one pitch (producing a quasi-canonic effect) or at different pitches in a sequential pattern; sequence, incidentally, was a device whose attractiveness to Vivaldi could be dangerous in his more facile moments. Ostinato phrases in one part which contradict the changing harmonies of the other parts are typical.
It is rare that such an individualist attracts many followers. Yet during the period 1710–30 Vivaldi's influence on the concerto was so strong that some established composers older than him like Dall'Abaco and Albinoni felt obliged to modify their style in mid-career. In most of Italy, and in France after about 1725, the Vivaldian model was enthusiastically adopted. Only in conservative Rome and certain other parts of Europe (notably England) where the Corellian style had taken firm root was its hegemony resisted, and even then a Vivaldian spirit informs many concertos whose form is more Corellian than Vivaldian. Because the influence of the concerto permeated all forms of composition Vivaldi can legitimately be regarded as a most important precursor of G.B. Sammartini and the Bach sons in the evolution of the Classical symphony. Equally, he can be seen as a harbinger of musical Romanticism, not just on account of the pictorialism of certain programmatic concertos, but in more general terms because of the higher value he placed on expression than on perfection of detail.
Está na hora de colocar as Quatro Estações na vitrola/no cd player/no ipod e ler esse interessante livro.
Vivaldi: Genius of the Baroque
7. Points of style.
Vivaldi's musical language is so distinctive that it is worth mentioning a few of its peculiarities. His melody shows a penchant for Lombardic rhythms (which, according to Quantz, he was the first to introduce) and for syncopation – betraying, perhaps, Venice's connections with Dalmatia and the Slavonic hinterland. His treatment of the variable sixth and seventh degrees of the minor scale was amazingly flexible, admitting the augmented 2nd as a melodic interval even in an ascending line. Compound intervals, including the octave, could assume an expressive melodic value hitherto barely exploited. He transported ideas from the major into the minor mode (and vice versa) with almost Schubertian freedom. He formed melodies from mere cadential fragments (a phenomenon well described by Kolneder as ‘Kadenzmelodik’). His harmony abounds in 7th chords, and he used the higher dominant discords (9th, 11th, 13th) over pedals with near recklessness. He can modulate extremely abruptly, often through a VII–I rather than V–I progression. Juxtapositions of very slow and very fast harmonic rhythms are frequent. His phrasing often includes irregular groups (e.g. of one and a half bars' length). His two violins frequently toss a pair of contrapuntally contrasted motifs back and forth over several bars, either at one pitch (producing a quasi-canonic effect) or at different pitches in a sequential pattern; sequence, incidentally, was a device whose attractiveness to Vivaldi could be dangerous in his more facile moments. Ostinato phrases in one part which contradict the changing harmonies of the other parts are typical.
It is rare that such an individualist attracts many followers. Yet during the period 1710–30 Vivaldi's influence on the concerto was so strong that some established composers older than him like Dall'Abaco and Albinoni felt obliged to modify their style in mid-career. In most of Italy, and in France after about 1725, the Vivaldian model was enthusiastically adopted. Only in conservative Rome and certain other parts of Europe (notably England) where the Corellian style had taken firm root was its hegemony resisted, and even then a Vivaldian spirit informs many concertos whose form is more Corellian than Vivaldian. Because the influence of the concerto permeated all forms of composition Vivaldi can legitimately be regarded as a most important precursor of G.B. Sammartini and the Bach sons in the evolution of the Classical symphony. Equally, he can be seen as a harbinger of musical Romanticism, not just on account of the pictorialism of certain programmatic concertos, but in more general terms because of the higher value he placed on expression than on perfection of detail.
Está na hora de colocar as Quatro Estações na vitrola/no cd player/no ipod e ler esse interessante livro.
Vivaldi: Genius of the Baroque
Marc Pincherle
W. W. Norton & Company 1957 278 pages PDF 1,1 MB
http://depositfiles.com/files/gfckcahyj
W. W. Norton & Company 1957 278 pages PDF 1,1 MB
http://depositfiles.com/files/gfckcahyj
