The first orchestras appeared at the turn of the 17th – 18th centuries. They consisted of royal court musicians, and composers wrote music for the instruments they had available. The orchestra as we know it today begins to take shape in the mid-17th century, after a group of string instruments established its place in it.
VENICE
1678–1741
Antonio Vivaldi
1678–1741
March 4, 1678 in Venice in family Vivaldi the firstborn appeared. The child born in the seventh month had such a weak constitution that, due to mortal danger, he was immediately baptized by the midwife under the name Antonio Lucio. Although Vivaldi Then two more sons and three daughters were born, none of them, with the exception of the first-born, became a musician. The younger brothers inherited the profession of hairdressers from their father.
About the first years of life Antonio little is known. His musical talent manifested itself very early. Already at the age of ten, he often replaced his father in the orchestra of St. Mark's Cathedral when he performed outside Venice. The first and main teacher Antonio was Giovanni Battista Vivaldi(his father), who by that time had already become a famous virtuoso. The first composition attributed to Vivaldi dates back to 1691 (13 years). The virtuoso playing style of the young Vivaldi and the features of his first works also give reason to assume that in the early 1700s he studied in Rome with Arcangelo Corelli, famous Italian violinist and composer.
Huge influence on the formation of young people Vivaldi influenced by the musical atmosphere of the city where he was born and raised. I decided to choose a career as a priest. Probably, this decision of Antonio was influenced by his father’s many years of activity in the cathedral St. Mark. According to documents, on September 18, 1693, at the age of 15 and a half, Antonio Vivaldi became an assistant priest. Judging by the documents, Vivaldi used the opportunity to become one, bypassing a special spiritual seminar. Thanks to this, he had much more time to study music. It is not surprising that even before completing his spiritual education he acquired a reputation outstanding violin virtuoso .
"Ospedale della Pieta"
. Thus began the first period of his brilliant pedagogical and creative activity. 
Having become a teacher at one of the best “conservatories” in Venice, Vivaldi found himself in an environment with brilliant musical traditions, where opportunities opened up for him to implement a wide variety of creative ideas. Like other 18th-century composers who acted as teachers, Vivaldi had to regularly create for his students a huge amount of sacred and secular music - oratorios, cantatas, concerts, sonatas and works of other genres. In addition, he taught choristers, rehearsed with the orchestra and conducted concerts, and also taught music theory. Thanks to such intensive and multifaceted activities Vivaldi his “conservatory” began to stand out noticeably among others in Venice.
"Seasons" Venetian composer Antonio Vivaldi- the first four of the twelve violin concertos of his eighth opus, some of his most famous works and some of the most famous musical works in the style baroque. Concertos written in 1723 and first published two years later. Each concert is dedicated to one time of year and consists of three parts corresponding to each month.
The composer prefaced each of the concerts with sonnet- a kind of literary program. It is assumed that the author of the poems is Vivaldi himself. It should be added that baroque artistic thinking is not limited to a single meaning or plot, but involves secondary meanings, hints, and symbols.
The first obvious allusion is the four ages of man, from birth to death.
Equally overt is the allusion to the four regions of Italy, according to the four cardinal directions and the path of the sun across the sky. This is sunrise (east, Adriatic, Venice), midday (sleepy, hot south), magnificent sunset (Rome, Latium) and midnight (cold foothills of the Alps, with their frozen lakes).
At the same time, Vivaldi here reaches the heights of genre and direct imagery, without shying away from humor: the music contains the barking of dogs, the buzzing of flies, the roar of a wounded animal, etc.
All this, together with the impeccably beautiful form, led to the recognition of the cycle as an indisputable masterpiece.
Created by him "Seasons", “Storm at Sea”, “Adagio” and other works are not just brilliant in their expressiveness, full of internal, subtle gradations and drama, music for all times, pleasing the soul and heart. This is a classic of the instrumental (and especially solo) concert, the origin of which as a genre is associated in the history of music with the name of this great Italian. One of the greatest representatives of the Baroque era, a virtuoso of violin art, Vivaldi made an immeasurable contribution to the development of orchestral music. A true connoisseur of the orchestra, he introduced many new things into the performance practice of that time: for example, he included wind instruments in the orchestra, which were previously considered only suitable for performing military marches. But his most favorite muse always remained the violin.
The future composer spent his childhood and youth in Venice, where he was born. He was the eldest of six children in the family of the violinist of the Chapel of St. Mark's Cathedral, and received his first lessons in playing the violin and harpsichord from his father. At the age of 13 he wrote his first independent work. In addition, the boy often replaced his father in the chapel of St. Mark's Cathedral when he was away. Constant contacts with the clergy influenced the young man’s decision to begin a career in church service. At the age of 15, Antonio was tonsured a monk, but (presumably due to a serious illness) continued to live at home, which gave him a valuable opportunity not to give up his musical studies.
By the age of 25 Vivaldi was ordained to the clergy. For his fiery hair color, atypical for Venice, inherited from his father, he was nicknamed the “red monk.” However, the young clergyman’s relationship with clerical circles did not immediately work out. According to surviving evidence, the holy fathers did not consider him a sufficiently zealous monk. But Vivaldi remained a zealous musician: even during the service, the “red-haired monk” could hastily leave the altar to write down the theme of the fugue that suddenly came to his mind. After six months of church service, Vivaldi, citing poor health, finally refused to celebrate Mass. After leaving church service, in September 1703, the young musician began teaching violin at the Pieta, a Venetian charity orphanage. Soon his lessons turned into real concerts, attracting the attention of the enlightened Venetian public. In 1713, Vivaldi became director of the Pieta Conservatory. At the same time, the young teacher began to take his first steps not only as a talented performer, but also as an independent composer. In 1706 he managed to achieve the publication of 12 trio sonatas, known as Opus 1. In the same year, the first official public performance took place - a concert for the French embassy. In 1711 the famous collection of violin concertos "Harmonic Inspiration" was published, in 1714 - the collection "Extravagance".
Vivaldi's concertos soon gained great popularity in Western Europe. Myself Johann Sebastian Bach personally arranged 9 Vivaldi violin concertos for clavier and organ “for pleasure and instruction.” During these same years, Vivaldi created his first operas “Ottone” (1713), “Orlando” (1714), “Nero” (1715). Subsequently, he created about 40 more operas. In 1718, the 40-year-old composer left his native Venice for several years and went to Mantua, where he wrote instrumental works for the ducal court, as well as operas for the carnival seasons. In 1725, one of Vivaldi’s most famous cycles, “The Experience of Harmony and Invention,” was released, consisting of 12 violin concertos. Among them are the legendary “Spring”, “Summer”, “Autumn” and “Winter”. This opus was the last published during the composer's lifetime. The end of the 20s - 30s are usually called the “years of travel” in Vivaldi’s life: he visited various European cities, he especially liked Rome, Vienna, and Prague. Due to his frequent travels, the composer was fired in 1738 from the Pietà orchestra, which had become his family over many years. He continued to work with opera performances, in the production of which he personally participated. However, they were not particularly successful.
Undeservedly forgotten by everyone, tired and sick, 62-year-old Vivaldi left Venice in 1740 and went on his last journey - to Vienna. There, in the house of the widow of a Viennese saddler, he died. Soon his name was completely forgotten by his contemporaries, and only 200 years later, in the 20s of the 20th century, a unique collection of his manuscripts was discovered. The lost glory returned in full to the maestro: a complete collection of Vivaldi’s works was published, including more than 700 items. His compositions remain some of the most beloved and frequently performed throughout the world.
The composer's heritage includes over 90 operas, about 45 concertos for string orchestra, 49 concertos grosso (all instruments), more than 30 concertos for three or more instruments, as well as many sonatas, cantatas, serenades, and symphonies. However, one of the composer’s favorite genres has always been the solo instrumental concert. It is not for nothing that Vivaldi is known as a master of the orchestra: not only in general, but also in particular. More than 350 concertos for one instrument are part of the composer's legacy.
"Evening Moscow" recalls the musical instruments that Vivaldi most often chose for recitals:
1. Violin
Undoubtedly, the first place in the work and in the heart of the composer belongs to the violin. 253 out of 350 solo concerts were written specifically for her. Not to mention her role in other concerts, where she was used in the choir with other instruments. Although the violin had previously been popular among musicians, Vivaldi interpreted its musical nature in a completely new way, establishing a new dramatized, so-called “Lombard” style of performance.
2. Bassoon
Wind instruments - wooden (bassoon, flute) and less often copper (horn, trumpet) - are of great interest in the composer's heritage, firstly, because they go beyond the scope of Vivaldi's performing practice (string instruments); secondly, because before him these instruments were traditionally almost not included in the repertoire. Vivaldi changed this practice, leaving behind 38 solo concertos for bassoon with accompaniment. In addition, the bassoon is used in almost all chamber concerts, where it is usually combined with the timbre of the cello.
Cello
The second most important string instrument for Vivaldi after the violin. About 26 cello concertos were preserved in the composer's creative heritage, which was a great achievement for that time: in the 17th century, the cello was hardly used as a solo instrument, being known as an accompaniment instrument. Vivaldi masterfully revealed the new essence of the instrument, harmoniously showing all facets of its sound, including previously unknown low tones, and developing new techniques for playing it.
Flute
In his work, the composer made varied use of both types of flute that existed at that time: longitudinal and transverse. Before Vivaldi, there were practically no concert works created specifically for the flute. Flutists performed works written for violin or oboe. The composer was one of the first to reveal new expressive possibilities for the sound of the flute in a solo concert. 16 Vivaldi flute concertos have survived.
Oboe
Unlike other relatively "undiscovered" instruments in Vivaldi's compositions, the oboe occupied a place of honor in 17th-century opera orchestras. It was especially often used in “open-air music”. 12 Vivaldi concertos for oboe and orchestra have been preserved, as well as 3 concertos for two oboes. Many of them were published during the composer’s lifetime.
The composer also used instruments such as viola d'amore (6 concertos), clarinet (3 concertos), mandolins (2 concertos for one and two mandolins with orchestra), lute (2 concertos), horns (2 concertos for two horns with orchestra ) and trumpets (1 concerto for two trumpets).
One of the greatest representatives of the Baroque era, A. Vivaldi went down in the history of musical culture as the creator of the instrumental concert genre, the founder of orchestral program music.
Vivaldi was from Venice, where from his youth he became famous as a magnificent virtuoso violinist. He was a little over 20 years old when he was invited to the best of the Venetian conservatories. Vivaldi worked here for more than 30 years, leading the choir and orchestra. According to contemporaries, Vivaldi's orchestra was not inferior to the French court orchestra of Lully. The famous Italian playwright Carlo Goldoni wrote in his memoirs that Vivaldi was better known by the nickname “red priest” than by his own. The composer, indeed, took the rank of abbot, but there was little of the clergyman in him. Very sociable, enthusiastic, during the service he could leave the altar to record a melody that came to his mind. The number of works written by Vivaldi is enormous: he composed with truly Mozartian ease and speed in all genres known to his era. But Vivaldi was especially willing to compose concertos; he had an incredible number of them - 43 grosso and 447 solo for a variety of instruments.
Vivaldi can be considered one of the founders of program symphony. Many of his concerts have program titles that explain the content of the music. A striking example is the cycle of four concerts for violin, string quintet and organ (or cymbal) “The Seasons”. In modern performing practice, they are combined into the cycle “Le quattro stagioni” - “The Four Seasons” (there is no such title in the original):
· Concert E-dur “Spring” (La primavera)
· G-moll concert “Summer” (L’estate)
· Concert F major “Autumn” (L’autunno)
· Concert f minor “Winter” (L’inverno)
Programming of concerts. Each of the concerts has a detailed literary program, set out in 4 sonnets: “Spring”, “Summer”, “Autumn”, “Winter”. Perhaps their author was Vivaldi himself (the exact authorship has not been established). In addition to sonnets, individual musical episodes of the “Seasons” cycle are preceded by explanatory remarks commenting on the content of the music. So, for example, in the first part of “Winter,” where the composer reaches the heights of artistic depiction, the stage directions explain that what is being depicted here is how teeth chatter from the cold, how they stamp their feet to keep warm.
The concerts have a lot of genres and bright sound and visual details. Here there are not only peals of thunder and gusts of wind, but also the barking of dogs, the buzzing of flies, the roar of a wounded animal, and even the image of tipsy villagers with their unsteady gait. From the very first part of “Spring” the music is filled with the “joyful singing” of birds, the cheerful murmur of a brook, the gentle whiff of marshmallows, which is replaced by a thunderstorm. “Summer” vividly depicts the assertive “rolls of thunder.” “Autumn” conveys the mood of folk festivities and celebrations. In “Winter,” the ostinato “beat” of eighth notes masterfully conveys the feeling of the piercing winter cold.
Structure of concerts. In each of the concerts of the “Seasons” cycle, the slow movements are written in a parallel (relative to the main) key. Their music stands out for its calm picture quality after the dynamic Allegri.
Theme "Seasons" in music. The theme of the seasons has always been popular in art. This is explained by several factors. Firstly, it made it possible to use the means of this particular art to capture events and affairs that were most characteristic of a particular time of year. If we consider that all 4 concerts are three-part, then a parallel with the 12 months of the year is not excluded. Secondly, it has always been endowed with a certain philosophical meaning: the change of seasons was considered in the aspect of changing periods of human life, and in this aspect, spring, that is, the awakening of natural forces, personified the beginning and symbolized youth, and winter - the end of the path - old age. An allusion to the four regions of Italy, corresponding to the four cardinal directions, is also possible.
The history of music knows four famous interpretations of the theme of the seasons. These works are called “Seasons”. This is a cycle of concerts by Vivaldi, an oratorio by Haydn (1801), a cycle of piano pieces by P. I. Tchaikovsky (1876), and a ballet by A. K. Glazunov (1899).
Concert "Spring".
Spring is coming! And a joyful song
Nature is full. Sun and warmth
Streams are babbling. And holiday news
Zephyr spreads like magic.
Suddenly velvet clouds roll in,
Heavenly thunder sounds like good news.
But the mighty whirlwind quickly dries up,
And the twitter floats again in blue space.
The breath of flowers, the rustle of grass,
Nature is full of dreams.
The shepherd boy is sleeping, tired for the day,
And the dog barks barely audibly.
Shepherd bagpipe sound
The buzzing sound spreads over the meadows,
And the nymphs dancing the magic circle
Spring is colored with wondrous rays.
The first part of this concert illustrates the first two quatrains, the second part illustrates the third quatrain, and the finale illustrates the last.
First part of the concert opens with an unusually joyful motif, illustrating the rejoicing caused by the arrival of spring - “Spring is coming!”; the whole orchestra plays (tutti). This motive (each time performed by the entire orchestra and soloist), in addition to framing this part, sounds several more times during the part, being a kind of refrain, which gives the entire piece a rondo-like shape. Followed by episodes, illustrating the following lines of the sonnet. In these cases, three soloists play - the main one (let me remind you that all the concertos in this cycle are written for solo violin and orchestra) and the accompanists of the first and second violin groups; all other participants are silent.
The first episode depicts here" Birdsong". The refrain returns. The second episode (after the refrain) illustrates the words of the sonnet about running streams. And again the refrain. Episode three - Thunder("the sky is covered with blackness, spring announces itself with lightning and thunder"). The thunderstorm is replaced by the music of the refrain. In the fourth episode - birds are singing(“Then it (the thunder) died down, and the birds began their beautiful singing again.”) This is by no means a repetition of the first episode - there is a different birdsong here.
The second part (“A Peasant’s Dream”). An example of Vivaldi's amazing wit. Above the accompaniment of the first and second violins and violas (the basses, that is, cellos and double basses, and, therefore, the harpsichord and organ that duplicate them are not played here), hovers the melody of the solo violin. It is she who illustrates the sweet dream of the peasant. Pianissimo sempre (Italian - “very quietly all the time”) all the violins of the orchestra play in a soft dotted rhythm, drawing the rustle of leaves. Vivaldi instructed the violas to depict the barking (or yapping) of a dog guarding the owner’s sleep.
Third part ("Pastoral Dance"). The mood here is full of energy and cheerfulness. It’s amazing how Vivaldi manages to convey so many shades of joy in a small sound space, even a kind of sad joy (in a minor episode)!
Concert "Summer".
The herd wanders lazily in the fields.
From the heavy, suffocating heat
Everything in nature suffers and dries up,
Every living thing is thirsty.
Suddenly a passionate and powerful
Borey, exploding the silence and peace.
It’s dark all around, there are clouds of angry midges.
And the shepherd boy, caught in a thunderstorm, cries.
The poor thing freezes with fear:
Lightning strikes, thunder roars,
And he pulls out the ripe ears of corn
The storm is mercilessly all around.
First part. It was necessary to have the talent and imagination of Vivaldi in order to reflect in the first, that is, fast, part the mood and state of laziness and languor, which are mentioned in the first two quatrains, which are the program of this part. And Vivaldi succeeds brilliantly. " Exhaustion from the heat"- this is the composer’s first remark. There are many breaks, “sighs,” and stops in the musical fabric. Next we hear the voices of birds - first cuckoos, then the goldfinch. First gust of cold north wind represent all the violins of the orchestra (including the soloist), while the violas and basses, according to the notes in the score, have “sharp gusts of wind” and simply “different winds.” But this first gust passes, and the mood of languor from the heat returns (the refrain of this part, the music with which the concert began). But this too passes: only the solo violin and bass remain. The violin has intonations of complaint: this "the shepherd's complaint", Vivaldi explains his intention. And again a gust of wind bursts in.
Second part is wonderfully built on the sharp contrast of the melody, personifying the shepherdess, his fear of the elements of nature, and the menacing rumbles of thunder of the approaching thunderstorm. This is perhaps the most impressive example of dynamic contrast in the music of the pre-Beethoven period - an example that can safely be called symphonic. Vivaldi's stage directions alternate: Adagio e piano (Italian - "slow and quiet") and Presto e forte (Italian - "fast and loud").
The third part is the Storm. Streams of water rush in different directions, depicted by scale-like passages and arpeggios (chords whose sounds are played very quickly one after another, rather than simultaneously), rushing up and down. The integrity of the entire concert is given by certain features of the composition, which are revealed only by carefully listening to the musical fabric of the entire work: for example, in the middle, when fast passages are entrusted to the violas and basses, the violins perform a rhythmic and melodic figure, akin to the episode with “different winds” from the first part .
Concert "Autumn"
The peasant harvest festival is noisy.
Fun, laughter, lively songs!
And Bacchus juice, igniting the blood,
It knocks all the weak off their feet, giving them a sweet dream.
And the rest are eager for a continuation,
But I can no longer sing and dance.
And, completing the joy of pleasure,
The night plunges everyone into the deepest sleep.
And in the morning at dawn they jump to the forest
Hunters, and with them huntsmen.
And, having found the trail, they unleash a pack of hounds,
They drive the beast excitedly, blowing the horn.
Frightened by the terrible noise,
Wounded, weakening fugitive
He runs stubbornly from the tormenting dogs,
But more often he dies in the end.
First part. "Dance and Song of the Peasants"- explains the author's remark at the beginning of the part. The cheerful mood is conveyed by the rhythm, which, by the way, is reminiscent of the rhythm of the first part of “Spring”. The brightness of the images is given by the use of the echo effect, so beloved not only by Vivaldi, but also by all Baroque composers. This is played by the whole orchestra and the soloist along with it. New section of the first part - genre scene "Tipsick"(or "Intoxicated"). The soloist “pouring” wine in passages flowing from the violin; the melodies in the orchestral parts, with their unsteady gait, depict drunken villagers. Their “speech” becomes intermittent and slurred. In the end, everyone falls asleep (the violin freezes on one sound that lasts five bars!). The first part ends with where it began - the jubilant music of a cheerful celebration.
Second part. A small, only two pages of score, the part depicts with sounds the state of sound sleep and a quiet southern night. The way the parts are performed with string instruments gives a special flavor to the sound: Vivaldi instructs musicians to play with mutes. Everything sounds very mysterious and ghostly. When performing this part, special responsibility falls on the harpsichordist: his part is not completely written out by the composer, and it is assumed that the harpsichordist improvises it.
The third part("Hunting"). The musical and poetic genre caccia (Italian - caccia, “hunt”) was cultivated in Italy back in the 14th - 15th centuries. In vocal kachchas, the text described scenes of hunting and pursuit, and the music depicted horse racing, pursuit, and the sound of hunting horns. These elements are also found in this part of the concert. In the middle of the hunt, the music depicts “a shot and the barking of dogs,” as Vivaldi himself explains this episode.
Concert "Winter"
You're shaking, freezing, in the cold snow,
And a wave of north wind rolled in.
The cold makes your teeth chatter as you run,
You beat your feet, you can’t keep warm
How sweet it is in comfort, warmth and silence
Take shelter from bad weather in winter.
Fireplace fire, half asleep mirages.
And frozen souls are full of peace.
In the winter expanse the people rejoice.
He fell, slipped, and rolled again.
And it’s joyful to hear how the ice is cut
Under a sharp skate that is bound with iron.
And in the sky Sirocco and Boreas met,
The battle between them is going on in earnest.
Although the cold and blizzard have not yet given up,
Winter gives us its pleasures.
First part. There really is a very cold atmosphere here. The stage directions explain that what is depicted here is how teeth are chattering from the cold, feet are stamping, the fierce wind is howling and running to keep warm. For the violinist, the greatest technical difficulties are concentrated in this part. Masterfully played, it flies by as if in one breath.
Second part. Here comes the joys of winter. Complete unity of the soloist and the accompanying orchestra. A wonderful aria flows in the style of bel canto. This part is extremely popular as an independent, completely finished work.
The third part. Again a genre scene: ice skating. And who in Italy knows how, or was able to skate in the time of Vivaldi, when there was no artificial ice? Of course, no one. So Vivaldi depicts - in funny “tumbling” passages of the violin - how one can “easily slip and fall” or how “the ice breaks” (if we translate the content of the sonnet literally). But then a warm southern wind (sirocco) blew - a harbinger of spring. And a confrontation unfolds between him and Borey - a stormy dramatic scene. This is the completion - almost symphonic - of "Winter" and the entire cycle of "The Seasons".
One of the greatest representatives of the Baroque era, A. Vivaldi went down in the history of musical culture as the creator of the instrumental concert genre, the founder of orchestral program music. Vivaldi's childhood is connected with Venice, where his father worked as a violinist in St. Mark's Cathedral. The family had 6 children, of whom Antonio was the eldest. Almost no details have been preserved about the composer’s childhood. It is only known that he studied violin and harpsichord.
On September 18, 1693, Vivaldi was tonsured a monk, and on March 23, 1703, he was ordained. At the same time, the young man continued to live at home (presumably due to a serious illness), which gave him the opportunity not to give up his musical studies. Vivaldi was nicknamed the “red monk” for his hair color. It is believed that already in these years he was not too zealous about his duties as a clergyman. Many sources retell a story (possibly apocryphal, but revealing) of how one day during a service the “red-haired monk” hurriedly left the altar to write down a fugue theme that suddenly occurred to him. In any case, Vivaldi's relations with clerical circles continued to strain, and soon he, citing his poor health, publicly refused to celebrate Mass.
In September 1703, Vivaldi began working as a teacher (maestro di violino) at the Venetian charity orphanage "Pio Ospedale delia Pieta". His duties included teaching the violin and viol d'amore, as well as overseeing the preservation of stringed instruments and purchasing new violins. The “services” in the “Pieta” (they can rightfully be called concerts) were the center of attention of the enlightened Venetian public. For reasons of economy, Vivaldi was fired in 1709, but in 1711-16. reinstated in the same position, and from May 1716 he was already the concertmaster of the Pieta orchestra.
Even before his new appointment, Vivaldi had established himself not only as a teacher, but also as a composer (mainly the author of sacred music). In parallel with his work at Pieta, Vivaldi was looking for opportunities to publish his secular works. 12 trio sonatas op. 1 were published in 1706; in 1711 the most famous collection of violin concertos “Harmonic Inspiration” op. 3; in 1714 - another collection called “Extravagance” op. 4. Vivaldi’s violin concertos very soon became widely known in Western Europe and especially in Germany. I. Quantz, I. Mattheson showed great interest in them, the Great J. S. Bach “for pleasure and instruction” personally arranged 9 Vivaldi violin concertos for clavier and organ. During these same years, Vivaldi wrote his first operas “Ottone” (1713), “Orlando” (1714), “Nero” (1715). In 1718-20 he lives in Mantua, where he mainly writes operas for the carnival season, as well as instrumental works for the Mantuan ducal court.
In 1725, one of the composer’s most famous opuses was published, bearing the subtitle “An Experience in Harmony and Invention” (op. 8). Like the previous ones, the collection is composed of violin concertos (there are 12 of them). The first 4 concerts of this opus are named by the composer, respectively, “Spring”, “Summer”, “Autumn” and “Winter”. In modern performing practice, they are often combined into the cycle “Seasons” (there is no such title in the original). Apparently, Vivaldi was not satisfied with the income from the publication of his concerts, and in 1733 he announced to a certain English traveler E. Holdsworth his intention to refuse further publications, since, unlike printed copies, handwritten copies were more expensive. In fact, since then, no new original works by Vivaldi have appeared.
Late 20's - 30's. often called “years of travel” (previously to Vienna and Prague). In August 1735, Vivaldi returned to the post of conductor of the Pieta orchestra, but the management committee did not like his subordinate’s passion for travel, and in 1738 the composer was fired. At the same time, Vivaldi continued to work hard in the opera genre (one of his librettists was the famous C. Goldoni), while he preferred to personally participate in the production. However, Vivaldi’s opera performances were not particularly successful, especially after the composer was deprived of the opportunity to act as director of his operas at the Ferrara theater due to the cardinal’s ban on entering the city (the composer was accused of having a love affair with Anna Giraud, his former student, and refusing "red monk" to serve mass). As a result, the opera premiere in Ferrara was a failure.
In 1740, shortly before his death, Vivaldi went on his last trip to Vienna. The reasons for his sudden departure are unclear. He died in the house of the widow of a Viennese saddler named Waller and was buried in poverty. Soon after his death, the name of the outstanding master was forgotten. Almost 200 years later, in the 20s. XX century Italian musicologist A. Gentili discovered a unique collection of the composer's manuscripts (300 concertos, 19 operas, sacred and secular vocal works). From this time on, a true revival of Vivaldi's former glory begins. The music publishing house Ricordi began publishing the composer's complete works in 1947, and the Philips company recently began implementing an equally grandiose plan - publishing “everything” Vivaldi in recordings. In our country, Vivaldi is one of the most frequently performed and most beloved composers. Vivaldi's creative legacy is great. According to the authoritative thematic-systematic catalog by Peter Riom (international designation - RV), it covers more than 700 titles. The main place in Vivaldi’s work was occupied by the instrumental concerto (about 500 in total preserved). The composer's favorite instrument was the violin (about 230 concerts). In addition, he wrote concertos for two, three and four violins with orchestra and basso continue, concertos for viola d'amore, cello, mandolin, longitudinal and transverse flutes, oboe, bassoon. There are more than 60 concerts for string orchestra and basso continue, sonatas for various instruments. Of more than 40 operas (the authorship of Vivaldi has been accurately established), the scores of only half of them have survived. Less popular (but no less interesting) are his numerous vocal works - cantatas, oratorios, works on spiritual texts (psalms, litanies, “Gloria”, etc.).
Many of Vivaldi's instrumental works have programmatic subtitles. Some of them refer to the first performer (Carbonelli concerto, RV 366), others to the festival during which this or that composition was performed for the first time (“For the Feast of St. Lorenzo”, RV 286). A number of subheadings indicate some unusual detail of performing technique (in the concert entitled “L’ottavina”, RV 763, all solo violins must be played in the upper octave). The most typical titles are those that characterize the prevailing mood - “Rest”, “Anxiety”, “Suspicion” or “Harmonic Inspiration”, “Zither” (the last two are the names of collections of violin concertos). At the same time, even in those works whose titles seem to indicate external pictorial moments (“Storm at Sea”, “Goldfinch”, “Hunting”, etc.), the main thing for the composer always remains the transfer of the general lyrical mood. The score of “The Seasons” is provided with a relatively extensive program. Already during his lifetime, Vivaldi became famous as an outstanding expert on the orchestra, the inventor of many coloristic effects, and he did a lot to develop the technique of playing the violin.
The most prominent representative of the Italian violin art of the 18th century is considered to be the composer, conductor, teacher and violinist Antonio Vivaldi, whose biography and work are still of interest to many professionals and amateurs. In Europe he received recognition during his lifetime.
The work of Antonio Vivaldi is most popular thanks to his instrumental concertos, especially violin concertos. But at the same time, he is considered an unsurpassed master in other genres, such as opera and concerto grosso.
Vivaldi's childhood
For a long time, the composer’s date of birth remained a mystery to biographers, but in the middle of the last century, thanks to found church records, it was established precisely. 1678 in Venice, the first child of Antonio Vivaldi in the family of the barber Giovanni. His biography is still full of secrets and contradictions. Due to frailty and the threat of death, the boy was baptized by a midwife on his birthday.
The child’s talent manifested itself early; already at the age of ten, Antonio replaced his father during periods of his absence in the cathedral chapel. The child’s first essay appeared at the age of thirteen. It was the boy’s parent who became his first teacher, and influenced his choice of career.
Early years
At fifteen and a half years old, he received the lower degree of priesthood, according to which he had the right to open the gates of the church. A few years later, Antonio earned the title of priest, as well as the right to serve mass. At this time he gained fame as a virtuoso violinist. But a year later he did not want to celebrate Mass due to physical illness, although some of his contemporaries claimed that he was pretending, using this time to write his musical compositions in the sacristy. It was for this behavior that he was excommunicated from the church, which caused a lot of gossip.
Venice "conservatory"
In 1703, Antonio Vivaldi (whose short biography as a priest ended here) was invited to one of the best Venetian conservatories. This was the beginning of the pedagogical and young man.
Finding himself in the midst of brilliant musical traditions, he wrote a large number of works of secular and sacred instrumental music, taught music theory, rehearsed with an orchestra, studied with choristers, and conducted concerts. Due to Antonio's multifaceted and fruitful activities, his conservatory became noticeable among others.
The beginning of the composer's path
In the first years of his work, Antonio Vivaldi, whose biography and work were rich in the composition of a large number of instrumental pieces, appeared before a large public and the musical community as the author of trio sonatas. A little later, the publishing house published 12 more large-form works under one opus. The next one contained the same number of sonatas for violin and harp.
At 33, Vivaldi is gaining fame far beyond the borders of his hometown. At this time, he has a solid salary and becomes the main leader of the pupils’ concert. Danish nobles and even the king listen to his works.
Far beyond the borders of the country, his works are beginning to be performed and published. For the first time in Holland, his opus of twelve concerts for 1, 2 and 4 violins with accompaniment is being published. The best works of this opus are the most performed.
The music of Antonio Vivaldi amazes his contemporaries with its novelty, brightness of sensations and images. His biography during this period becomes richer, and his creative activity becomes more successful.
Opera creativity
Already at the age of 35 he is the main composer of Pieta. This obliges Vivaldi to regularly compose music for students. At the same time, he decides to turn to an unknown genre for himself - opera. For many years to come it will be the most significant area of his activity.
In order to stage his first opera, “The Diversion at the Villa,” in Vincenza, Antonio takes a month’s leave. The production became a success and attracted the attention of the impresarios of Venice. Starting from the next one, over the course of five years, a number of premieres followed, which firmly cemented his fame as an opera composer.
From this moment on, Antonio Vivaldi, whose biography is entering a new creative stage, strives to win the recognition of the widest masses of listeners.
Despite offers from other places, which were very tempting, as well as stunning success in the operatic field, after long holidays he still remained faithful and returned to the Venetian “conservatory”.
Theater creativity
The first two oratorios on Latin texts appear at the same time, when he became passionately interested in the theater. "Judith Triumphant" became one of Vivaldi's best creations.
The students of that time consider it an honor to study with him, but neither they nor the large amount of composing work can distract Antonio from active work in the theater, where he fulfills the order for twelve main arias for the opera “Nero Made Caesar.”
The opera “The Coronation of Darius” was also created for the same theater. In just five years, the composer's fame is growing rapidly and extends beyond the borders of his country far into Europe.
After the first years of an opera tour associated with Venice, composer Antonio Vivaldi decides to change the situation and enters a three-year service with Margrave Phillip von Hesse-Darmstadt, who led the troops of the Austrian Emperor in Mantua.
Service with the Margrave
This period is very significant for Vivaldi: it is he who influences his entire future life. He meets the daughter of a French barber and opera singer Anna Giraud, whom Antonio introduces to everyone as his student. Her sister took care of the composer’s health and became his constant companion.
There were constant complaints from the church for such inappropriate relationships for a clergyman, because the sisters lived in the composer’s house and accompanied him on tour. Subsequently, these relationships will lead to very unfavorable results for the music creator.
At the end of his service, he returned to Venice, but his travels to European capitals continue. Despite the brilliant premieres of the composed operas, contemporaries consider the program concerts, especially “The Seasons,” to be the most striking works.
Last period of life
Antonio Vivaldi's performance (you see his photo in our article) was amazing: it has not become lower, despite His operas being performed on many European stages and having overwhelming success. But at the age of 59 he was overtaken by a terrible blow of fate. The Apostolic Nuncio in Venice, on behalf of Cardinal Ruffo, prohibited the composer from entering one of the Papal States (Ferrara) in the midst of preparations for the carnival.
At that time, this was an unheard of disgrace and entailed complete discredit of both Vivaldi, the clergyman, and material damage. Relations in the Pieta began to deteriorate, and Antonio's music began to be considered outdated due to the emergence of a large number of young creators at that time. He had to leave.
In the "conservatory" he is mentioned for the last time in connection with the sale at extremely low prices of a large number of his musical concerts. After this, the creator leaves his homeland forever.
He died of internal inflammation in Vienna at the age of 63, abandoned and forgotten by everyone.
