Antonio Vivaldi  
Antonio Vivaldi
Antonio Vivaldi, in full Antonio Lucio Vivaldi (born March 4, 1678, Venice, Republic of Venice [Italy]—died July 28, 1741, Vienna, Austria), Italian composer and violinist who left a decisive mark on the form of the concerto and the style of late Baroque instrumental music.

Vivaldi’s main teacher was probably his father, Giovanni Battista, who in 1685 was admitted as a violinist to the orchestra of the San Marco Basilica in Venice. Antonio, the eldest child, trained for the priesthood and was ordained in 1703. His distinctive reddish hair would later earn him the soubriquet Il Prete Rosso (“The Red Priest”). He made his first known public appearance playing alongside his father in the basilica as a “supernumerary” violinist in 1696. He became an excellent violinist, and in 1703 he was appointed violin master at the Ospedale della Pietà, a home for foundlings. The Pietà specialized in the musical training of its female wards, and those with musical aptitude were assigned to its excellent choir and orchestra, whose much-praised performances assisted the institution’s quest for donations and legacies. Vivaldi had dealings with the Pietà for most of his career: as violin master (1703–09; 1711–15), director of instrumental music (1716–17; 1735–38), and paid external supplier of compositions (1723–29; 1739–40).

Soon after his ordination as a priest, Vivaldi gave up celebrating mass because of a chronic ailment that is believed to have been bronchial asthma. Despite this circumstance, he took his status as a secular priest seriously and even earned the reputation of a religious bigot.

Vivaldi’s earliest musical compositions date from his first years at the Pietà. Printed collections of his trio sonatas and violin sonatas respectively appeared in 1705 and 1709, and in 1711 his first and most influential set of concerti for violin and string orchestra (Opus 3, L’estro armonico) was published by the Amsterdam music-publishing firm of Estienne Roger. In the years up to 1719, Roger published three more collections of his concerti (opuses 4, 6, and 7) and one collection of sonatas (Opus 5).

Vivaldi made his debut as a composer of sacred vocal music in 1713, when the Pietà’s choirmaster left his post and the institution had to turn to Vivaldi and other composers for new compositions. He achieved great success with his sacred vocal music, for which he later received commissions from other institutions. Another new field of endeavour for him opened in 1713 when his first opera, Ottone in villa, was produced in Vicenza. Returning to Venice, Vivaldi immediately plunged into operatic activity in the twin roles of composer and impresario. From 1718 to 1720 he worked in Mantua as director of secular music for that city’s governor, Prince Philip of Hesse-Darmstadt. This was the only full-time post Vivaldi ever held; he seems to have preferred life as a freelance composer for the flexibility and entrepreneurial opportunities it offered. Vivaldi’s major compositions in Mantua were operas, though he also composed cantatas and instrumental works.

The 1720s were the zenith of Vivaldi’s career. Based once more in Venice, but frequently traveling elsewhere, he supplied instrumental music to patrons and customers throughout Europe. Between 1725 and 1729 he entrusted five new collections of concerti (opuses 8–12) to Roger’s publisher successor, Michel-Charles Le Cène. After 1729 Vivaldi stopped publishing his works, finding it more profitable to sell them in manuscript to individual purchasers. During this decade he also received numerous commissions for operas and resumed his activity as an impresario in Venice and other Italian cities.

In 1726 the contralto Anna Girò sang for the first time in a Vivaldi opera. Born in Mantua about 1711, she had gone to Venice to further her career as a singer. Her voice was not strong, but she was attractive and acted well. She became part of Vivaldi’s entourage and the indispensable prima donna of his subsequent operas, causing gossip to circulate that she was Vivaldi’s mistress. After Vivaldi’s death she continued to perform successfully in opera until quitting the stage in 1748 to marry a nobleman.

In the 1730s Vivaldi’s career gradually declined. The French traveler Charles de Brosses reported in 1739 with regret that his music was no longer fashionable. Vivaldi’s impresarial forays became increasingly marked by failure. In 1740 he traveled to Vienna, but he fell ill and did not live to attend the production there of his opera L’oracolo in Messenia in 1742. The simplicity of his funeral on July 28, 1741, suggests that he died in considerable poverty.

After Vivaldi’s death, his huge collection of musical manuscripts, consisting mainly of autograph scores of his own works, was bound into 27 large volumes. These were acquired first by the Venetian bibliophile Jacopo Soranzo and later by Count Giacomo Durazzo, Christoph Willibald Gluck’s patron. Rediscovered in the 1920s, these manuscripts today form part of the Foà and Giordano collections of the National Library in Turin.


Instrumental music
Almost 500 concerti by Vivaldi survive. More than 300 are concerti for a solo instrument with string orchestra and continuo. Of these, approximately 230 are written for solo violin, 40 for bassoon, 25 for cello, 15 for oboe, and 10 for flute. There are also concerti for viola d’amore, recorder, mandolin, and other instruments. Vivaldi’s remaining concerti are either double concerti (including about 25 written for two violins), concerti grossi using three or more soloists, concerti ripieni (string concerti without a soloist), or chamber concerti for a group of instruments without orchestra.

Vivaldi perfected the form of what would become the classical three-movement concerto. Indeed, he helped establish the fast-slow-fast plan of the concerto’s three movements. Perhaps more importantly, Vivaldi was the first to employ regularly in his concerti the ritornello form, in which recurrent restatements of a refrain alternate with more episodic passages featuring a solo instrument. Vivaldi’s bold juxtapositions of the refrains (ritornelli) and the solo passages opened new possibilities for virtuosic display by solo instrumentalists. The fast movements in his concerti are notable for their rhythmic drive and the boldness of their themes, while the slow movements often present the character of arias written for the solo instrument.

The energy, passion, and lyricism of Vivaldi’s concerti and their instrumental colour and simple dramatic effects (which are obtained without recourse to contrapuntal artifice) rapidly passed into the general language of music. His concerti were taken as models of form by many late Baroque composers, including Johann Sebastian Bach, who transcribed 10 of them for keyboard instruments. The highly virtuosic style of Vivaldi’s writing for the solo violin in his concerti reflects his own renowned technical command of that instrument.

Several of Vivaldi’s concerti have picturesque or allusive titles. Four of them, the cycle of violin concerti entitled The Four Seasons (Opus 8, no. 1–4), are programmatic in a thoroughgoing fashion, with each concerto depicting a different season of the year, starting with spring. Vivaldi’s effective representation of the sounds of nature inaugurated a tradition to which works such as Ludwig van Beethoven’s Pastoral Symphony belong. Vivaldi also left more than 90 sonatas, mainly for stringed instruments. Their form and style are conventional by comparison with the concerti, but they contain many fluent, attractive works.

Caricature of Antonio Vivaldi by Pier Leone Ghezzi in 1723. Text translates to "The Red Priest, composer of music who made the opera at the Capranica of 1723."


Vocal music
More than 50 authentic sacred vocal compositions by Vivaldi are extant. They range from short hymns for solo voices to oratorios and elaborate psalm settings in several movements for double choir and orchestra. Many of them exhibit a spiritual depth and a command of counterpoint equal to the best of their time. The mutual independence of voices and instruments often anticipates the later symphonic masses of Joseph Haydn and Wolfgang Amadeus Mozart. As more of this repertory becomes available in modern editions, its reputation seems likely to rise.

The reception of Vivaldi’s secular vocal works has been more problematic. Nearly 50 operas by him have been identified, and 16 survive complete. In their time they were influential works with appealing melodies and inventive orchestral accompaniments. Nevertheless, the general unfamiliarity of 20th-century audiences with Baroque poetry and dramaturgy, which often appear stilted and artificial, has in the past inhibited their appreciation among nonspecialists. Nonetheless, Vivaldi’s Orlando furioso was successfully revived by the Dallas Civic Opera (now Dallas Opera) in 1980 and was issued in CD recording. Vivaldi’s cantatas, numbering nearly 40 works, are more suitable candidates for general revival, though their quality is variable.

Michael Talbot

Encyclopædia Britannica


The son of a baker, Antonio Vivaldi grew up in a simple Venetian home. His father, Giovanni Battista, broke with the family tradition and gave up baking to become a musician, and from 1685 was employed at St Mark's as a violinist.

A career in the church was an attractive escape from poverty and Antonio began training for the priesthood at the age of 15. He simultaneously developed his own skills on the violin and occasionally deputized for his father at St Mark's. In 1703 betook holy orders but after 1705, supposedly because of a chest complaint, he no longer said Mass. (This was to cause him problems later on when in 1737 a production of one of his operas was banned by the papal authorities, describing the composer as a non-practising priest who had an alleged relationship with a female singer.) Also in 1703 Vivaldi became the Maestro di Violino at the Pio Ospedale della Pieta, an orphanage for girls in Venice, where music played an integral part in the curriculum. At the hospice he raised musical standards to a high level; the regular concerts given by the hospice's orchestra, performed behind a "modesty" screen, were extremely popular and, according to a contemporary account, the equal of anything in Paris. Writing in 1740, the traveller Charles de Brasses described the orphanage girls: "They are reared at public expense and trained solely to excel in music. And so they sing like angels ..."

For Vivaldi the appointment was a golden opportunity to develop the concerto form and he produced a large number of works for unusual combinations of instruments as aids to his teaching. Having established himself as a teacher and composer with the publication in 1711 of L'estro annonico (Harmonic inspiration), a collection of concertos for one, two, and four solo violins, Vivaldi also garnered a reputation as a virtuoso violinist of great energy and daring. He became interested in having his works published and arranged for editions to be printed in Amsterdam to give him a professional advantage in northern Europe. Vivaldi was quick to capitalize on his new-found fame with a string of performances and compositions, sometimes altering the dedication of works to flatter illustrious persons passing through Venice. He stopped publishing music when he found it more lucrative to sell direct to visitors.

In 1713 Vivaldi's first opera, Ottone in villa, was performed in Vicenza. This was followed by Orlando, which opened the 1714-15 season at Sant' Angelo, Venice, and subsequently by at least another 40 operas during his career. Around the same time Vivaldi is believed to have composed his Gloria in D, one of a number of sacred works by this prolific composer. Cast in nine movements, the Gloria features solo voices and is full of contrasts in scoring, style, mood, and key.

Vivaldi's one period of work away from Venice was between 1718 and 1720 in the employ of Prince Philip of Hess-Darmstadt at Mantua. In the heartland of northern Italy he worked in the extraordinary splendour of the court with its vast rooms painted with murals, its elaborate Zodiac Hall, and Mall of Rivers. Undoubtedly this environment, rather than the mudflats of the Venetian basin, was the inspiration for Le quattro stagioni (The four seasons). This famous work is part of Vivaldi's Opus 8, which appeared in 1725. Of Vivaldi's 500 concertos, more than 230 are for solo violin, and The four seasons consists of four of them. As in the Gloria, Vivaldi's variety of technique is given free rein. The piece is an early example of programme music (where the music tells a story or depicts a scene). In it Vivaldi employed various instruments to represent, for example, birdsong, a sleeping shepherd, and a barking sheepdog.

After Vivaldi's death his work suffered a rapid decline in popularity and for a long time he was remembered only as a virtuoso musician. In the nineteenth century, however, German research into J.S. Bach revealed that he had transcribed a number of Vivaldi's works for keyboard. Interest in Vivaldi's work was reawakened, and its rich variety and inventiveness became appreciated; in the late twentieth century his music is even more popular than when he was alive.

(Nova Filarmonia Portuguesa, conducted by Rudolf Pribil) - complete

Concerto 1: Spring
Allegro (Danza pastorale)
Concerto 2: Summer
Allegro non molto - Allegro
Adagio - Presto - Adagio
Concerto 3: Autumn
Adagio molto
Concerto 4: Winter
Allegro non molto
Concerto for Violin, Strings and Cembalo in E flat major "Del Ritico"
(Nova Filarmonia Portuguesa, conducted by Rudolf Pribil) - complete

Allegro assai
Concerto Grosso OP. 3/8
(I Solisti Di Zagreb) - complete


Concerto Grosso in D minor
(I Solisti Di Zagreb) - complete


Concerto in A major
(I Solisti Di Zagreb) - complete

Allegro molto
Andante molto

Concerto in G major
(I Solisti Di Zagreb) - complete


Concerto Grosso Op. 3/10
(I Solisti Di Zagreb) - complete

Largo - Larghetto

Sinfonia in C major
(I Solisti Di Zagreb) - complete


Concerto Grosso for Violin and String Orchestra Op. 3/3 in G major
(Camerata Romana, Conductor Eugen Duvier) - complete


Concerto Grosso for Violin and String Orchestra Op. 3/6 in A minor
(Camerata Romana, Conductor Eugen Duvier) - complete


Concerto Grosso for Violin and String Orchestra Op. 3/9 in D major
(Camerata Romana, Conductor Eugen Duvier) - complete


Concerto Grosso for Violin and String Orchestra Op. 3/12 in E major
(Camerata Romana, Conductor Eugen Duvier) - complete


Concerto Grosso for Violin and String Orchestra Op. 4/2 in E minor
(Camerata Romana, Conductor Eugen Duvier) - complete


  Concerto for Flute and String Orchestra in D major Op. 10/3 "Il Gardellino"
(Camerata Romana, Conductor Eugen Duvier) - complete


The Best of Vivaldi
Published on Feb 6, 2013
The Best of Vivaldi
Performers: I Musici, Felix Ayo

1. SPRING Concerto No.1 in E, Op.8 - Allegro
2. SPRING Concerto No.1 in E, Op.8 - Largo ( 3:33 )
3. SPRING Concerto No.1 in E, Op.8 - Allegro Pastorale ( 6:22 )

4. SUMMER Concerto No.2 in g, Op.8 - Allegro ( 10:27 )
5. SUMMER Concerto No.2 in g, Op.8 - Adagio e piano ( 16:24 )
6. SUMMER Concerto No.2 in g, Op.8 - Presto ( 18:35 )

7. AUTUMN Concerto No.3 in F, Op.8 - Allegro ( 21:33 )
8. AUTUMN Concerto No.3 in F, Op.8 - Adagio molto ( 26:34 )
9. AUTUMN Concerto No.3 in F, Op.8 - Allegro ( 28:58 )

10. WINTER Concerto No.4 in f, Op.8 - Allegro non molto ( 32:19 )
11. WINTER Concerto No.4 in f, Op.8 - Largo ( 35:50 )
12. WINTER Concerto No.4 in f, Op.8 - Allegro ( 38:13 )

13. Concerto for Two Horns RV 538 - Allegro ( 41:48 )
14. Concerto for Two Trumpets - Movt 1 ( 44:32 )
15. Concerto for Two Trumpets Movt 2 ( 47:44 )
16. Concerto for Two Trumpets Movt 3 ( 48:36 )
17. Concerto for Two Violins & Two Cellos - Allegro ( 52:05 )
18. Concerto for Two Violins & Two Cellos - Largo ( 56:18 )

19. Cello Concerto - Allegro ( 58:40 )

20. Concerto Grosso RV 562a - Allegro ( 1:02:03 )

21. Flute Concerto Op.10 - Movt 1 ( 1:07:30 )
22. Flute Concerto Op.10 - Movt 2 ( 1:11:46 )
23. Flute Concerto Op.10 - Movt 3 ( 1:14:27 )

24. Symphony No.1 In C RV 116 - Allegro ( 1:17:40 )
25. Symphony No.1 In C RV 116 - Andante ( 1:20:27 )
26. Symphony No.1 In C RV 116 - Presto ( 1:23:39 )

27. Concerto In G Major - Allegro ( 1:24:48 )
28. Concerto In G Major - Andante ( 1:29:00 )
29. Concerto In G Major - Allegro ( 1:34:07 )

30. Bassoon Concerto RV489 - Allegro ( 1:37:43 )
31. Bassoon Concerto RV563 - Allegro ( 1:41:09 )

32. Lute Concerto - Movt 1 ( 1:43:49 )
33. Lute Concerto - Movt 2 ( 1:47:51 )
34. Lute Concerto - Movt 3 ( 1:53:00 )

35. Storm at Sea - Presto ( 1:55:22 )
Antonio Vivaldi - I Solisti Veneti
Antonio Vivaldi - I Solisti Veneti
Antonio Vivaldi - The Four Seasons
Antonio Vivaldi The Four Seasons Full HD (Italian: Le quattro stagioni) is a set of four violin concertos by Antonio Vivaldi Full Concert. Composed in 1723, The Four Seasons is Vivaldi's best-known work, and is among the most popular pieces of Baroque music. The texture of each concerto is varied, each resembling its respective season. For example, "Winter" is peppered with silvery pizzicato notes from the high strings, calling to mind icy rain, whereas "Summer" evokes a thunderstorm in its final movement, which is why the movement is often dubbed "Storm."
The concertos were first published in 1725 as part of a set of twelve concerti, Vivaldi's Op. 8, entitled Il cimento dell'armonia e dell'inventione (The Contest between Harmony and Invention). The first four concertos were designated Le quattro stagioni, each being named after a season. Each one is in three movements, with a slow movement between two faster ones. At the time of writing The Four Seasons, the modern solo form of the concerto had not yet been defined (typically a solo instrument and accompanying orchestra). Vivaldi's original arrangement for solo violin with string quartet and basso continuo helped to define the form.

Die Vier Jahreszeite, Les Quatre Saisons compléter completare all movements
English Chamber Orchestra

Antonio Vivaldi - The Four Seasons, Op 8, N. 1 RV 269-1 - Allegro - Spring
Antonio Vivaldi - The Four Seasons, Op 8, N. 1 RV 269-2 - Largo - Spring
Antonio Vivaldi - The Four Seasons, Op 8, N. 1 RV 269-3 - Allegro - Spring
Antonio Vivaldi - The Four Seasons, Op 8, N. 2 RV 315-1 - Allegro Non Molto - Allegro - Summer
Antonio Vivaldi - The Four Seasons, Op 8, N. 2 RV 315-2 - Adagio - Summer
Antonio Vivaldi - The Four Seasons, Op 8, N. 2 RV 315-3 - Presto - Summer
Antonio Vivaldi - The Four Seasons, Op 8, N. 3 RV 293-1 - Allegro - Autumn
Antonio Vivaldi - The Four Seasons, Op 8, N. 3 RV 293-2 - Molto Adagio - Autumn
Antonio Vivaldi - The Four Seasons, Op 8, N. 3 RV 293-3 - Allegro - Autumn
Antonio Vivaldi - The Four Seasons, Op 8, N. 4 RV 297-1 - Allegro Non Molto - Winter
Antonio Vivaldi - The Four Seasons, Op 8, N. 4 RV 297-2 - Largo - Winter
Antonio Vivaldi - The Four Seasons, Op 8, N. 4 RV 297-3 - Allegro - Winter

Le quattro stagioni The Four Seasons (Vivaldi) Die Vier Jahreszeiten Las Cuatro Estaciones Classical Music compléter ganze Konzert von Vivaldi Full Concert Complete Music all movements greatest hits
Vivaldi - Gloria
Art director V. Martirosyan

Art director R. Mlkeyan

soprano M. Galoyan
soprano H. Harutyunova
mezzo-soprano N. Ananikyan

conductor R. Mlkeyan

Vivaldi : La Follia
Antonio Lucio Vivaldi - Concerti per viola d'amore - Fabio Biondi
Europa Galante

Fabio Biondi, viola d'amore & direction
Andrea Rognoni, violin
Fiorenza de Donatis, violin
Stefano Marcocchi, viola
Maurizio Naddeo, cello
Patxi Montero, violone
Giangiacomo Pinardi, theorbo
Paola Poncet, harpsichord
Marco Cera, oboe
Guido Campana, oboe
Dileno Baldin, horn
Brunello Gorla, horn
Maurizio Barigione, bassoon

A.Vivaldi Concerti per Fagotto I., Sergio Azzolini
A.Vivaldi Concerti per Fagotto I., Sergio Azzolini

in G major, RV 493 0:00
in G minor, RV 495 9:10
in C major, RV 477 18:54
in F major, RV 488 30:57
in B flat major, RV 503 40:08
in C major, RV 471 51:16
in E minor, RV 484 1:02:16

L'Aura Soave Cremona
Diego Cantalupi Conductor

Antonio Vivaldi - Mandolin Concerti
Ugo Orlandi, Dorina Frati; Claudio Scimone: I Solisti Veneti
Vivaldi Oboe Concertos RV 447, RV450, RV451, RV457, RV455, RV453, RV463
1. Concerto in C major, RV 447: Allegro non molto 0:00
2. RV 447: Larghetto
3. RV 447: Minuetto
4. Concerto in F major, RV 455: Allegro 15:02
5. RV 455: Largo
6. RV 455: Allegro
7. Concerto in C major, RV 451: Allegro molto 23:48
8. RV 451: Largo
9. RV 451: Allegro
10. Concertoin A minor, RV 463: Allegro 33:10
11. RV 463: Largo
12. RV 463: Allegro
13. Concerto F major, RV 457: Allegro non molto 43:06
14. RV 457: Andante
15. RV 457: Allegro molto
16. Concerto in D major, RV 453: Allegro 53:10
17. RV 453: Largo
18. RV 453: Allegro
19. Concerto in C major, RV 450: Allegro molto 1:01:48
20. RV 450: Larghetto
21. RV 450: Allegro

Alfredo Bernardini Oboe and Conducting
Zefiro Ensemble

Painting: Lucretia by Jacopino del Conte 1510-1580

Vivaldi - Concerti di Parigi
Concerto V In Do Maggiore RV 114 0:00
Concerto III In Do Minore RV 119 5:37
Concerto X In Re Maggiore RV 121 10:22
Concerto IV In Fa Maggiore RV 136 15:22
Concerto I In Sol Minore RV 157 19:54
Concerto IX In Si Bemolle Maggiore RV 164 25:28
Concerto XI In Sol Maggiore RV 150 29:17
Concerto VIII In Re Minore RV 127 33:18
Concerto VII In La Maggiore RV 160 36:51
Concerto VI In Sol Minore RV 154 41:22
Concerto II In Mi Minore RV 133 47:12
Concerto XII In La Maggiore RV 159 53:03

Modo Antiquo
Federico Maria Sardelli

Antonio Vivaldi 6 Violin Concertos for Anna Maria
Vivaldi Concerti Per Vari Strumenti
Concerto for 2 clarinets,2 oboes, strings & continuo in C major, RV 559 0:00

Bassoon Concerto, for bassoon, strings & continuo in A minor, RV 497 11:32

Concerto for 2 violins,2 recorders,2 oboes,bassoon, strings&continuo in D minor, RV 566 21:19

Double Oboe Concerto for 2 oboes, strings & continuo in C major, RV 534 29:28

Double Concerto, for violin & oboe, strings & continuo in B flat major, RV 548 38:07

Oboe Concerto, for oboe, strings & continuo in D minor, Op. 8/9, RV 454 46:59

Concerto for 2 clarinets, 2 oboes, strings & continuo in C major, RV 560 54:41

Orchestra Barocca Zefiro
Alfredo Bernardini

Antonio Vivaldi - La Serenissima
Vivaldi - Complete Cello Concertos (Ofra Harnoy)
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