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Renaissance and baroque musical instruments
A brief biography of Antonio Vivaldi
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Antonio Vivaldi is a famous Italian baroque composer, known by most Suzuki violin students who study his concertos or by audiences everywhere who have heard and love his composition of the Four Seasons. Having grown up as students of the Suzuki Violin Method, we recognize this composer and have experience performing his pieces. In addition to his many concertos written for solo violin, Vivaldi composed many concertos intended to be performed by two solo violins, accompanied by a small orchestra. Because we are both violinists, we chose to analyze the second movement of Vivaldi’s Concerto for Two Violins in A minor, RV 522, included in his L’Estro Armonico works.
According to Michael Talbot, of Grove Music, as well as the liner notes from the Analekta Classical Music CD, Antonio Vivaldi was born to Giovanni Battista and Camilla Calicchio in Venice in 1678. Giovanni made a profitable living as an accomplished violinist, and became Vivaldi’s main instructor from an early age. The oldest of nine children, Vivaldi led the way in studying music, and became the most musical of his siblings. Vivaldi spent much time learning about and preparing to be ordained to the office of a priest. In 1703, he was ordained a priest, but resigned after just a year due to his acclaimed medical limits (Heller 38-40). For his entire life, Vivaldi struggled with the effects of bronchial asthma and was unable to play wind instruments. Though his asthma was a real issue, there is some question about the actual reason of his resignation. He was often rumored to leave a Mass when inspired with new musical ideas. After serving as a priest, Vivaldi was hired by the Ospedale della Pieta, one of four learning institutions intended for orphaned, abando...
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.... "Antonio Vivaldi: a Detailed Informative Biography." BAROQUE MUSIC PAGE: Biogs, Pictures, Music Samples. Web. 12 Apr. 2011. .
Heller, Karl. Antonio Vivaldi: The Red Priest of Venice. Translated by David Marinelli. Portland, OR: Amadeus Press, 1997. 38-40. Print.
HOASM. "VIVALDI: L'Estro Armonico, Op . 3." HOASM: Here Of A Sunday Morning Early Music Sundays over WBAI 99.5FM in New York. Web. 12 Apr. 2011. .
"L'estro Armonico." Wikipedia, the Free Encyclopedia. Web. 12 Apr. 2011. .
Talbot, Michael. "Vivaldi, Antonio." Grove Music Online. Oxford Music Online. 13 Apr. 2011 .
(Grove Music counts as a book source.)
Claude M. Steele is the author of “ Whistling Vivaldi”, which mainly represents that the meaning of identity contingencies and stereotype threat, and how can these effect people’s ideas and behaviors. By writing this article, Steele tries to make people know exist of identity contingencies. Gina Crosley-Corcoran, who is a white woman suffered the poverty in her childhood. Through describing her miserable experiences in parallel construction to motivate readers sympathize her, moreover approving that she can as a powerful evidence for affirming the impact of identity contingencies. Crosley-Corcoran admits the white privilege really exist in some way in her article “ Explaining White Privilege to a Broke White Person”, and white privilege
A sinfonia (Italian for symphony) broadly refers to a number of instrumental works from the Baroque period, including symphonies, sonatas, canzonas, concerti, and Italian opera overtures. Even J.S. Bach titles his “three-part” inventions for harpsichord “Sinfonia”. Torelli’s Sinfonia in D (G.8) is a four-movement “concerto” for trumpet, strings and harpsichord continuo. Unlike a concerto grosso, where a main theme is presented and then reappears in fragments, the main themes of Sinfonia in D are developed rather freely. The second movement (Adagio) is a very short, slow, interlude without trumpet that introduces the third movement (Allegro). Hence, the program shows these two movements as “adagio-allegro” joined together.
A comparison of two major Baroque composers: Claudio Monteverdi and Domenico Scarlatti The purpose of this paper is to analyze two psalms by Claudio Giovanni Antonio Monteverdi (1567-1643) and Giovanni Domenico Scarlatti (1685-1757) and compare and contrast the two pieces to find out how music changed throughout the Baroque period.
This was the second work on stage, it began with a striking solo violin melody this set a light heartening tone to that piece at a faster rate. The orchestra particularly the pizzicato cellos and lyrical strings entered and offered a strong layer of support. That solo contrasted well with the orchestra. This created sustained ethereal ...
Antonio Vivaldi was born on March 4th, 1678, in Venice, Italy, and died on July 28, 1741, in Vienna, Austria. His father, a barber and a talented violinist at Saint Mark's Cathedral himself, had helped him in trying a career in music and made him enter the Cappella di San Marco orchestra, where he was an appreciated violinist.
It is clear that Beethoven’s stands as being significant in development of the string quartet to a massive extent in creativity and innovation. His early quartets show great influence of those from the Classical period and with his own, has influenced his contemporaries and later composers. The quartets published later in his life show even greater imagination and use of expression. It is also through similar uses of texture, harmony, rhythm and counterpoint that composers of the Romantic period and the 20th century wrote their own string quartets. Beethoven’s however prove a huge advancement in how string quartets are written and the intensity of emotions that they portray.
Stradivarius violins in their time were unique compared to other violins with Stradivari presenting his originality in their construction, through more exact mea...
Giuseppe Torelli, baroque violinist and composer, is most known for his contributions to the development of the instrumental concerto. Torelli is also noted as being the most prolific composer of baroque trumpet repertoire, with Concerto for Trumpet in D Major being one of his most renowned works that is still widely performed to this day.
The Violin Concerto No. 1 in G minor, Opus 26 is one of the most famous violin concertos over the musical history. It is also considered to be the most renowned work by the German composer Max Bruch. I will begin with a short explanation of why I choose to analyse this piece followed by what makes this piece so remarkable. I will then present the musical context – German Romantic period – in which this piece was composed and discuss how it is representative of this period. Also, I will present briefly the biography of the composer and relate his life and style with this particular piece of music. After, I will explain the basic structure of a concerto, associate it with this violin concerto, and analyse how each movement is related. Then, I will analyse some psychoacoustic parameters of this piece (pitch, dynamics, rhythm, and texture). Finally, I will give my appreciation of this piece in term of beauty, musical expression, and mood.
Vivaldi created a piece of music in 1723 called 'The Four Seasons' which still remains today as one of the most amazing pieces of music ever created. Handel and Bach also created spectacular pieces of music for orchestras. Baroque music was usually very religious, but with this came such a beautiful combination of instruments which played together to create somewhat mind-blowing pieces of music. Baroque music tends to have a few stylistic elements, two of them being continuo and ornamentation. Both of these concepts consisted of the difference between what the composer wrote down and what the performer played. Continuo is also found within Baroque music. Continuo consisted of a harpsichord and a cello, providing the rythmic and harmonic foundation of the Baroque ensemble. A concerto is a "large-scale compsition" between a soloist (or group of soloists) and an orchestra, found in Baroque music. The soloists alternate, playing along with or alongside the larger ensemble to create opposition and contrast. Solo-concertos often have brilliant and technically demanding passages for the soloist to play. Ritornello is often found in solo
Guido Reni, born in Bologna on November 4, 1575, was the son of Daniele Reni, a musician and singer, and Ginevra Pozzi. He was baptized in the Church of San Lorenzo and attended the Grammar School of Gugliemini in Bologna. His father showed him how to sing and taught him to play the harpsichord and other instruments. Instead of practicing to follow in his father's footsteps, Reni spent his time making sketches and clay figures. It wasn't until Denis Calvaert, a famous Flemish painter, saw some of his drawings and sought out Guido as his apprentice. Guido's father consented to the apprenticeship with one condition - that if he failed to make progress within a certain period, Guido was to return to music.
age of 25 and at the age of 15 he had already started studying to become a priest. He was later on nicknamed the red priest because of his hair and he blamed it on being a family trait. Not long after his ordination he was given a dispensation because of his bad health. In 1705 Vivaldi’s first composition was published.
I will be comparing Giuseppe Cambini’s classical version of Wind Quintets to Carl Nielsen’s version from the twentieth century. A wind quintet is usually a group of five wind players; commonly a flute, oboe, clarinet, horn and a bassoon. These instruments differ from each other causing a unique sound and timbre. Giuseppe version was first published in 1802, with three movements, Allegro maestoso, Larghetto cantabile and Rondo: Allegretto grazioso. Carl Nielsen’s version was published in 1922 with three variations, Allegro, Minuet and Preclude. Neilson had a theme with the variation which was the melody for one of his spiritual songs. His overall piece of the Wind Quintet combines two different types of music, neo-classicism and modernism. In this paper I will be comparing the music elements of these two pieces from two
His body language moved fluently and alternately with the movement of the pieces he conducted, while maintaining control of the ensemble. This leads me to mention, the orchestra was very relaxed, yet very formal in their performance. Now, the program consisted of eight works, ranging from the early 1800’s to the mid-1900’s, covering the Classical era to the Golden Era. Of the eight pieces, I wish to highlight some of my observations during the performance. First, I found each work to be written in a four-four count. Secondly, in the second work of the program, Aria Cantabile, I found it to be wonderfully full of emotion and very passionate. Although the notes played were relatively easy, the music was hard. The crescendo throughout the piece transitioned gradually from piano to mezzo most elegantly and brought a peacefulness to the audience. Thirdly, in the third work of the evening, Second Suite in F movement IV Fantasia on “Darganson,” clearly brought the imagery of the blacksmithing trade to mind as one could imagine the forging of iron being hammered into design. Ironically, at the conclusion of the final melody, a baby cried out in the immediate silence, in perfect pitch and
The role of the sonata as an extremely important form of musical arrangement still inspires people to work with and compose and perform new works in this very traditional form. (Sonata)