Antonio Vivaldi was the creator of the genre. Interpretation of the genre of the instrumental concert in the works of antonio vivaldi. He was driven to death in the dark thicket

Vivaldi's inimitable style revolutionized the European musical world of the early 18th century. Vivaldi's work is the quintessence of all the best that Italian art has achieved by the beginning of the 18th century. This brilliant Italian made the whole of Europe talk about “great Italian music”.

During his lifetime, he received recognition in Europe as a composer and violin virtuoso, who approved a new, dramatized, so-called "Lombard" style of performance. He is known as a composer who can create a three-act opera in five days and compose many variations on one theme. He is the author of 40 operas, oratorios, more than 500 concerts. Vivaldi's work had a huge impact not only on contemporary Italian composers, but also on musicians of other nationalities, primarily German. It is especially interesting here to trace the influence of Vivaldi's music on I.S. Bach.

Vivaldi wrote music in the Baroque style. The word "baroque" in translation from the Italian language sounds like a strange, bizarre. The Baroque era has its own temporary boundaries - this is the 17th century and the first half of the 18th century (1600-1750). The Baroque style influenced not only the fashion of that time, it dominated all art: in architecture, painting and, of course, in music. Baroque art has a passionate character: splendor, brightness, emotionality.
Vivaldi entered the history of music as the creator of the genre of the instrumental concert. It was Vivaldi who gave it its traditional three-part form. Out of three concerts, he also created a work of a larger form, reminiscent of a modern symphony. One of the first works of this kind was his work "The Four Seasons", written around 1725. The truly innovative cycle The Four Seasons was well ahead of its time, anticipating the search for program music by romantic composers of the 19th century.

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Antonio Vivaldi was born in Venice on March 4, 1678. His father Giovanni Battista (nicknamed "Red" for his fiery hair), the son of a baker from Brescia, moved to Venice around 1670. There for some time he worked as a baker, and then mastered the profession of a barber. In his spare time earning his daily bread, Giovanni Battista played the violin. And he turned out to be such a gifted musician that in 1685 the famous Giovanni Legrenzi, conductor of the Cathedral of St. Mark, took him to serve in his orchestra.

Vivaldi's house in Venice

The first and most famous of the six children of Giovanni Battista Vivaldi and Camilla Calicchio, Antonio Lucio, was born prematurely due to a sudden earthquake. The boy's parents saw the birth of a new life under such strange circumstances as a sign from above and decided that Antonio should become a priest.

From birth, Antonio had a serious illness - a squeezed chest, asthma tormented him all his life, suffered from fits of suffocation, could not climb stairs and walk. But a physical disability could not affect the boy's inner world: his imagination truly knew no barriers, his life was no less bright and colorful than that of others, he just lived in music.

When the future great composer was 15 years old, he was shaved off the tonsure (a symbol of the crown of thorns), and on March 23, 1703, twenty-five-year-old Antonio Vivaldi was ordained. However, he did not feel in himself a sincere desire to be a priest. Once, during a solemn mass, the "red-headed priest" could not wait for the end of the service and left the altar in order to capture on paper in the sacristy an interesting idea that came to his mind about a new fugue. Then, as if nothing had happened, Vivaldi returned to his "workplace". It ended with the fact that he was forbidden to celebrate Mass, which the young Vivaldi, perhaps, was only happy about.

From his father, Antonio inherited not only hair color (quite rare among Italians), but also a serious love for music, especially for playing the violin. Giovanni Battista himself gave his son his first lessons and took him to his place in the orchestra of the Cathedral of St. Brand. Antonio studied composition, learned to play the harpsichord and flute.

Among the many palaces and churches that adorned Venice, there was a modest abode - the Ospedale della Pieta (literally - hospital of compassion) girls' orphanage, where in September 1703 Vivaldi began to teach music. All music lovers in Europe considered it an honor to visit there and hear the famous orchestra, consisting entirely of orphan girls. This "musical miracle" was directed by Abbot Antonio Vivaldi, who was called Pretro Rosso - Red Monk, Red Priest. The nickname betrayed a cheerful disposition and fiery temperament. And all this despite the fact that maestro Vivaldi was seriously ill all his life and was short of breath when walking.

In 1705, the Venetian publisher Giuseppe Sala published the first collection of sonatas for three instruments (two violins and a bass) by Antonio Vivaldi. The next "portion" of Vivaldi's violin sonatas was published four years later by Antonio Bortoli. Soon, the works of the "red-haired priest" gained immense popularity. In just a few years, Antonio Vivaldi became the most famous violin composer in Europe. Subsequently, Vivaldi's creations were published in London and Paris - the then publishing centers of Europe.

Antonio Lucho Vivaldi

In early 1718 he received an invitation to serve as a conductor at the court in Mantua. The composer stayed here until 1720. And here, in Mantua, Vivaldi met the singer Anna Giraud, the owner of a wonderful contralto. At first she was his student, then - the main performer in his operas and, finally, to everyone's indignation, she became his mistress.

Mantua

Returning to Venice, Vivaldi devoted himself entirely to theatrical activities. He tried his hand both as an author and as an impresario. In 1720-1730. Vivaldi is known throughout Italy. His fame reached such proportions that he was even invited to give a concert in front of the Pope himself.

In 1740, Vivaldi finally abandoned his job at Ospedale della Pieta and went to Vienna, to the court of Emperor Charles VI, his longtime and powerful admirer. But the great composer's bright plans were not destined to come true. Arriving in Vienna, he no longer found the monarch alive. In addition, by this time, Vivaldi's popularity had declined. The preferences of the public changed, and baroque music quickly found itself on the fringes of fashion.

The sixty-three-year-old musician, who had never been in good health, could not recover from these blows of fate and fell ill with an unknown disease.

Vivaldi died on July 28, 1741 in Vienna from "internal inflammation" (as it was written in the funeral protocol), in the arms of his student and friend Anna Giraud. The funeral was modest: only a few bells sounded, and the procession consisted only of people hired to carry the coffin.

After his death, the musical legacy of Antonio Vivaldi was in oblivion for almost 200 years. Only in the twenties of the twentieth century, an Italian musicologist accidentally discovered a collection of Vivaldi's manuscripts. It contained 19 operas and more than 300 instrumental compositions, as well as a large number of works of vocal and sacred music. From that time on, the revival of the former glory of this once widely known composer began.

Details Category: European classical music of the 17th-18th centuries Published on 14.12.2018 18:21 Hits: 524

The works of Antonio Vivaldi are popular all over the world. But it was not always so.

During his lifetime (during the first half of the 18th century) the composer was widely known, he was known as the creator of a solo instrumental concert. Contemporaries called him "a great, unsurpassed, delightful writer." Vivaldi's concerts served as a model even for composers such as I.S. Bach, P. Locatelli, D. Tartini, J.-M. Leclair and others. In the era of musical baroque, these were well-known names. Bach even rearranged 6 Vivaldi's violin concertos for the clavier, made organ concertos of 2, and reworked one for 4 claviers - so much was Vivaldi's music admired for its clarity and harmony, perfect violin technique, melody.

Supposed portrait of Vivaldi
But some time passed, and Vivaldi was almost forgotten. His works cease to be performed, even the features of his appearance are soon forgotten: until now, his portraits are considered only supposedly belonging to him. And only in the middle of the XX century. unexpectedly, an interest arose in his work, including in his biography, about which little is known. What was the reason for this renewed interest? Apparently, real art, even temporarily forgotten, cannot lie hidden for a long time - gold will shine anyway. But perhaps Vivaldi was simply ahead of his time, and after his death, his contemporaries could not accept his music at his level. The Austrian scientist Walter Collender argued exactly this: Vivaldi was ahead of the development of European music by several decades in the use of dynamics and purely technical techniques of violin playing. Thus, in our days, his art has received a second life.

Vanessa Mae, British violinist of Chinese-Thai descent, masterly performs Vivaldi's works in a modern arrangement

From the biography of Antonio Vivaldi

Vivaldi spent his childhood in Venice, where in the Cathedral of St. Mark worked as a violinist by his father. Antonio was the eldest child in a family of 6 children. Very few details have survived about the composer's childhood, but it is known that he learned to play the violin with his father. Then he learned to play the harpsichord. It is also known that Antonio had poor health since childhood, he suffered from bronchial asthma. But, despite this, Vivaldi was an extremely active person and musician. He loved travel, was constantly on endless journeys, but at the same time he managed to direct the productions of his operas, discuss roles with singers, conduct extensive correspondence, conduct orchestras, teach, and most importantly, write a huge number of works. In March 1703, Vivaldi was ordained and became a priest. For the color of his hair he was nicknamed "the red-haired monk." It is believed that due to his health condition, Vivaldi served only a few masses and soon abandoned it, although he continued to compose sacred music.
In September 1703, Vivaldi began working as a teacher at the Pio Ospedale delia Pieta, a Venetian charity orphanage for girls.

Conservatory "Pieta" in Venice

Children's shelters (hospitals) at churches were then called conservatories. Here he taught girls to play the violin and viola d "cupid, and also oversaw the preservation of stringed instruments and the purchase of new violins. The concerts of his wards were very popular among the enlightened Venetian public. The famous French traveler de Brosses left the following description of the Venetian conservatories:" Excellent here the music of hospitals. There are four of them, and they are filled with illegitimate girls, as well as orphans or those who cannot be raised by their parents. They are brought up at the expense of the state and they are taught mainly music. They sing like angels, play the violin, flute, organ, oboe , cello, bassoon, in a word, there is no such bulky instrument that would make them intimidated. 40 girls participate in each concert. I swear to you, there is nothing more attractive than to see a young and beautiful nun, in white clothes, with bouquets of pomegranate flowers on her ears, beating the beat with all grace and precision. "
Vivaldi's violin concertos gained wide popularity in Western Europe and especially in Germany. As we have already said, JS Bach “for pleasure and instruction” transcribed Vivaldi's violin concertos for clavier and organ with his own hand. During these years, Vivaldi wrote his first operas "Otton" (1713), "Orlando" (1714), "Nero" (1715). In Mantua in 1718-1720 he mainly writes operas for the carnival season, as well as instrumental compositions for the ducal court.
By 1717 Vivaldi was already a famous performer, composer and teacher, some of his students became famous musicians, one of them - Anna Giraud.
In 1725, one of the composer's most famous opuses, The Experience of Harmony and Invention (op. 8), was published. The collection is composed of 12 violin concertos. The first 4 concerts are named by the composer "Spring", "Summer", "Autumn" and "Winter". Later they were combined into the cycle "Seasons" (this is not the author's name). Four violin concertos "The Seasons", which are part of the cycle "The Dispute of Harmony with Invention", are considered the most famous and performed works.
In 1740, shortly before his death, Vivaldi went on his last trip to Vienna, where he died in the house of the widow of a Viennese saddler and was buried as a beggar. The exact date of Vivaldi's death is also unknown - most sources indicate 1743. And then his name was forgotten.

Musical heritage of Antonio Vivaldi

Almost 200 years later, the Italian musicologist A. Gentili discovered a unique collection of the composer's manuscripts, which consisted of 300 concerts, 19 operas, sacred and secular vocal compositions. A true revival of Vivaldi's former glory has begun
In Russia, Vivaldi is one of the most beloved composers. It is often performed, and Vivaldi's creative heritage is enormous: more than 700 titles. Of these, about 500 concerts, including 230 - for the violin, the composer's favorite instrument. He wrote concerts for viola d "cupid, cello, mandolin, longitudinal and transverse flutes, oboe, bassoon. He created more than 60 concerts for string orchestra and basso continue, sonatas for various instruments and more than 40 operas (only half of In addition, there are numerous vocal works by Vivaldi: cantatas, oratorios, spiritual works. violin.
Of the five alleged portraits of the great composer, the earliest is considered the most reliable, created by P. Ghezzi in 1723.

P.L. Ghezzi "The Red Priest" (caricature of Vivaldi, 1723)
His student Penscherl ends his description of the teacher as follows: “This is how Vivaldi is drawn to us when we combine all the individual information about him: created from contrasts, weak, sick, and nevertheless alive like gunpowder, ready to get irritated and immediately calm down, move from worldly vanity to superstitious piety, stubborn and at the same time accommodating when needed, a mystic, but ready to go down to earth when it comes to his interests, and not a fool at all when organizing his affairs. "
The same can be said about his music: in it, high spirituality is combined with a thirst for life impressions, the high is mixed with everyday life - the singing of birds, the song of peasants, the murmur of a spring brook, the rolling of thunder ... His music is distinguished by sincerity, freshness, spontaneity and special lyricism. This is what has attracted numerous performers and listeners to his music for over 200 years.

Antonio Vivaldi (1678-1741) - one of the most prominent representatives of the Baroque era. He was born in Venice, where he first studied with his father, the violinist of the St. Mark, then trained by Giovanni Legrenzi. He gave concerts in various European countries, with great enthusiasm he was engaged in teaching and staging his own operas. For a long time he was a violin teacher in one of the Venetian orphanages.

For the color of his hair, Vivaldi was nicknamed the "red priest" (Prete rosso). Indeed, he combined the profession of a musician with the duties of a clergyman, but then was dismissed from him for "unlawful" behavior during a church service. The composer spent his last years in Vienna, where he died in poverty.

Vivaldi's creative heritage covers more than 700 titles: 465 instrumental concerts (of which fifty are grossi), 76 sonatas (including trio sonatas), about 40 operas (one of his librettists was the famous K. Goldoni), cantata and oratorio compositions, including spiritual texts. The main historical significance of his work lies in the creation of a solo instrumental concert.

One of the most sensitive artists of his time, Vivaldi was among the first composers to bring to the fore in art open emotionality, passion (affect), individual lyrical feeling. Under his undoubted influence, the concerto grosso, which was extremely typical of baroque music, faded into the background in the classical era, giving way to recital. The replacement of a group of soloists with one part was an expression of homophonic tendencies.

It was Vivaldi who developed the structure and themes of the late baroque recital. Influenced by the Italian opera overture, he establishes a three-part concert cycle (fast - slow - fast) and arranges the succession of tutti and solo on the basis of a baroque concert form.

The concert form of the Baroque era was based on the alternation of the riturnal (main theme), repeatedly returning and transposed, with episodes based on new melodic themes, figurative material or the motivational development of the main theme. This principle gave it a resemblance to a rondo. The texture is characterized by the contrasts of orchestral tutti and solo, corresponding to the appearance of the ritornelle and episodes.

The first parts of Vivaldi's concerts are energetic, energetic, varied in texture and contrasts. The second parts take the listener to the area of ​​lyrics. It is dominated by song, endowed with features of improvisation. The texture is predominantly homophonic. The finals are brilliant, full of energy, they complete the cycle in rapid, lively movement.

The dynamic 3-part cyclical form of Vivaldi's concerts expressed the artistic ideals of the art of "well-organized contrast". The logic of their figurative development traces the influence of the general aesthetic concept of the Baroque era, which divided the human world, as it were, into three hypostases: Action - Contemplation - Play.

Vivaldi's solo instrumental concert is focused on a small composition of bowed instruments led by a soloist. This can be a cello, viol damour, a longitudinal or transverse flute, an oboe, a bassoon, a trumpet, and even a mandolin or shalme. Nevertheless, the violin is most often the soloist (about 230 concerts). The violin technique of Vivaldi's concerts is varied: impetuous passages, arpeggios, tremolo, pizzicato, double notes (up to the most difficult stretching decimals), scordatura, the use of the highest register (up to 12th position).

Vivaldi became famous as an outstanding connoisseur of the orchestra, the inventor of many color effects. With a keen sense of sonic flavor, he freely turned to many instruments and their combinations. He used oboes, French horns, bassoons, trumpets, the English horn not as duplicate voices, but as independent melodic instruments.
Vivaldi's music absorbed the elements of colorful Venetian musical folklore, rich in melodious canzones, barcaroles, incendiary dance rhythms. The composer especially willingly relied on the Sicilian, making extensive use of the 6/8 size typical for Italian folk dances. Applying often the chord-harmonic warehouse, he skillfully used polyphonic methods of development.

Releasing his concerts in series of 12 or 6 pieces, Vivaldi also gave general designations for each of the series: “Harmonious Inspiration” (op. 3), “Extravagance” (op. 4), “Citra” (op. 9).

Vivaldi can be called the founder of programmed orchestral music. Most of his concerts have a specific program. For example: "Hunt", "Storm at Sea", "Shepherdess", "Rest", "Night", "Favorite", "Goldfinch".
Vivaldi's violin concertos soon became widely known in Western Europe and especially in Germany. The great JS Bach “for pleasure and instruction” transcribed nine Vivaldi's violin concertos for clavier and organ with his own hand. Thanks to these musicians, Vivaldi, who had never been to the North German lands, turned out to be in the full sense of the word the "father" of German instrumentalism in the 18th century. Spreading across Europe, Vivaldi's concerts served as examples of the concert genre for contemporaries. Thus, the concerto for the clavier took shape under the undoubted artistic influence of the violin concerto (a convincing example).

Works of the outstanding Italian composer and violinist A. Corelli had a huge impact on European instrumental music of the late 17th - first half of the 18th century, he is rightfully considered the founder of the Italian violin school. Many of the greatest composers of the subsequent era, including J.S.Bach and G.F.Handel, highly regarded Corelli's instrumental works. He proved himself not only as a composer and a wonderful violinist-performer, but also as a teacher (the Corelli school has a whole galaxy of brilliant masters) and a conductor (he was the leader of various instrumental ensembles). Corelli's work and his diverse activities have opened a new page in the history of music and musical genres.

Little is known about Corelli's early life. He received his first music lessons from a priest. After changing several teachers, Corelli finally finds himself in Bologna. This city was the birthplace of a number of remarkable Italian composers, and their stay there apparently had a decisive influence on the future fate of the young musician. In Bologna, Corelli studies under the guidance of the renowned teacher G. Benvenuti. The fact that even in his youth Corelli achieved outstanding success in the field of violin playing is evidenced by the fact that in 1670 at the age of 17 he was admitted to the famous Bologna Academy. In the 1670s. Corelli moves to Rome. Here he plays in various orchestral and chamber ensembles, directs some ensembles, becomes a church bandmaster. It is known from Corelli's letters that in 1679 he entered the service of Queen Christina of Sweden. As a musician of the orchestra, he also deals with composition - he composes sonatas for his patroness. Corelli's first work (12 church trio sonatas) appeared in 1681. Corelli entered the service of the Roman cardinal P. Ottoboni, where he remained until the end of his life. After 1708, he retired from public speaking and concentrated all his energies on creativity.

Corelli's works are relatively few in number: in 1685, following the first opus, his chamber trio sonatas, Op. 2, in 1689 - 12 church trio sonatas, op. 3, in 1694 - chamber trio sonatas, op. 4, in 1700 - chamber trio sonatas, op. 5, Finally, in 1714, after Corelli's death, his concerti grossi op. 6. These collections, as well as several individual plays, constitute Corelli's legacy. His compositions are intended for stringed instruments (violin, viola da gamba) with the harpsichord or organ as accompanying instruments.

Corelli's work includes 2 main genres: sonatas and concerts. It was in Corelli's work that the genre of the sonata was formed in the form in which it is characteristic of the pre-classical era. Corelli's sonatas are divided into 2 groups: church and chamber. They differ both in the performing composition (in the church sonata it is accompanied by the organ, in the chamber sonata - the harpsichord), and in the content (the church one is distinguished by its strictness and depth of content, the chamber one is close to the dance suite). The instrumental composition for which such sonatas were composed included 2 melodic voices (2 violins) and accompaniment (organ, harpsichord, viola da gamba). Therefore they are called trio sonatas.

Corelli's concerts have also become an outstanding event in this genre. The concerto grosso genre existed long before Corelli. He was one of the forerunners of symphonic music. The idea of ​​the genre was a kind of competition between a group of solo instruments (in Corelli's concerts, this role is played by 2 violins and a cello) with an orchestra: the concert, thus, was built as an alternation of solo and tutti. Corelli's 12 concerts, written in the last years of the composer's life, became one of the brightest pages in instrumental music of the early 18th century. They are now perhaps the most popular work of Corelli.

One of the largest representatives of the Baroque era A. Vivaldi went down in the history of musical culture as the creator of the genre of the instrumental concert, 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 which Antonio was the eldest. There are almost no details about the composer's childhood years. 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 made it possible for him not to leave musical studies. For the color of his hair, Vivaldi was nicknamed "the red-haired monk." It is believed that already in these years he was not too jealous of his duties as a clergyman. Many sources retell the story (perhaps unreliable, but revealing) about how one day during the service the "red-headed monk" hastily left the altar to record the theme of the fugue, which suddenly occurred to him. In any case, Vivaldi's relationship with clerical circles continued to heat up, and soon, citing his poor health, he publicly refused to celebrate Mass.

In September 1703, Vivaldi began working as a teacher (maestro di violino) at the Pio Ospedale delia Pieta, a Venetian charity orphanage. His duties included teaching the violin and viola d'amour, as well as overseeing the safety of stringed instruments and buying new violins. The "services" in "Pieta" (they can rightfully be called concerts) were in the center of attention of the enlightened Venetian public. For reasons of economy in 1709, Vivaldi was fired, but in 1711-16. reinstated in the same position, and since May 1716 he was already concertmaster of the "Pieta" orchestra. Even before the new appointment, Vivaldi 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 is looking for opportunities to publish his secular works. 12 trio sonatas, op. 1 were published in 1706; in 1711 the famous collection of violin concertos "Harmonious inspiration", op. 3; in 1714 - another collection entitled "Extravagance" op. 4. Vivaldi's violin concertos soon became widely known in Western Europe and especially in Germany. I. Kvants, I. Mattezon showed great interest in them, the great JS Bach “for pleasure and instruction” transcribed 9 Vivaldi's violin concertos for clavier and organ with his own hand. During these years, Vivaldi wrote his first operas "Otton" (1713), "Orlando" (1714), "Nero" (1715). In 1718-20. he lives in Mantua, where he writes mainly operas for the carnival season, as well as instrumental compositions for the Mantua ducal court. In 1725, one of the composer's most famous opuses was published, bearing the subtitle "The Experience of Harmony and Invention" (op. 8). Like the previous ones, the collection is made up of violin concertos (there are 12 of them here). 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 "Seasons" cycle (there is no such title in the original). Apparently, Vivaldi was not satisfied with the income from the publications of his concerts, and in 1733 he announced to a certain English traveler E. Holdsworth about his intention to refuse further publications, since, unlike printed copies, handwritten copies were more expensive. Indeed, since then, no new original opuses by Vivaldi have appeared.

Late 20s - 30s often called the "years of travel" (preferable to Vienna and Prague). In August 1735, Vivaldi returned to the post of bandmaster of the Pieta Orchestra, but the governing committee did not like the subordinate's passion for travel, and in 1738 the composer was fired. At the same time, Vivaldi continued to work hard in the genre of opera (one of his librettists was the famous K. Goldoni), while he preferred to personally participate in the production. However, Vivaldi's opera performances did not have much success, especially after the composer was deprived of the opportunity to act as a director of his operas at the Ferrara theater due to the cardinal's ban on entering the city (the composer was charged with a love affair with Anna Giraud, his former student, and refusal "Red-haired monk" to celebrate Mass). As a result, the opera premiere in Ferrara failed.

In 1740, shortly before his death, Vivaldi set off 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 by the name of Waller and was buried beggarly. Soon after his death, the name of the outstanding master was forgotten. Almost 200 years later, in the 20s. XX century the Italian musicologist A. Gentili discovered a unique collection of the composer's manuscripts (300 concerts, 19 operas, sacred and secular vocal compositions). Since that time, a true revival of Vivaldi's former glory begins. In 1947, the Rikordi music publishing house began to publish the complete collection of the composer's works, and the Philips company recently began to implement an equally ambitious idea - the publication of “all” of Vivaldi in the record. In our country, Vivaldi is one of the most frequently performed and most beloved composers. Vivaldi's creative heritage is great. According to the authoritative thematic-systematic catalog of Peter Riom (international designation - RV), it covers more than 700 titles. The main place in Vivaldi's work was occupied by an instrumental concert (in total, about 500 preserved). The composer's favorite instrument was the violin (about 230 concerts). In addition, he wrote concertos for two, three and four violins and orchestra and basso continue, concertos for viola d'amour, cello, mandolin, longitudinal and transverse flutes, oboe, bassoon. More than 60 concerts for string orchestra and basso continue, sonatas for various instruments are known. Of more than 40 operas (the authorship of Vivaldi in respect of which has been accurately established), only half of them have survived. Less popular (but no less interesting) are his numerous vocal compositions - cantatas, oratorios, compositions on spiritual texts (psalms, litanies, "Gloria", etc.).

Many of Vivaldi's instrumental works have programmatic subtitles. Some of them refer to the first performer (Concerto "Carbonelli", RV 366), others - to the holiday during which this or that work was performed for the first time ("For the Feast of St. Lorenzo", RV 286). A number of subtitles indicate some unusual detail in the performing technique (in a concert titled "L'ottavina", RV 763, all solo violins must be played in the upper octave). The most typical titles characterizing the prevailing mood are “Rest”, “Anxiety”, “Suspicion” or “Harmonious Inspiration”, “Citra” (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", "Hunt", etc.), the main thing for the composer is always the transmission of the general lyrical mood. The score "The Four Seasons" is provided with a relatively detailed program. Already during his lifetime, Vivaldi became famous as an outstanding expert on the orchestra, the inventor of many color effects, he did a lot to develop the technique of playing the violin.

Giuseppe Tartini belongs to the luminaries of the Italian violin school of the 18th century, whose art retains its artistic significance to our time. D. Oistrakh

The outstanding Italian composer, teacher, violin virtuoso and music theorist G. Tartini occupied one of the most important places in the violin culture of Italy in the first half of the 18th century. In his art, the traditions originating from A. Corelli, A. Vivaldi, F. Veracini and other great predecessors and contemporaries have merged.

Tartini was born into a noble family. The parents intended their son for the career of a clergyman. Therefore, first he studied at the parish school in Pirano, and then at the Capo d "Istria, where Tartini began to play the violin.

The life of a musician is divided into 2 sharply opposite periods. Windy, incontinent in character, looking for danger - such is he in his youth. Tartini's willfulness made his parents abandon the idea of ​​sending their son along the spiritual path. He goes to Padua to study law. But Tartini also prefers fencing to them, dreaming of the activities of a fencer. In parallel with fencing, he continues to make music more and more purposefully.

A secret marriage to his student, the niece of a prominent clergyman, dramatically changed all of Tartini's plans. The marriage provoked the indignation of his wife's aristocratic relatives, Tartini was persecuted by Cardinal Cornaro and had to go into hiding. His refuge was a Minorite monastery in Assisi.

From this moment began the second period of Tartini's life. The monastery not only sheltered the young rake and became his refuge during the years of exile. Here the moral and spiritual transformation of Tartini took place, and here his true development as a composer began. At the monastery, he studied music theory and composition under the guidance of the Czech composer and theorist B. Chernogorski; he studied the violin on his own, having achieved genuine perfection in mastering the instrument, which, according to his contemporaries, even surpassed the playing of the famous Corelli.

He stayed in the Tartini monastery for 2 years, then for another 2 years he played at the opera house in Ancona. There, the musician met with Veracini, who had a noticeable influence on his work.

Tartini's exile ended in 1716. From that time until the end of his life, with the exception of short breaks, he lived in Padua, leading the orchestra of the chapel in the Basilica of St. Antonio and performing as a solo violinist in various cities in Italy. In 1723, Tartini received an invitation to visit Prague to participate in the musical celebrations of the coronation of Charles VI. This visit, however, lasted until 1726: Tartini accepted an offer to take the position of chamber musician in the Prague chapel of Count F. Kinsky.

Returning to Padua (1727), the composer organized a music academy there, giving a lot of energy to teaching. Contemporaries called him "teacher of nations". Among Tartini's students are such outstanding violinists of the 18th century as P. Nardini, G. Pugnani, D. Ferrari, I. Naumann, P. Lausse, F. Rust and others.

The musician made a great contribution to the further development of the art of playing the violin. He changed the design of the bow, lengthening it. Tartini's own bow mastery, his extraordinary violin singing began to be considered exemplary. The composer has created a huge number of works. Among them are numerous trio sonatas, about 125 concertos, 175 sonatas for violin and harpsichord. It was in the work of Tartini that the latter received further genre and stylistic development.

The vivid imagery of the composer's musical thinking manifested itself in the desire to give programmatic subtitles to his works. The Sonatas "Abandoned Dido" and "The Devil's Trill" became especially famous. The latter was considered by the outstanding Russian music critic V. Odoevsky to be the beginning of a new era in the art of violin. Along with these works, the monumental cycle "The Art of the Bow" is of great importance. Consisting of 50 variations on the theme of Corelli's gavotte, it is a kind of collection of techniques that has not only pedagogical value, but also a high artistic value. Tartini was one of the inquisitive musicians and thinkers of the 18th century, his theoretical views found expression not only in various treatises on music, but also in correspondence with major musical scholars of that time, being the most valuable documents of his era.

20. Suitness as a principle of musical thinking in music of the 17-18 centuries. The structure of the classical suite. (Take any suite and disassemble); (Read the work of Yavorsky).

Suite (French suite, "sequence"). The title implies a sequence of instrumental pieces (stylized dances) or instrumental fragments from opera, ballet, drama music, etc.

Protection of project work

Supervisor:

music teacher

The theme of my project is "Instrumental Concert". I decided to deepen my knowledge about the cycle of Antonio Vivaldi "Seasons". Many literary, pictorial, musical works are associated with images of nature. These are poems by Pushkin, Yesenin, Tyutchev, paintings by Levitan, music by Grieg, Tchaikovsky.

Target my research is to find out: how art and nature are related, what feelings does it evoke in composers and what is the secret of the popularity of Antonio Vivaldi's music?

In the course of work, I solved the following tasks.

Instrumental concert is a piece of music performed by a soloist and an orchestra: the soloist's virtuoso part is opposed to the colorful sound of the orchestra.

In the second half of the 17th century, there were two types of concerts. Concerto grosso and recital.

An outstanding Italian composer, incomparable violin virtuoso, a brilliant conductor who lived at the turn of the XVII-XVIII centuries. He was the creator of the instrumental concert genre. About 450 of his concerts are known.

The Baroque style was characteristic of the era in which Vivaldi lived and worked. The drama in music, the contrast between the choir and the soloist, voices and instruments amazed the audience. Leading baroque instruments were: violin, harpsichord, organ.

In the compositions of Vivaldi's concerts, solo and orchestral parts alternated. The principle of contrast determined the three-part form of the concert.

The pinnacle of Vivaldi's creativity is the Seasons cycle, created in 1723. He combined four concertos for solo violin and string orchestra. Each of them has three parts, depicting three months. In these concerts, the music exactly follows the images of poetic sonnets, which the composer uses to reveal the content of each of the concerts in the cycle: "Spring", "Summer", "Autumn", "Winter". It is assumed that the sonnets were written by the composer himself.

The music has a deep connotation, which is generally characteristic of baroque art. It also refers to the human life cycle: childhood, adolescence, maturity and old age.

Concert "Spring" begins with a cheerful, carefree melody, each note of which speaks of delight in connection with the arrival of spring. Violins wonderfully imitate birdsong. But now - thunder rumbles. The orchestra playing in unison imitates thunder with a formidable impetuous sound. Flashes of lightning sound among violinists in scale-like passages. When the thunderstorm passes, then again in every sound is the joy of the arrival of spring. The birds are singing again, announcing the arrival of spring.

Concert "Summer". The languor from the heat is transmitted by the quiet sound of music, as if the breath of nature itself is heard, drowned out only by the singing of birds. First the cuckoos, then the goldfinch. And suddenly - a gust of cold north wind, the harbinger of a thunderstorm. And then the storm broke. Gusts of wind, flashes of lightning, sounds of melody rapidly follow one another without stopping, and the culmination is the formidable unison of the entire orchestra.

Concert "Autumn" draws a hunt. The music depicts chases, dogs barking, horse races and the sounds of hunting horns, gunshots and the roar of a wounded animal.

V concert "Winter" the composer reaches the heights of artistic expression. Already in the first bars, the feeling of a piercing winter cold is masterfully conveyed. Teeth chattering from the cold, I want to stamp my feet to keep warm, a fierce wind howls.

But in winter there are joys. For example, ice skating. In the entertaining "tumbling" passages of the violin, Vivaldi illustrates how you can slip easily on ice. Vivaldi, using the literary program in his concert, was the founder of program music.

I think that nature often acts as a stimulus for the creativity of an artist, composer, poet, as a source of certain feelings, emotions, moods that they express in their works. The beauty of nature inspires composers, artists, poets to create works of art. In the history of culture, nature has often been the subject of admiration and reflection.

What is the secret of the popularity of Antonio Vivaldi's music?

The Four Seasons concert is associated with the emotional mood of a person. Listening to the composer's music, we understand well what made this person happy and sad, what he was striving for, what he was thinking about and how he perceived the world.

The perception of the surrounding world, which sounds positive and life-affirming in Vivaldi's music. Feelings, thoughts, experiences of a modern person have not changed at all in comparison with the past. That is why his style is recognizable for a wide range of listeners, the music is bright and will never lose its colors. This is probably the secret of the popularity of the music of the composer Antonio Vivaldi.

View document content
"000 Concert Seasons Vivaldi project"

Municipal budgetary educational institution

secondary school number 1

Project work:

(Cycle "The Four Seasons" by Antonio Vivaldi)

Supervisor: Vakulenko Galina Aleksandrovna,

music teacher

Plan:

Introduction ………………………………………………………………………...

Main part…………………………………………………………………

2.1. What is a "concert"? The history of the origin and development of the genre .. ……….

2.2. Features of the music of the Baroque era …………………………………………

2.3. Brief biography of Antonio Vivaldi …………………………………….

2.4. The cycle of concerts "The Four Seasons" by A. Vivaldi ……………………………

2.5. Ballet "The Seasons" to music by Antonio Vivaldi ………………………

Conclusion……………………………………………………………………..

Bibliography……………………………………………………………

I. Introduction

The theme of my project is "Instrumental Concert". I decided to deepen my knowledge about the cycle of concerts by Antonio Vivaldi "The Four Seasons". In the history of culture, nature has often been the subject of admiration and reflection. Very often, a person tried to express in art his sense of nature, his attitude towards it.

Many literary, pictorial, musical works are associated with images of nature. These are poems by A. Pushkin, S. Yesenin, F. Tyutchev, paintings by I. Levitan, music by E. Grieg, P. Tchaikovsky.

Target my research is to find out:

How art and nature are connected, what feelings it evokes in composers.

What is the secret of the popularity of Antonio Vivaldi's music?

To implement the set research goal, it is necessary to solve the following tasks:

1. To study the history of the origin and development of the genre of the concert.

2. To get acquainted with the peculiarities of the Baroque era, in which the genre of the concert arose and the life of the composer Antonio Vivaldi passed.

3. Get acquainted with the work of Antonio Vivaldi.

4. Listen to the Seasons concert, analyze your impressions.

5. Find information on the Internet about the ballet "The Four Seasons" to the music of Vivaldi.

To implement the presented tasks, the following are used methods research:

Search on the Internet for material about the work of the composer Antonio Vivaldi, the Baroque era, the history of the emergence and development of the genre of the concert.

Study and analysis of material on the topic of the project in musical literature.

Search for video recordings of the concert "The Four Seasons" by A. Vivaldi, review and analysis of their impressions.

Analysis of the collected material, its systematization and creation of a presentation for the report

II ... Main part

2.1. What is a "concert"? The history of the emergence and development of the genre.

Concert(from italian concerto- harmony, harmony and from Latin concertare- compete) - a piece of music, most often for one or more solo instruments with an orchestra.

The concert appeared in Italy at the turn of the 16th and 17th centuries as a vocal polyphonic work of church music (sacred concert) and developed from a juxtaposition of choirs that were widely used by representatives of the Venetian school. ( Concertiecclesiastici for double choir by Adriano Banchieri).

Representatives of the Venetian school widely used instrumental accompaniment in a sacred concert, such are, in particular, Lodovico da Viadana's "One Hundred Spiritual Concerts", written in 1602-1611 for 1-4-voice singing with digital bass.

C At the beginning of the 17th century, the principle of "competition" of several solo voices was gradually spreading in instrumental music (in the suite).

In the second half of the 17th century, works appeared based on the contrasting juxtaposition of the orchestra (tutti) and the soloist or group of solo instruments (in the concert grosso) and the orchestra.

The first examples of such concerts belong to Giovani Bononcini and Giuseppe Torelli, but their chamber compositions, for a small cast of performers, were a transitional form from sonata to concert; in fact, the concert took shape in the first half of the 18th century in the work of Arcangelo Corelli and especially Antonio Vivaldi - as a three-part composition with two extreme parts in fast movement and a slow middle part. At the same time, there was also a form of the so-called ripieno concerto (Italian ripieno- full) - without solo instruments; such are the many concerts by Vivaldi and the Brandenburg Concerts by J.S. Bach.

In the concerts of the 1st half of the 18th century, as they are represented in the works of the most prominent representatives of the Baroque, the fast movements were usually based on one, less often on two themes, which were held unchanged in the orchestra as a refrain, the soloist's part was most often of a virtuoso character; concerts in this style were written by Johann Sebastian Bach and Georg Friederich Handel.

In the second half of the 18th century, the classical structure of the concert was formed in the work of the "Viennese classics".

1 part. Allegro in sonata form.

Part 2. Slow, more often in the form of an aria, in 3 parts.

Part 3. Fast, in the form of a rondo or a theme with variations.

This structure was laid by Joseph Haydn and Wolfgang Amadeus Mozart, and later it was established in the work of Ludwig van Beethoven.

The development of the genre of the concert as a piece for one or several (double, triple, quadruple) solo instruments with an orchestra continued in the 19th century in the works of Niccolo Poganini, Robert Schumann, Felix Mendelssohn, Franz Liszt, Pyotr Tchaikovsky and many others. composers. At the same time, in the works of romantic composers, there was a departure from the classical form of the concert, in particular, a one-part concerto of small form and large form was created, in construction corresponding to the symphonic poem, with the characteristic principle of "through development" characteristic of it.

Composers often turned to the genre of the concert in the 20th century: piano concertos by Sergei Rachmaninov, Sergei Prokofiev, Dmitry Shostakovich, Igor Stravinsky are widely known.

During the 18-20 centuries, concerts were created for almost all "classical" European instruments - piano, violin, cello, viola and even double bass.

2.2. Features of the music of the Baroque era.

B arocco- one of the dominant styles in the architecture and art of Europe and Latin America in the late 16th - mid-18th centuries. Presumably derived from Portuguese - a bizarre pearl.

Indeed, it is a pearl in a chain of changing artistic values ​​in painting, architecture, sculpture and music. It was important for a baroque master to capture the divine beauty of life. It was with the rise of the Baroque that music demonstrated its potential in the world of emotional experiences. The Baroque era is considered to be from 1600-1750. During these one and a half centuries, musical works were invented, which still exist today. The origins of the tradition of Baroque art in painting are two great Italian painters - Caravaggio and Annibale Carracci, who created the most significant works in the last decade of the 16th century - the first decade of the 17th century.

Baroque composers worked in a variety of musical genres.Opera , which appeared during the late Renaissance, became one of the main baroque musical forms. One can recall the works of such masters of the genre as Alessandro Scarlatti (1660-1725), Handel, Claudio Monteverdi and others. genreoratorios reached the peak of its development in the works of I.S. Bach and Handel.

Forms of sacred music such asmass and motet , have become less popular, but the formcantatas paid attention to many composers, including Johann Bach. Such virtuoso forms of composition have developed as tokkata and fugue.

Instrumentalsonatas and suites were written for both individual instruments and chamber orchestras.

During these one and a half centuries, music has undergone incredible changes: forms that have existed for more than one century were "invented", a completely new harmonic language was established for many years.

During this period, two types of concerts were formed:

concierto grosso(matching the whole ensemble (tutti) with several instruments);

solo concert(competition of a virtuoso soloist with an orchestra).

Hundreds of works written by Corelli, Vivaldi, Albinoni and

by other composers for one instrument and ensembles, testify to the amazing vitality of the Italian style that conquered all of Europe.

Pieces for keyboards were often written by composers for their own entertainment or as teaching material. Such works are the mature works of I. WITH. Bach, the universally recognized intellectual masterpieces of the Baroque era: The Well-Tempered Clavier, Goldberg Variations and The Art of the Fugue.

2.3. Short biography of Antonio Vivaldi.

Antonio Vivaldi is an outstanding Italian composer, incomparable virtuoso violinist, brilliant conductor who lived at the turn of the 17th and 18th centuries.

Vivaldi was born on March 4, 1678 in Venice into the family of a professional violinist: his father played in St. Mark's Cathedral and also took part in opera productions. The red-haired priest - this is the nickname Antonio Vivaldi received in the memoirs of Carlo Goldoni. Indeed, he was both red-haired and a priest.

At the age of 12, Vivaldi had already replaced his father in the best city orchestra, and at the age of 15 he took the monastic order. At the age of 25, Vivaldi was recognized as the first violinist of his hometown - Venice, ten years later he became one of the most famous composers in Europe.

Antonio received a church education and was preparing to become a priest. But soon after he was ordained a priest (1703), which gave him the right to celebrate Mass on his own, he refused this, citing poor health (he suffered from asthma, which was the result of a chest injury suffered at birth).

In 1703 he was listed as a violin teacher at Ospedal delle Pieta. As a monk, Vivaldi became the musical director of the Ospedalle della Pieta women's conservatory. Then in the conservatories were trained children capable of music from 7 to 18 years old. The main purpose of the conservatories was to train personnel for the opera house: singers, singers, orchestra musicians, composers. Vivaldi taught the pupils singing, playing the harpsichord, violin, flute, general bass and counterpoint (composing music). However, the main thing in his work was the weekly concerts of the conservatory orchestra, or, as they said at the time, the chapels. Only girls played in the orchestra. Under the guidance of Vivaldi, they achieved such mastery that listeners came to their performances from all over Europe. The composer himself performed with the chapel as a solo violinist and composed for this a huge number of concerts, more than 450.

Antonio Vivaldi wrote operas for theaters in Venice (participated in their production). As a virtuoso violinist he gave concerts in Italy and other countries. He spent the last years in Vienna. He died on July 28, 1741, here in Vienna.

2.4. Concert "The Four Seasons" by Antonio Vivaldi.

Imitation of bird voices has been popular among musicians of all times. Thinkers, scientists, musicians looked for the origins of music in the singing of birds. No wonder the nightingale has become one of the symbols of art in general, and comparison with it is a praise for the singer. Baroque composers wrote a lot of beautiful bird music. " "The Swallow" by C. Daken, "The Nightingale in Love" by F. Couperin, "Cuckoos" by A. Vivaldi. The most perfect instrument in the Baroque era was the violin. The violin is the most important instrument of the orchestra, the Cinderella of a modern symphony orchestra. She has a wonderful sound and incredible range. In his works A. Vivaldi showed the brightness and beauty of the violin sound as a solo instrument.

Created in 1723, the composer dedicated four concerts "The Seasons" to winter, spring, summer and autumn. Each of them has three parts, depicting three months.

For each concert, Vivaldi wrote a sonnet as a literary program. The composer's idea, of course, is not limited only to the theme of the changing seasons in nature. The music has a deep connotation, which is generally characteristic of baroque art. This refers to the human life cycle (childhood, adolescence, maturity and old age), and the four Italian regions from east to west, and four quarters of a day from sunrise to midnight, and much more. Nevertheless, the composer uses catchy pictorial musical techniques and is not alien to humor: every now and then we hear a dog barking, buzzing insects, thunderclaps. And the verified form and magnificent melodies made these works masterpieces of high art.

1st CONCERT - "SPRING" (LA PRIMAVERA )

I h.Allegro .

Meeting the arrival of spring with resounding singing,

Birds fly in the blue open spaces

And the splash of the brook is heard, and the rustle of the leaves,

Swaying marshmallows with a breeze.

But then thunder rumbles, and lightning arrows

Heavens send, dressed in sudden darkness,

And that's all - omens of spring days!

The storm has died down, the sky has brightened,

And again a flock of birds is circling above us,

Chilling the air with merry singing.

II h... Largo e pianissimo.

Among flowers, with a shepherd dog - a faithful friend,

The shepherd boy lay down; they sleep well

To the rustle of grasses, to the sound of the foliage of a lover,

III h.Allegro .

The sound of bagpipes echoes over the meadow,

Where a round dance of cheerful nymphs is spinning,

Springs with magic light illuminated.

The concert begins with a cheerful, carefree melody, each note of which speaks of delight in connection with the arrival of spring. Violins wonderfully imitate birdsong. But now - thunder rumbles. The orchestra playing in unison imitates thunder with a formidable impetuous sound. Flashes of lightning sound among violinists in scale-like passages. When the thunderstorm passes, then again in every sound is the joy of the arrival of spring. The birds are singing again, announcing the arrival of spring.

The floating melody of the violin solo illustrates the sweet dream of the peasant. All other violins paint the rustle of foliage. Violas depict the barking of a dog guarding the master's sleep. The spring part ends with a pastoral dance.

A riot of energy and a cheerful mood corresponds to the end of spring, the brightness of colors testifies to the awakening of nature. Vivaldi was able to convey the entire palette of natural colors with the sounds of an orchestra, all shades of joy - with passages of violins!

2nd CONCERT - "SUMMER" (LESTATE )

I h.Andantino (introduction)

The flock wanders lazily, the grasses wither,

From the heavy, suffocating heat

All living suffers and languishes.

II h.Allegro .

The cuckoo sings in the silence of the oak forest,

A turtle-dove coos in the garden, and gently

The breezes sigh ... But suddenly the rebellious

Boreas soared, swept like a whirlwind in the sky

And the shepherd boy cries, cursing his lot.

III h.Adagio e piano

He is afraid, hearing distant thunder,

From lightning in fright freezes,

A swarm of ferocious midges torments him ...

IV h.Presto

But here is a thunderstorm, seething streams

Throwing down from steep heights into valleys,

Roars, rages on uncompressed fields,

And the hail beats cruel, at the proud

Plucking off flowers and cereals.

The languor from the heat is transmitted by the quiet sound of music, as if the breath of nature itself is heard, drowned out only by the singing of birds. First the cuckoos, then the goldfinch. And suddenly - a gust of cold north wind, the harbinger of a thunderstorm. The wind carries away the thunderstorm, the mood of exhaustion from the heat returns. The violin conveys the intonation of the complaint. This is the complaint of the shepherd, his fear of the inexorable element of nature. And the wind rushes in again, and the terrible thunderclaps of the approaching thunderstorm. The dynamic contrast of the melodies leaves no doubt, the element is approaching.

Suddenly there is a calm, this is before the storm ... And now the storm is discharged. The heavens open and streams of water spill onto the earth, depicted by gamma-shaped passages. Gusts of wind, flashes of lightning, sounds of melody rapidly follow one another without stopping, and the culmination is the formidable unison of the entire orchestra.

3rd CONCERT - "AUTUMN" (L " AUTUMNO )

I h.Allegro

Invigorating air, clear weather,

Gardens and groves in autumn decoration;

Happy plowman with festive fun

Meets the golden season.

An excellent harvest was harvested on the fields,

The end of the work, the burden has been lifted,

Now is the time for songs, games and dances!

Bacchus is pouring from the barrels a priceless gift,

And who drains the glass to a drop,

He completes bliss with sound sleep.

II h... Adagio ( dream)

III h... Allegro

Horns are blowing, and a pack of hounds prowls;

Hunters in the shade of a dense forest

They follow the trail, overtaking the beast.

Feeling the closeness of impending doom,

The beast rushed like an arrow, but an evil pack

He was driven to death in the dark thicket.

The autumn part begins with the dance and song of the peasants. After the thunderstorm comes the autumn harvest festival. The rhythm of the melodies conveys a cheerful mood. The peasants dance with an unsteady gait, they sing, although it is difficult to distinguish the words.

At the end of the song, the violin freezes, everyone plunges into a serene sleep. Night falls quietly, making sounds mysterious and deceiving.

The autumn hunt begins. The music depicts chases, dogs barking, horse races and the sounds of hunting horns, gunshots and the roar of a wounded animal.

4- th CONCERT - " WINTER"(LINVERNO)

I h... Allegro popmolto

The road spreads like a frosty surface,

And a man with chilled feet

Trampling the path, chattering teeth,

Runs to keep warm at least a little.

II h.Largo

How happy is he who is with warmth and light

He sheltered his native hearth from the winter cold, -

Let the snow and wind be angry out there ...

III h.Allegro

Walking on ice is dangerous, but even in this

Fun for youth; carefully

They walk along the slippery, unreliable edge;

Unable to resist, they fall in full swing

On thin ice - and run away from fear,

Snow covers swirl like a whirlwind;

As if escaped from captivity,

Headwinds are raging, in battle

Ready to rush against each other.

Winter is hard, but the joys of the moment

Sometimes they soften her stern face.

In this concert, the composer reaches the heights of artistic expression. Already in the first bars, the feeling of a piercing winter cold is masterfully conveyed (under the gusts of an icy wind, all living things tremble in the snow).

The end of winter for Vivaldi is at the same time a harbinger of a new spring. Therefore, despite the sadness of the cold period, there is no pessimism either in music or in poetry. The piece ends quite optimistically. Very cold. Teeth chattering from the cold, I want to stamp my feet to keep warm, a fierce wind howls. But in winter there are joys. For example, ice skating. In the entertaining "tumbling" passages of the violin, Vivaldi illustrates how you can slip easily on ice.

But then the south wind blew - the first sign of the approaching spring. And a struggle unfolds between him and the north wind. The victory of the south wind and the onset of spring will sooner or later end this confrontation, but this stormy dramatic scene of the confrontation ends "Winter" and the cycle of the Seasons.

Vivaldi, using the literary program in his concert, was the founder of program music. In the 19th century, program music emerged - a work based on a literary basis.

Program music- a kind of instrumental music. These are musical works that have a verbal, often poetic program and reveal the content imprinted in it.

Concerts in the works of A. Vivaldi were a continuation of the development of the genre of the instrumental concert, having received a complete form, which became a model for subsequent generations of European composers.

2.5. Ballet "The Four Seasons" to music by Antonio Vivaldi.

Music is one of the art forms. Like painting, theater, poetry, it is a figurative reflection of life. Each art speaks its own language. Music - the language of sounds and intonations - has a special emotional depth. It is this emotional side that you felt when listening to A. Vivaldi's music.

Music has a strong effect on the inner world of a person. It can bring pleasure or, on the contrary, cause strong mental anxiety, induce reflection and open to the listener previously unknown aspects of life. It is music that is given to express feelings so complex that sometimes it is impossible to describe them in words.

When a soloist and an orchestra compete in skill, they must certainly play for the audience. It is in this incessant alternation of the sound of the orchestra and the brightly sounding solo violin, in the feeling of theater and discussion, in the harmony and harmony of the musical form, the characteristic features of baroque music are felt.

In 1984 he created a wonderful ballet to everyone's favorite music by Vivaldi. It was performed at the famous St. Mark's Square in Venice. In the absence of theatrical scenery, the Byzantine architecture of the cathedral served as a backdrop. Against the background of ancient stones and architectural forms, the dance acquired new dimensions. In an open area, in the absence of walls, the air is in motion and becomes noticeable and turns on in action. The wind effectively accentuates clothes and body lines.

It is especially impressive in autumn - the sculptural forms of the dancers are not classical calm, but Vivaldian baroque, tense, impetuous, folds of clothes fluttering. In addition, the wind, the constant movement of air rhymes with the general theme - with the movement of time.

The structure of the production is simple and given by the structure of the piece of music. To four concerts (spring, summer, autumn, winter), each in three parts, for a total of 12 numbers, the 13th number was added (again to the music of "Spring") as a finale.

A strict mathematical structure also dictates a strict geometric choreography - both lines and figures are the plot. Vivaldi's music and dance of duets, trios, ensembles merge into a single whole.

III . Conclusion

What is the secret of such popularity of A. Vivaldi? Music - the language of sounds and intonations - has a special emotional depth. It is this emotional side that you felt when listening to A. Vivaldi's music.

What should be the emotional state of a person who perceives nature in this way? In the concert "Spring" it is joy, a feeling of happiness, exultation, triumph, delight. Through a whole range of feelings, the beauty of springtime, the renewal of life, is revealed.

Sonnets play an important role in understanding music. The music follows the images of the poem exactly. A literary text is similar to a musical one and also tells about the state of a person, his feelings caused by the arrival of spring.

Listening to the composer's music, we understand well what made this person happy and sad, what he was striving for, what he was thinking about and how he perceived the world.

How are nature and art related? I think that nature often acts as a stimulus for the creativity of an artist, composer, poet, as a source of certain feelings, emotions, moods that they express in their works (inspires the creation of works of art). The poet is in words, the artist is in color, the composer is in sounds.

The Seasons concert is associated with the emotional mood of humanity. The perception of the surrounding world, which sounds positive and life-affirming in Vivaldi's music. Feelings, thoughts, experiences of a modern person have not changed at all in comparison with the past. That is why his style is recognizable for a wide range of listeners, the music is bright and will never lose its colors. This is probably the secret of the popularity of the music of the composer Antonio Vivaldi.

IV ... Bibliography

Arnoncourt N... Program music - Vivaldi concerts, op. 8 [Text] / N. Arnokur // Soviet music. - 1991. - No. 11. - S. 92-94.

Beletsky I.V... Antonio Vivaldi [Text]: a short sketch of life and work / IV Beletsky. - L .: Music, 1975 .-- 87 p.

Zeyfas N... An old man with an amazing inexhaustible passion for composition [Text] / N. Zeifas // Soviet music. - 1991. - No. 11. - S. 90-91.

Zeyfas N... Concerto grosso in the works of Handel [Text] / N. Zeifas. - M .: Muzyka, 1980 .-- 80 p.

Livanova T... History of Western European music before 1789 [Text]. In 2 volumes. Textbook. T. 1. Up to the 18th century / T. Livanova. - 2nd ed., Rev. and add. - M .: Muzyka, 1983 .-- 696 p.

Lobanova M... Western European Baroque: Problems of Aesthetics and Poetics [Text] / M. Lobanova. - M .: Music, 1994 .-- 317 p.

Raaben L... Baroque music [Text] / L. Raaben // Questions of musical style / Leningrad State. Institute of Theater, Music and Cinematography. - Leningrad, 1978 .-- S. 4-10.

Rosenschild K... History of foreign music [Text]: a textbook for performing. fac. conservatory. Issue 1. Until the middle of the 18th century / K. Rosenschild. - M .: Muzyka, 1969 .-- 535 p.

Solovtsov A.A.... Concert [Text]: popular science literature / A. A. Solovtsov. - 3rd ed., Add. - M .: Muzgiz, 1963 .-- 60 p.

View presentation content
"000 Instrumental Concerts of Vivaldi"

Project work

Performed:

Antonova Sophia

6g grade student

Scientific adviser: Vakulenko G.A.

The goal of the project is to find out:

- how art and nature are related, what feelings does it evoke in composers?

• What is the secret of the popularity of Antonio Vivaldi's music?

Tasks:

1. To study the history of the origin and development of the genre of the concert.

2. To get acquainted with the peculiarities of the Baroque era, in which the genre of the concert arose and the life of the composer Antonio Vivaldi passed.

3. Get acquainted with the work of Antonio Vivaldi.

4. Listen to the Seasons concert, analyze your impressions.

5. Find information on the Internet about the ballet "The Four Seasons" to the music of Vivaldi.

Concerto grosso

Recital

Tool group

and the whole orchestra

Soloist virtuoso

and the whole orchestra

Antonio Lucio Vivaldi

(1678 - 1741)

Epoch of baroque

XVII - XVIII (1600-1750)

• 1st part - fast, energetic, usually without a slow intro

• 2nd part - lyrical, melodious, more modest in size

• 3rd part - finale, agile, brilliant

Antonio Vivaldi"Seasons"

CONCERT - "SPRING"

Meeting the arrival of spring with resounding singing,

Birds fly in the blue open spaces

And the splash of the brook is heard, and the rustle of the leaves,

Swaying marshmallows with a breeze.

But then thunder rumbles, and lightning arrows

Heavens send, dressed in sudden darkness,

And that's all - omens of spring days!

... the storm subsided, the sky brightened,

And again a flock of birds is circling above us,

Chilling the air with merry singing.

CONCERT - "SUMMER"

But here is a thunderstorm, seething streams

Throwing down from steep heights into valleys,

Roars, rages on uncompressed fields,

And the hail beats cruel, at the proud

Plucking off flowers and cereals.

CONCERT - "AUTUMN"

Horns are blowing, and a pack of hounds prowls;

Hunters in the shade of a dense forest

They follow the trail, overtaking the beast.

Feeling the closeness of impending doom,

The beast rushed like an arrow, but an evil pack

He was driven to death in the dark thicket.

CONCERT - "WINTER"

The road spreads like a frosty surface,

And a man with chilled feet

Trampling the path, chattering teeth,

Runs to keep warm at least a little.

Walking on ice is dangerous, but even in this fun for youth; carefully go along the edge slippery, unreliable;

Unable to resist, they fall in full swing on thin ice - and run away from fear, snow covers swirl like a whirlwind;

As if escaped from captivity, headwinds are raging, in battle ready to rush against each other.