Revision Notes: Vol. 4 (Vivaldi)
Vivaldi’s Concerto in D minor, Op.3 No.11:
All Mvts.
BACKGROUND
- Leading Italian composer and virtuoso violinist of the Baroque
period. Also a contemporary of J.S. Bach and Handel.
- Wrote church music and more than 40 operas, though best known
for his music for string orchestra
- Op. 3: Named 'L’Estro Armonico' (Harmonic Inspiration): consists
of 12 concertos and established his reputation across Europe.
Some were arranged for harpsichord and orchestra, and others for
solo organ.
- Previous concertos (Eg. Corelli) had been for the concerto grosso
consisting of a trio sonata group with string orchestra and
continuo. The solo violin concerto was an innovative idea.
, Revision Notes: Vol. 4 (Vivaldi)
Concerto in D minor, Op.3 No.11 (All movements)
STRUCTURE
Point Explanation Reference(s)
FIRST MVT. ALLEGRO: Split into multiple movements Corelli’s Op.6 set
(4):
- Introductory section for 2 - Along the lines of older
unaccompanied solo violins, featuring: concerti (Corelli)
● Canon - HOWEVER, some
● Tonic pedals interpretations of this
- Leads to an ending featuring solo cello work show it to be in 3
& continuo, with descending and movements
ascending sequences - Lies somewhere
between the older
concerti of Corelli &
Torelli and the eventual
later 3-movement
Concerto
- Shows Vivaldi’s
forward-thinking
tendencies
-------------------------------- --------------------------------------
Innovative textural opening: Op.8 No.4, Torelli
- Breaking away from - 2 solo violins, have a
traditional models of similar figuration in same
Corelli (ALTHOUGH key, simple triple time
does remind of one during middle section of
earlier concerti by 2nd mvt.
Torelli)
- Vivaldi not texturally
unique here
--------------------------------- --------------------------------------
Ripieno cello writing: 2nd mvt. Allegro of Op.6 No.11
- Fairly typical in concerto grosso, Corelli
mid-Baroque concerto - Rapid cello obbligato
grosso passage
, Revision Notes: Vol. 4 (Vivaldi)
SECOND MVT.: Vivaldi breaks up 1st half of Sonata da Chiesa models,
the concerto into segments (a Corelli, e.g No.5 in op. 6 set of
Section 1 ‘Adagio e spiccato’ (bars 1-3) canonic Allegro, slow concerti
homophonic adagio and an
- Tutti section lasts only three bars & allegro fugue):
consists entirely of block chords - Recalls earlier works
- Harmonically contrasted through use by Corelli
of more chromaticism - HOWEVER important
(e.g Neapolitan chord) not to overstate
influence of Corelli on
Section 2 ‘Allegro’ (bars 4-73) Vivaldi
- Tutti passage (ritornelli), in which TWO WERE VERY
soloists double orchestra parts DISTINCT COMPOSERS
alternate withe Episodes for the 3 Vivaldi does not imitate
soloists & continuo Corelli’s style
----------------------------------- --------------------------------------
- RITORNELLO 1, 4-20 (Section 1) Opening 3-bar
● Form a Fugal Exposition Adagio is a surprise: Opening movement of 3rd
● Subject played in basso continuo part - Tempo suggests Orchestral Suite, Bach’s
● Distinctive circle of fifths similarities to mvts. Orchestral Suites
● Answer in violas, at the fifth above & is with slow introductions
a real answer, intervals of the subject - Typical in Baroque
are retained music
● Countersubject in basses, features a ----------------------------------- --------------------------------------
sequence (Section 2) Ritornello Form:
● Subject the returns in 2nd violins - Common to many of 1st mvt. , Concerto in A minor
● Second countersubject (descending Vivaldi’s concerti for Two violins RV 522
scale passage in sequence in the ----------------------------------- --------------------------------------
basses) Tutti passages quite
● Followed by the answer in 1st violins, homophonic in texture:
making a four-part polyphonic texture - Depart from the
concerti of earlier more
- EPISODE 1, 23-32 contrapuntal passages
● After a perfect cadence (in tonic key of of Torelli
D minor), there is an episode for the 3 ----------------------------------- --------------------------------------
soloists with continuo accompaniment Ritornello-like structure of
● Episode = a passage of contrapuntal ‘ritornello’ tutti passages Concerto Grossi, Op.8 No.3,
writing in a fugue that has melodic contrasting with solo Torelli, 1709
material that is not a direct statement concertino passages:
of the subject - Established by Torelli
----------------------------------- -------------------------------------
- RITORNELLO 2, 32-48 Relative irregularity of ritornello
● Modulation to the dominant key of length & freedom of treatment Opening mvt. No.2, Brandenburg
Aminor for the next tutti passage of ritornello form: Concerti
● Quickly moves back to the tonic key - Admired by bach - Ritornelli vary in length
● Descending semiquaver scales now from 3 or 5 or 8 bars
become ascending scales ----------------------------------- --------------------------------------
● Cadences in D minor Tonality is used to structure No.4 Brandenburg Concerto,
the ritornello form: 1717-1722
Vivaldi’s Concerto in D minor, Op.3 No.11:
All Mvts.
BACKGROUND
- Leading Italian composer and virtuoso violinist of the Baroque
period. Also a contemporary of J.S. Bach and Handel.
- Wrote church music and more than 40 operas, though best known
for his music for string orchestra
- Op. 3: Named 'L’Estro Armonico' (Harmonic Inspiration): consists
of 12 concertos and established his reputation across Europe.
Some were arranged for harpsichord and orchestra, and others for
solo organ.
- Previous concertos (Eg. Corelli) had been for the concerto grosso
consisting of a trio sonata group with string orchestra and
continuo. The solo violin concerto was an innovative idea.
, Revision Notes: Vol. 4 (Vivaldi)
Concerto in D minor, Op.3 No.11 (All movements)
STRUCTURE
Point Explanation Reference(s)
FIRST MVT. ALLEGRO: Split into multiple movements Corelli’s Op.6 set
(4):
- Introductory section for 2 - Along the lines of older
unaccompanied solo violins, featuring: concerti (Corelli)
● Canon - HOWEVER, some
● Tonic pedals interpretations of this
- Leads to an ending featuring solo cello work show it to be in 3
& continuo, with descending and movements
ascending sequences - Lies somewhere
between the older
concerti of Corelli &
Torelli and the eventual
later 3-movement
Concerto
- Shows Vivaldi’s
forward-thinking
tendencies
-------------------------------- --------------------------------------
Innovative textural opening: Op.8 No.4, Torelli
- Breaking away from - 2 solo violins, have a
traditional models of similar figuration in same
Corelli (ALTHOUGH key, simple triple time
does remind of one during middle section of
earlier concerti by 2nd mvt.
Torelli)
- Vivaldi not texturally
unique here
--------------------------------- --------------------------------------
Ripieno cello writing: 2nd mvt. Allegro of Op.6 No.11
- Fairly typical in concerto grosso, Corelli
mid-Baroque concerto - Rapid cello obbligato
grosso passage
, Revision Notes: Vol. 4 (Vivaldi)
SECOND MVT.: Vivaldi breaks up 1st half of Sonata da Chiesa models,
the concerto into segments (a Corelli, e.g No.5 in op. 6 set of
Section 1 ‘Adagio e spiccato’ (bars 1-3) canonic Allegro, slow concerti
homophonic adagio and an
- Tutti section lasts only three bars & allegro fugue):
consists entirely of block chords - Recalls earlier works
- Harmonically contrasted through use by Corelli
of more chromaticism - HOWEVER important
(e.g Neapolitan chord) not to overstate
influence of Corelli on
Section 2 ‘Allegro’ (bars 4-73) Vivaldi
- Tutti passage (ritornelli), in which TWO WERE VERY
soloists double orchestra parts DISTINCT COMPOSERS
alternate withe Episodes for the 3 Vivaldi does not imitate
soloists & continuo Corelli’s style
----------------------------------- --------------------------------------
- RITORNELLO 1, 4-20 (Section 1) Opening 3-bar
● Form a Fugal Exposition Adagio is a surprise: Opening movement of 3rd
● Subject played in basso continuo part - Tempo suggests Orchestral Suite, Bach’s
● Distinctive circle of fifths similarities to mvts. Orchestral Suites
● Answer in violas, at the fifth above & is with slow introductions
a real answer, intervals of the subject - Typical in Baroque
are retained music
● Countersubject in basses, features a ----------------------------------- --------------------------------------
sequence (Section 2) Ritornello Form:
● Subject the returns in 2nd violins - Common to many of 1st mvt. , Concerto in A minor
● Second countersubject (descending Vivaldi’s concerti for Two violins RV 522
scale passage in sequence in the ----------------------------------- --------------------------------------
basses) Tutti passages quite
● Followed by the answer in 1st violins, homophonic in texture:
making a four-part polyphonic texture - Depart from the
concerti of earlier more
- EPISODE 1, 23-32 contrapuntal passages
● After a perfect cadence (in tonic key of of Torelli
D minor), there is an episode for the 3 ----------------------------------- --------------------------------------
soloists with continuo accompaniment Ritornello-like structure of
● Episode = a passage of contrapuntal ‘ritornello’ tutti passages Concerto Grossi, Op.8 No.3,
writing in a fugue that has melodic contrasting with solo Torelli, 1709
material that is not a direct statement concertino passages:
of the subject - Established by Torelli
----------------------------------- -------------------------------------
- RITORNELLO 2, 32-48 Relative irregularity of ritornello
● Modulation to the dominant key of length & freedom of treatment Opening mvt. No.2, Brandenburg
Aminor for the next tutti passage of ritornello form: Concerti
● Quickly moves back to the tonic key - Admired by bach - Ritornelli vary in length
● Descending semiquaver scales now from 3 or 5 or 8 bars
become ascending scales ----------------------------------- --------------------------------------
● Cadences in D minor Tonality is used to structure No.4 Brandenburg Concerto,
the ritornello form: 1717-1722
