Antonio Vivaldi (Composer)
Among contemporaries who appreciated Vivaldi was J. S. Bach, who transcr. 10 Vivaldi concs. as hpd. or org. concs. Like Bach‘s, Vivaldi‘s mus. fell out of favour for many years, but the 20th cent., in particular since the revival of interest in authentic methods of performing baroque mus., has seen it re-est. Once regarded merely as the composer of works for str., his genius as an opera composer is now recognized (he said he wrote 94, but fewer than 50 are extant) as well as the Venetian splendour of his church mus. No composer did more to establish the vc. as a solo instr., and he displayed a keen interest in the use of unusual instr.: it is the infinite variety and invention of his work that has made it so beloved 300 years after his birth. There have been several catalogues of his work, the most recent (Leipzig 1974) by Peter Ryom (works are numbered with the prefix RV = Ryom-Verzeichnis). Prin. works:
OPERAS: Bajazet (Tamerlano) (1735); Catone in Utica (1737); Dorilla in Tempe (1726); Ercole sul Termodonte (1723); Farnace (1727); La fida ninfa (1732); Il Giustino (1724); Griselda (1735); L‘incoronazione di Dario (1716); L‘Olimpiade (1734); Orlando finto pazzo (1714); Orlando furioso (1727); Ottone in villa (1713); Rosilena ed Oronta (1728); Rosmira (1738); Il Teuzzone (1719); Tito Manlio (1719); La veritа in cimento (1720).
PUBLISHED WORKS IN HIS LIFETIME: Op.1, 12 sonatas for 2 vn. and basso continuo (1705); Op.2, 12 sonatas for vn. and basso continuo (1709); Op.3, L‘estro armonico (Harmonic inspiration), 12 concs. for various combinations (4 vn., 4 vn. and vc., etc.) (1711); Op.4, La stravaganza (The extraordinary), 12 vn. concs. (c.1714); Op.5 (2nd part of Op.2), 4 sonatas for vn. and 2 sonatas for 2 vn. and basso continuo (1716); Op.6, 6 vn. concs. (1716-21); Op.7, 2 ob. concs. and 10 vn. concs. (1716-21); Op.8, Il cimento dell’ armonia e dell’ inventione (The Contest between Harmony and Invention), 12 vn. concs., the first 4, in E, G minor, F, and F minor being known as The Four Seasons (Le quattro stagioni) (1725); Op.9, La cetra (The lyre), 11 vn. concs. and 1 for 2 vn. (1727); Op.10, 6 fl. concs. (c.1728); Op.11, 5 vn. concs., 1 ob. conc. (1729); Op.12, 5 vn. concs. and 1 without solo (1729); Op.13, Il pastor fido (The Faithful Shepherd), 6 sonatas for musette, viella, recorder, ob. or vn., and basso continuo (1737, doubtful authenticity).
The rest of Vivaldi‘s instr. output is so vast that it can only be summarized:
10 sonatas, vc., basso continuo; 28 sonatas, vn., basso continuo; 4 sonatas, fl., basso continuo; sonatas, 2 vn., basso continuo; concs. for various instr. (fl., ob., recorders, vns., bn., etc.) and basso continuo; over 60 concs., sinfonias, and sonatas for str. and basso continuo; 170 concs. and sinfonias for vn., orch., and basso continuo; 7 concs. for viola d‘amore; 28 vc. concs.; mandolin conc.; 9 fl. concs.; 2 recorder concs.; 14 ob. concs.; over 40 bn. concs.; many concs. for 2 vn., 2 vc., 2 mandolins, 2 ob., 2 hn., 2 tpt., etc.
SACRED MUSIC: Mass; Kyrie for double ch.; 3 Glorias; 2 Dixit Dominus; 3 Laudate pueri; 2 Magnificat; 3 Salve Regina; Stabat Mater; Juditha triumphans (oratorio, Venice 1716); also many secular cantatas, etc.
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