(An-ton’-yo Ve-val’-de) 1678–1741 Italian composer and violinist Vivaldi was born in Venice. After learning the violin with his father, and possibly other teachers too, he joined the orchestra of St Mark’s. He was ordained in 1703, later acquiring the nickname Il prete rosso (‘the Red Priest’), because of his red hair. Partly because of fragile health and partly perhaps ...
was employed at St Mark’s in Venice, and it is likely that his father was also involved in managing operas in that city during the late seventeenth century. Although Vivaldi was nominally a Catholic priest by profession, he did not have to say Mass for most of his life, and he followed his father’s example by becoming a ...
the bass line, supporting other instruments, but a number of more challenging solo pieces appeared for the bassoon at the hands of both Telemann and J. S. Bach; Vivaldi distinguished himself by composing no fewer than 37 concertos for the instrument. Styles & Forms | Early Baroque | Classical Instruments | Cornett | Early Baroque | Classical ...
Spain and was particularly favoured in French and English aristocratic circles. 1700–50 This period marked the heyday of composers such as George Frideric Handel (1685–1759), Johann Sebastian Bach (1685–1750), Antonio Vivaldi (1678–1741) and Georg Philipp Telemann (1681–1767), and was the culmination of the Baroque era. The Baroque orchestra’s core grouping of strings and harpsichord was now very firmly established, and ...
Unusually among musical instruments, a specific date has been posited for the invention of the clarinet. Johann Christoph Denner of Nuremberg has been claimed as the man who, in 1700, devised and built the first of these instruments. Like all the best stories, however, the history of the clarinet is shrouded in mystery. The instrument attributed ...
the Baroque flute. Pitched at A=392 (that is to say an entire tone below modern concert pitch), the instrument was written for particularly by J. S. Bach as well as Vivaldi and Couperin. At the end of the Baroque period, a four-piece flute established itself, still with one key. J. J. Quantz A significant name in the history of ...
to be played out of doors, the oboe moved indoors and into the developing Baroque orchestra. It was quickly accepted as a standard instrument, being written for by Vivaldi, Handel and Telemann, and acting as soloist in some Baroque concerti grossi. Purcell wrote the oboe into all his larger works after 1690. The Baroque Oboe The Baroque ...
, nicknamed the ‘flaming sword’. The seven concealed strings run underneath the fingerboard and through, rather than over, the bridge. These vibrate in sympathy with the bowed strings. Vivaldi wrote several concertos for the viola d’amore (he actually wrote none for the viola). The Extended Violin Family The developing violin family did not immediately settle down into its modern ...
active 1719–40, Italian The exceptional soprano Strada is known to have sung in Vivaldi’s La verità in cimento (‘The Truth Tested’, 1720) in Venice in 1721. Between 1724 and 1726 she sang for Vinci, Porpora and Leo at Naples, where she also married the theatre manager Aurelio del Pò. She arrived in London in 1729, where she ...
1724–26), were admired by Telemann, Mattheson and others. His celebrated satire on Italian opera, Il teatro alla moda (‘The Theatre in Fashion’, 1720), ridiculed the operatic practices of Vivaldi on its title page and those of Venetian opera in general throughout. Recommended Recording: Estro poetico-armonico, soloists, Cantus Cölln (dir) Konrad Junghänel (Harmonia Mundi) Introduction | Late Baroque ...
in Germany. Recommended Recording: Christmas Oratorio, Cantatas, soloists, Michaelstein Telemann Chamber Choir & Orchestra (dir) Ludger Rémy (CPO) Introduction | Late Baroque | Classical Personalities | Antonio Vivaldi | Late Baroque | Classical ...
most important figure in Italian music since Puccini. He was influenced by Stravinsky, no less radically by his discovery of early Italian music – Claudio Monteverdi (1567–1643) and Antonio Vivaldi (1678–1741), both of whose music he edited for publication – and, late in life, by his contemporary Schoenberg. In opera (he wrote dozens of unconventional stage pieces) he ...
J. S. Bach, George Frideric Handel (1685–1759) and Georg Philipp Telemann (1681–1767). The Italians were less receptive, but the French overture principle appears in the music of Antonio Vivaldi (1678–1741) on at least one occasion. Although he made many enemies, Lully saw his achievements recognized during his lifetime and they were acknowledged after his death too. Among the ...
into pasticcios for London. It was rumoured that Vinci was poisoned as an act of revenge for an illicit love affair. Introduction | Late Baroque | Opera Personalities | Antonio Vivaldi | Late Baroque | Opera Houses & Companies | Baroque Opera in Naples | Early & Middle Baroque | Opera Techniques | Pasticcio Opera | Classical Era | Opera ...
Born in Düsseldorf, Germany, Ulrich ‘Uli’ Jon Roth (b. 1954) began his lifelong musical journey on the trumpet, before switching to the classical guitar at the age of 13. This training, combined with his passion for classical music, would help Roth become one of the main protagonists of the neo-classical shred guitar style, later brought ...
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