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The seventh part of Vivaldi’s Gloria. Just happen to be singing this in choir this semester. Great piece. :)

“begotten Son, Jesus Christ”

In 1965, Piazzolla began writing Cuatro Estraciones Porteñas, a homage to both the tango and Vivaldi’s The Four Seasons, and completed the work in 1970.

The Cuatro Estaciones Porteñas, also known as the Estaciones Porteñas or The Four Seasons of Buenos Aires, are a set of four tango compositions written by Ástor Piazzolla, which were originally conceived and treated as different compositions rather than one suite, although Piazzolla performed them together from time to time. The pieces were scored for his quintet of violin (viola), piano, electric guitar, double bass and bandoneón. By giving the adjective porteño, referring to those born in Buenos Aires, the Argentine capital city, Piazzolla gives an impression of the four seasons in Buenos Aires.

The Seasons

Verano Porteño (Buenos Aires Summer)
written in 1965[1], originally as incidental music for the play ‘Melenita de Oro’ by Alberto Rodríguez Muñoz.[2]
Invierno Porteño (Buenos Aires Winter)
written in 1969.
Primavera Porteña (Buenos Aires Spring)
written in 1970, contains counterpoint.
Otoño Porteño (Buenos Aires Autumn)
written in 1970.

In 1996-1998, the Russian composer Leonid Desyatnikov made a new arrangement of the above four pieces with more obvious link between Vivaldi and Piazzolla, by converting each of pieces into three-section pieces, and re-arranging for solo violin and string orchestra. In each piece he included several quotations from original Vivaldi’s work but due to seasons being inverted between northern and southern hemispheres, thus, for example, Verano Porteño had added elements of L’inverno (Winter) of Vivaldi.

That time of year folks, enjoy. :)

 

Part 1.

 

viv1

Part 2.

viv2

Need the Sheet Music?  Go here. :)

Antonio Vivaldi

Born: Venice, March 4, 1678
Died: Vienna, (buried July 28, 1741)

Another Italian composer and virtuoso violinist, Antonio Vivaldi is remembered today for the enormous number of concertos he composed throughout his lifetime. He most likely learned the violin from his father, himself a violinist at St. Mark’s in Venice. Antonio took holy orders to enter the Catholic Priesthood, and became known as “The Red Priest” due to the color of his hair. He became a teacher in Venice at the Ospedale della Pietà (a school for foundling girls) in 1703, and later became the director of concerts there. His music was extremely popular, and he traveled a great deal over Europe, spreading his fame as a violinist and composer. During the 1730s, however, his popularity began to abate and in 1738 he was dismissed from the Ospedale. Desperate, he eventually settled in Vienna in 1740, hoping to reclaim his fame. He didn’t, and he died there the next year, to be buried in a pauper’s grave.

The Largo and Presto movements from Antonio Vivaldi’s Concerto in F Major for Recorder and Strings, RV 433, with soloist Hanneke van Proosdij, recorder, and the San Francisco Early Music Ensemble Voices of Music.

Such a far cry from the elementary music classes that feature the recorder.

The concerto is in three movements:

  1. Allegro
  2. Largo
  3. Allegro

The first movement is in a fast tempo and begins with a ritornello played by the entire orchestra and then repeated by the solo lute.[1][2] According to AllMusic critic Brian Robins, the ritornello “contrasts a tuneful opening theme with a more lyrical motif in the minor mode.”[1] During the movement, the solo lute plays melodies in contrast to the ritornello.[2] The movement consists of several sections, almost all of which incorporate a portion of the ritornello melody.[2]

The second movement also consists of several sections.[2] Robins describes this movement as a “reflective meditation by the soloist” against accompaniment by the violins and pizzicato bass.[1] Robins praises the movement’s “exquisitely simple shift from triple to duple meter.”[1] The third and final movement is another fast movement in a 6/8 time signature which Robins describes as having “a bit of tarantella-like feel.”[1] The soloist also has the option of playing the half notes in the movement using a more vigorous 12/8 time signature.[3]

Here in Sunny Alberta, our seasons don’t quite match what the calendar might have you believe. So while it may be that it has officially been spring for some time now, the threat of frost up until last week kind of detracted from any sense of rebirth or new life. But this week’s forecast is full of double digit predictions. I feel we are finally catching up with the calendar. It’s time to bust out the short pants and sandals; pump up the tires on your bicycle; and, as always, enjoy some Vivaldi.

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