scholarly journals Antonio Vivaldi… ¡en Cuenca!: breve aproximación a la Semana de Música Religiosa de Cuenca (2001-2019)

2020 ◽  
Vol 7 (1) ◽  
pp. 19
Author(s):  
Marco Antonio De la Ossa Martínez
Keyword(s):  
Antonio Vivaldi

<p>La Semana de Música Religiosa de Cuenca (SMR) inició su andadura en 1962. Miembro de la Asociación Europea de Festivales desde 1986, es el cuarto festival más antiguo de España. Además, comparte fecha en el calendario con la celebración de la Semana Santa conquense (ambas están declaradas de Interés Turístico Internacional).</p><p>En este artículo nos centraremos en la programación de obras de Antonio Vivaldi en las ediciones que han acontecido entre el año 2001 y el 2019. De forma previa y como contextualización, nos aproximaremos al ciclo conquense y sus claves, la figura del violinista italiano y su música religiosa.</p><p>De esta manera, nos acercaremos a los directores, solistas, gestores, agrupaciones y obras que han protagonizado los conciertos en los que se ha escuchado música de Vivaldi en la Semana de Música Religiosa de Cuenca para, en global, descubrir qué partituras e intérpretes se han considerado más interesantes, qué ediciones y cuántos recitales han contado con música del <em>prete rosso</em>.</p>

scholarly journals ANALISIS STRUKTUR MUSIK DAN TEKNIK BERMAIN BIOLA FOUR SEASON “WINTER” KARYA KOMPONIS ANTONIO VIVALDI

2018 ◽  
Vol 6 (1) ◽  
pp. 1
Author(s):  
Christine Simangunsong
Keyword(s):  
Data Collection ◽  
Qualitative Method ◽  
Musical Structure ◽  
State University ◽  
Form Complex ◽  
Antonio Vivaldi ◽  
Four Seasons ◽  
Violin Playing ◽  
Department Of Music ◽  
Musical Forms

This study aims to determine how the structure of music andviolin technique Four Season "Winter" by composer Antonio Vivaldi.In the discussion of this study used the theories related to researchtopics such as Antonio Vivaldi biography, analytical understanding,understanding of musical forms, musical structure and technique ofplaying the violin. The method used by the researchers in this study isdescriptive-qualitative method. The sample in this study such as thesheet music and videos of Four Season "Winter" by composer AntonioVivaldi. The techniques of data collection in this research are workinglaboratory analysis the melody of violin instrument like musicalstructure and technique of playing the violin and literature studyconducted at the Laboratory of the Department of Music Arts, Facultyof Languages and Arts, State University of Medan. From the results ofthis study can be obtained structure of music Four Season "Winter" bycomposer Antonio Vivaldi has 63 bars with 12 motifs includingoriginal motive literal replications and development, up and downsequence, bridges, enlargement of the interval, 10 phrases and is a 3-part song form complex / major played by violin playing techniques asdiverse namely legato, staccato, trill, double stops, and sforzando andusing the dynamic crescendo, mezzo forte, forte, piano, with the righthand position of mixed fingering position of the I-VII. Interpretationof the Four Seasons "Winter" tells the eerie atmosphere transitionalclimate when winter freeze with the sound of the wind through thestrains indicated cruel instrument tones on the violin.

scholarly journals Motezuma, la ópera mexica de Antonio Vivaldi y Girolamo Giusti

2020 ◽  
Vol 11 (18) ◽  
pp. 121-144
Author(s):  
Laura Elizabeth Espíndola Mata
Keyword(s):  
Antonio Vivaldi ◽  
Historical Archives ◽  
The Creation

El ensayo propone un acercamiento a los aspectos escénicos involucrados en la única representación de la ópera Motezuma, con música de Antonio Vivaldi, la cual fue estrenada en el teatro Sant’Angelo de Venecia en 1733. Basándose en archivos históricos inéditos, la autora establece a Girolamo Giusti como el autor del libreto Motezuma, exponiendo además los motivos y las fuentes documentales que pudieron impulsar la creación de la ópera de tema “indio-americano”. Motezuma, a Mexica opera by Antonio Vivaldi and Girolamo GiustiAbstractThis article discusses the theatrical aspects involved in the only performance of the opera Motezuma by the composer Antonio Vivaldi, which premiered at the Sant’Angelo theater in Venice in 1733. The author uses unpublished historical archives to establish Girolamo Giusti as the true playwright of the libretto Motezuma, addressing the motives and sources that could have lead to the creation of this opera with an Indigenous-American theme. Recibido: 10 de marzo de 2020Aceptado: 28 de septiembre de 2020

Antonio Vivaldi e i Vivaldi

Vivaldi ◽  
2017 ◽  
pp. 27-42
Author(s):  
Gastone Vio
Keyword(s):  
Antonio Vivaldi

How Recitatives End and Arias Begin in the Solo Cantatas of Antonio Vivaldi

2001 ◽  
Vol 126 (2) ◽  
pp. 169-192
Author(s):  
Michael Talbot
Keyword(s):  
Harmonic Progression ◽  
Antonio Vivaldi

Whereas earlier Italian baroque cantatas usually began arias in the key in which the preceding recitative had ended, there was an increasing tendency after 1700 to create a tonal disjunction between recitative and aria and to utilize for affective purposes the harmonic progression linking the last chord of the former to the first chord of the latter. Vivaldi, who almost invariably placed his arias in a contrasting key, was a leading exponent of this technique and employed a surprisingly large variety of key relationships at the recitative–aria interface. For illustration, the article draws on cantatas by Vinaccesi, Albinoni and Vivaldi.

ANTONIO VIVALDI AND THE SUBLIME SEASONS: SONORITY AND TEXTURE AS EXPRESSIVE DEVICES IN EARLY EIGHTEENTH-CENTURY ITALIAN MUSIC

2017 ◽  
Vol 14 (2) ◽  
pp. 265-283 ◽  
Author(s):  
NICHOLAS LOCKEY
Keyword(s):  
Eighteenth Century ◽  
Emotional Impact ◽  
Historical Significance ◽  
Antonio Vivaldi ◽  
The Arts ◽  
Four Seasons ◽  
Early Eighteenth Century ◽  
Italian Music ◽  
The Aesthetic ◽  
Powerful Demonstration

ABSTRACTAntonio Vivaldi's cycle of violin concertos dramatizing the four seasons marked a substantial shift in the way that the seasons were depicted in the arts. Moving away from religious and mythological allegory, they exemplify a growing interest in descriptive representation of nature's power and in humanity's complex physical and emotional relationship with elements beyond its control. Positing new connections to Arcadian reform ideals of verisimilitude, this article addresses important questions concerning Vivaldi's pairing of sonnets with concertos and the aesthetic factors behind his choice of narrative topics to depict in the music. The article also demonstrates how Vivaldi used diverse textures and sonorities to create powerful contrasts that heighten the emotional impact of the aural imagery while underlining recurring expressive and pictorial motifs throughout the cycle. These last aspects, in particular, provide a new understanding of the historical significance of Vivaldi'sFour Seasonsas a powerful demonstration of both the expressive potential of the concerto genre and the still underappreciated art of orchestration during the early eighteenth century.

Antonio Vivaldi, and: Antonio Vivaldi und seine Zeit (review)

Notes ◽  
2011 ◽  
Vol 68 (2) ◽  
pp. 348-351
Author(s):  
Eleanor Selfridge-Field
Keyword(s):  
Antonio Vivaldi
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