Life and Music of Antonio Vivaldi Essay Example For Students

Life and Music of Antonio Vivaldi Essay Spelled Della Pieta, generally accepted as being the best of the four Special (while often referred to as orphanages, these Special were in fact homes for the female offspring of noblemen and their numerous dalliances with their mistresses; therefore, they were well endowed by the anonymous fathers), and many of his concerti were indeed exercises which he would play with his many talented pupils. The brilliance of some solo writing in his student exercise concertos testifies to the extremely high standard attained by his ladies. Until 1709, Vivaldi appointment was renewed every year and again after 1711. Between 1709 and 1711 Vivaldi was not attached to the Spelled. Some speculate that in this period he was already working for the Theatre Santa Angelo, an opera theater in Venice. He also remained active as a composer having twelve concertos published in Amsterdam by the music publisher Astatine Roger, perhaps the best-known, and almost certainly the best- organized printer/publisher of the baroque era and Vivaldi major publisher, under the title electro armoring (Harmonic Inspiration). In 1713, Vivaldi was given leave for one month from the Spelled Della Pieta in order to stage his first opera, Tone in Lila, in Vaccine. We will write a custom essay on Life and Music of Antonio Vivaldi specifically for you for only $16.38 $13.9/page Order now In the 1713-1714 season, he was once again attached to the Theatre Santa Angelo, where he produced an opera by the composer Giovanni Alberta Restore (1692-1753). As far as Vivaldi career in theatrical activities was concerned, he hit a very high point around the end of 1716 on account of having the Spelled Della Pieta perform his first great oratorio, Judith Triumphant devices Holiness barbaric in November. This particular work of art was an allegorical description of the victory of the Venetians (the Christians) over the Turks (the barbarians) in August 1716. At the ND of 1717, Vivaldi moved to Mantra for two years to accept his post as Chamber Capillaries at the court of Leningrad Philips van Hisses-Dramatic. His Job and responsibilities there were to provide musical compositions such as operas, cantatas, and some concert music as well. His opera Armada had already been performed earlier in Mantra, and in 1719 Outshone and Toto Million followed. Written on the score of the Toto Million are the words: music by Vivaldi, made in 5 days. Furthermore, in 1720, he performed his opera in Mantra, La Conduce o Asian Lie ever mimic. In late 1720, Vivaldi returned to Venice where he again staged new operas he ad written in the Theatre Santa Angelo. In Mantra, he had made the acquaintance of the singer Anna Girded ,also known as Girl, and she had moved in to live with him. Vivaldi maintained that there was no romantic relationship between the two of them, By suburbanites Palling, who also shared his house. In his Memories, the Italian playwright Carlo Golden gave the following portrait of Vivaldi and Girded: This priest, an excellent violinist but a mediocre composer, has trained Miss Girded to be a singer. She was young, born in Venice, but the daughter of a French wigmaker. She was not beautiful, Hough she was elegant, small in stature, with beautiful eyes and a fascinating mouth. She had a small voice, but many languages in which to harangue. Vivaldi maintained his relationship with Girl until his death. Vivaldi also wrote works on commission from foreign rulers, such as the French king, Louis XV the serenade La Seen fastening, Festival on the Seine, for example. This work cannot be dated precisely, but it was certainly written after 1720 and his return to Venice. .u285f1b5d121789a6939ea5e08997c028 , .u285f1b5d121789a6939ea5e08997c028 .postImageUrl , .u285f1b5d121789a6939ea5e08997c028 .centered-text-area { min-height: 80px; position: relative; } .u285f1b5d121789a6939ea5e08997c028 , .u285f1b5d121789a6939ea5e08997c028:hover , .u285f1b5d121789a6939ea5e08997c028:visited , .u285f1b5d121789a6939ea5e08997c028:active { border:0!important; } .u285f1b5d121789a6939ea5e08997c028 .clearfix:after { content: ""; display: table; clear: both; } .u285f1b5d121789a6939ea5e08997c028 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u285f1b5d121789a6939ea5e08997c028:active , .u285f1b5d121789a6939ea5e08997c028:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u285f1b5d121789a6939ea5e08997c028 .centered-text-area { width: 100%; position: relative ; } .u285f1b5d121789a6939ea5e08997c028 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u285f1b5d121789a6939ea5e08997c028 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u285f1b5d121789a6939ea5e08997c028 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u285f1b5d121789a6939ea5e08997c028:hover .ctaButton { background-color: #34495E!important; } .u285f1b5d121789a6939ea5e08997c028 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u285f1b5d121789a6939ea5e08997c028 .u285f1b5d121789a6939ea5e08997c028-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u285f1b5d121789a6939ea5e08997c028:after { content: ""; display: block; clear: both; } READ: Negative effects Dance hall Music EssayVivaldi found a patron in Rome by the name of Cardinal Pitter Tiburon, a great music lover, who earlier had been the patron of Archangel Cornell. If the word of Vivaldi is to be believed, in this time he was also requested to perform a violin piece as part of a private show for Pope Clement X. Despite his stay in Rome and other cities, Vivaldi remained in the service of the Spelled Della Pieta, which nominated him Maestro did concerti. He was required only to send two concertos per month to Venice (transport costs were the responsibility of the client) for which he received one ducat per concerto. His presence was never required, though he did appear from time to time. He also remained director of the Theatre Santa Angelo throughout the 1726, 1727 ND 1728 seasons. Between 1725 and 1728, eight Vivaldi operas were premiered in Venice and Florence. Abbot Contain wrote of Vivaldi: In less than three months Vivaldi has composed three operas, two for Venice and a third for Florence; the last has given something of a boost to the name of the theater of that city and he has earned a great deal of money. During these years, Vivaldi was also extremely active in the field of concertos. In 1725, the publication II comment deliberation e delineations (The trial of harmony and invention), opus 8, appeared in Amsterdam. This consisted of twelve concertos, seven of which were descriptive: Spring, Autumn, Winter, and Summer (The Four Seasons), Storm at Sea, Pleasure and The Hunt. Vivaldi transformed the tradition of descriptive music into a typically Italian musical style with its unmistakable timbre in which the strings play a major role. These concertos were enormously successful, particularly in France. In the second half of the 18th century there even appeared some remarkable adaptations of the Spring concerto: Michel Corrected (1709-1795) based his motet Ululated Domingo De collies of 1765 on his concerto and, in 1775, Jean-Jacques Rousseau reworked it into a version for solo flute. Spring was also a firm favorite of King Louis W, who would order it to be performed at the most unexpected moments, and Vivaldi received various commissions for further compositions from the court at Versailles. In 1730 Vivaldi, his father, and Anna Girded traveled to Prague where he met a Venetian opera company which between 1724 and 1734 staged some sixty operas in the theater of Count Franz Anton von Sports. In the 1730-1731 season, two new operas by Vivaldi were premiered in this theatre after the previous season had closed with his opera Furnace, a work the composer often used as his showpiece. At the end of 1731 Vivaldi returned to Venice, but at the beginning of 1732 he left again for Mantra and Verona. In Mantra, Vivaldi opera Shimmied was performed and in Verona, on the occasion Vivaldi concentrated mainly on operas. Vivaldi continued to write instrumental music, although it was only to sell the manuscripts to private persons or to the Spelled Della Pieta, which after 1735, paid him a fixed honorarium (salary) of 100 ducats per year. In 1733 he met the English traveler, Edward Woolworth, who had been impassioned to purchase a few of Vivaldi compositions for the man of letters, Charles Jensen, author of texts for oratorios by Handel. Woolworth wrote to Jensen: l spoke with your friend Vivaldi today. He told me that he had decided to publish no more concertos because otherwise he can no longer sell his handwritten compositions. He earns more with these, he said, and since he charges one Guiana per piece, that must be true if he finds a goodly number of buyers. In 1738, he was in Amsterdam where he conducted a festive opening concert for the 10th Anniversary of the Schubert Theater. He returned to Venice, which was suffering a ever economic downturn at that time, and resigned from the Spelled in 1740, with the intention to move to Vienna under the patronage of his admirer, Charles VI.