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Antonio Vivaldi contributions
A brief biography of Antonio Vivaldi
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Antonio Lucio Vivaldi, born in Venice, Italy on March 4, 1678, was a 17th and 18th century composer who’s become one of the most renowned figures in European classical music. The virtuosic violinist was baptized immediately after his birth, likely due either to his poor health or to an earthquake that shook the city that day. It is believed that either the trauma of the earthquake led his mother, Camilla Calicchio, to dedicate him to the priesthood, or perhaps because in his day training for the priesthood was often the only possible way for a poor family to obtain free schooling, a probable cause considering he had five siblings.
His father, Giovanni Battista Vivaldi, was a barber before becoming a well-respected violinist, employed at St.
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Programmatic music would only flourish in the Romantic period, while Vivaldi used it in Spring – so Vivaldi was a composer ahead of his time in writing concertos, and in writing fresh melodies.
Rhythmic verve can be seen by the complexities of the melodic rhythms in Vivaldi’s work. In Spring, the triplet rhythm is used with semiquaver beats. Such employment of rhythm instead of the homophonic chords, or regular division of notes provides more individualism to the melody that sings above the other parts, which is critical in an orchestral work. Thus, it can be seen that the rhythm employed by Vivaldi can serve its purpose well, and showcases Vivaldi’s competence in composition for a group of instruments.
Vivaldi’s skillful treatment of color can be seen in his Op 10, RB533. In one section, the second flute imitates the theme played initially by the first flute, characterized by a chain of semiquavers. In this section, the flutes are playing at a high register, which would idiomatically showcase its lightness of tone and virtuosity, while interweaving their melodic lines to form a seamless work of art. This would not be possible without the tone color of the flute. Hence, it is conclusive that Vivaldi is skillful in his treatment of tone color in the
In the first part of this recital the vivaldi, contained a string Quartet. After the first intermission, I looked down at the podium and noticed that the precussions were added which included the timpani, bass drum, tylophone, and cymbals. In this recital Nancy Menk was the conductor, Judith Von Houser was the soprano which played a high note, and Mary Nessinger was the Mezzo-soprano which played a slight softer note. This part of the concert was divided into four pieces. First there was the Magnificant by M. Haydn (the orchestra accompaniment was edited from the composer's manuscript by Mark Nabholz). This piece consisted of strings without violas, two french horns, and an organ.
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
Antonio Stradivari, the most famous violin-maker in all the human world, was a favorite of both the god of Delos, the fair Apollo, and of the trickster god, Hermes. His creations sang with the lilt of dance and with the song of birds; many of the Olympians would stop their affairs to listen for even a hint of Stradivari's sound. In short time, it came to be that both Apollo and Hermes would covet a violin from the luthier and both came down in their human forms one day to make their request of him.
William Henry Hadow and Charles Rosen are two historians who talk primarily about musical context. Hadow sets his discussion in the framework of classical composers' movement away from Baroque forms. He says that when Beethoven and his contemporaries chose ternary form over Baroque binary, typified in the dance suite, they chose a structure that was then used successfully into the twentieth century. This was only poss...
Beethoven’s early life was one out of a sad story book. For being one of the most well-known musicians one would think that sometime during Beethovens childhood he was influenced and inspired to play music; This was not the case. His father was indeed a musician but he was more interested in drinking than he was playing music. When his father saw the smallest sliver of music interest in Beethoven he immediately put him into vigorous musical training in hopes he would be the next Mozart; his training included organ, viola, and piano. This tainted how young Beethoven saw music and the memories that music brought. Nevertheless Beethoven continued to do what he knew and by thirteen he was composing his own music and assisting his teacher, Christian Neefe. Connections began to form during this time with different aristocrats and families who stuck with him and became lifelong friends. At 17 Beethoven, with the help of his friends, traveled to Vienna, the music capitol of the world, to further his knowledge and connection...
Some of the most well known composers came to be in the in the classical music period. Ludwig van Beethoven was one of the composers, along with other greats of the time like Haydn and Mozart, which helped to create a new type of music. This new music had full rich sounds created by the new construction of the symphony orchestra.
Ludwig Van Beethoven 9th Symphony Symphony number nine in D minor, Op.125, the "Choral" is the outstanding piece accompanied with a vocal chorus. Beethoven began concentrated work on the piece in 1822. It occupied him throughout 1823, and he completed it in February 1824. The first performance took place at the Karntnertor Theater in Vienna on May 7, 1824. The deaf composer stood on stage beating time and turning the pages of his score, but the real conducting was done by Michael Umlauf.
Vivaldi's music is particularly innovative as he gave brightness to the formal and the rhythmic structure of concertos. He repeatedly looked for harmonic contrasts, creating innovative melodies and themes. Vivaldi’ main goal was to create a musical piece meant to be appreciated by the wide public, and not only by an intellectual minority. The joyful appearance of his music reveals a transmittable joy of composing. These are among the causes of the vast popularity of his music. This popularity soon made him famous also in countries like France, at the time very closed into its national schemes. He is considered one of the authors that brought Baroque music to evolve into an impressionist style.
John Warrack, author of 6 Great Composers, stated, “Any study of a composer, however brief, must have as its only purpose encouragement of the reader to greater enjoyment of the music” (Warrack, p.2). The composers and musicians of the Renaissance period need to be discussed and studied so that listeners, performers, and readers can appreciate and understand the beginnings of music theory and form. The reader can also understand the driving force of the composer, whether sacred or secular, popularity or religious growth. To begin understanding music composition one must begin at the birth, or rebirth of music and the composers who created the great change.
...ts of fever and general ill-health. And in his last ten years in Vienna, the constant need to write commissioned work - for he was the first of the composing freelances, with no regular patrons or court salaries - had worn him down to the point where one bout of fever was sure to finish him off. In July he'd had the anonymous commission to write a Requiem for the Dead; but that had been progressing slowly, because he'd been busy with two operas - La Clemenza di Tito and The Magic Flute - and two cantatas at the same time. Thirty-five years of artistic, social and personal pressure was taking its toll.
Vivaldi wanted to go into priesthood, but due to illness he was unable to continue this pursuit. (Kamien, 2015, p. 126). He spent the rest of his life involved in many aspects of music: teaching, composing, and conducting. It is important to reflect on the composer’s history to gain insight into their perspective. Kamien (2015) describes Vivaldi as a virtuoso violinist which is why he mainly featured violins in his works (p.127).
Classical music can be best summed by Mr. Dan Romano who said, “Music is the hardest kind of art. It doesn't hang up on a wall and wait to be stared at and enjoyed by passersby. It's communication. Its hours and hours being put into a work of art that may only last, in reality, for a few moments...but if done well and truly appreciated, it lasts in our hearts forever. That's art, speaking with your heart to the hearts of others.” Starting at a young age Johann Sebastian Bach and Ludwig van Beethoven have done just that with their musical compositions. Both musical composers changed the world of music and captivated the hearts of many. Their love of composing shared many similar traits, though their musical styles were much different.
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.
As an adult Mozart his career was not as successful as when he was younger. But he kept on composing anyway hoping one people would appreciate his work. He lived in poverty for the great majority of his life. In 1769 he became a concertmaster to the archbishop of Salzburg, which was another one of his jobs that afforded him little financial security. In 1777, he left on another concert tour. But, the courts of Europe ignored Mozart ‘s search for a more beneficial assignment. In 1782 he earned a living by selling compositions, giving public performances, and giving music lessons, which once again was a low paying job. The composer never did find a well paying job. The bizarre thing was is that even that he had ton of trouble finding jobs, he was still considered one of the leading composers of the late 1700s.
Mozart was a successful composer and violinist. He used the form of concerto (like the