However, it appears that the next three Vivaldi opuses were organized by the engraver and printer without the composer’s involvement, but featuring the imprint of Roger’s daughter Jeanne (1701-1722): a collection of solo and trio sonatas (Op 5, 1716), six violin concertos (Op 6, 1719), and twelve concertos for various instruments (Op 7, 1720, featuring at least three spurious works). L’estro armonico (‘Harmonic whim’, Op 3, 1711) and La stravaganza (‘Extravagance’, Op 4, 1716) appear to have been close collaborations with the Huguenot refugee Estienne Roger (1665/6-1722). The first two sets-the Op 1 trio sonatas (1705) and Op 2 violin sonatas (1709)-were both published in Venice, but thereafter all of Vivaldi’s printed collections were produced in Amsterdam. During his lifetime twelve sets of chamber and orchestral music were printed with opus numbers. While it is tempting for us to assume that most of Vivaldi’s creative energies as a performer-composer were concentrated on either the Pietà or the opera house, many of his diverse concertos must have originated elsewhere. By about 1706 ‘The Red Priest’ ceased to say Mass, later claiming that this was on account of chronic asthma-which, it must be noted, never stopped him from undertaking numerous rigorous journeys (to Florence, Rome, Prague and Vienna) in pursuit of opera commissions. It was also in 1703 that he was recruited as a tutor of several string instruments at the Ospedale della Pietà, one of Venice’s four ‘Ospedali Grandi’ renowned for the advanced musical abilities of foundlings and orphans, and with which he had an on-and-off association for the rest of his life. Nevertheless, by the time he was ordained as a priest on 23 March 1703 (aged twenty-five) he had long since made his first documented public performance as an extra violinist at St Mark’s in Christmas services (in 1696). – Musicians using their bodies and different parts of their instruments to make percussive sounds.Taught the violin his by father, Vivaldi trained for the priesthood in the family’s local parish of San Martino in the Castello district of Venice.
– Elements we’ve heard before – crickets, tango, glissando, all coming together in a fugue (when each player takes turns with a theme – before they all the different themes are woven together). Piazzolla: ‘Primavera porteña’ (Spring in Buenos Aires) – Icicles – the chattering of teeth and shivering.
Vivaldi: Concerto in F minor, ‘L’inverno’ (Winter) – Hints of Vivaldi’s Summer interwoven like passing characters in a busy square. Perhaps the person is deep in thought – but surrounded by the city. – A love song between the solo cello and violin. Piazzolla: ‘Invierno porteño’ (Winter in Buenos Aires) – A section where someone is sleeping because they stayed up too late eating and drinking! Who do you think the solo violin might be? Imagine the people stamping and linking hands. Vivaldi: Concerto in F major, ‘L’autunno’ (Autumn) – A reflective section introduced by a cello, as if someone new has just walked onto the scene. – Insects – played using a technique called sul ponticello where the musicians place their bow very close to the wooden bridge of their instruments to create more of a rasping sound. Piazzolla: ‘Otoño porteño’ (Autumn in Buenos Aires) – Thunder rumbling in the background – and then a dramatic summer storm. Perhaps it’s feeling a bit lazy in the heat? – The solo violin taking lots of time singing away. Vivaldi: Concerto in G minor, ‘L’estate’ (Summer) – An echo of Vivaldi’s Winter (when it’s summer in Buenos Aires, it’s winter in Italy!) – Sliding movements in the violin, called glissandos, playing over the ‘chugging’ rhythms which set the tango pulse. Piazzolla: ‘Verano porteño’ (Summer in Buenos Aires) – A barking dog in the viola during the slow section. – Twittering birds in the trilling violins. Vivaldi: Concerto in E major, ‘La primavera’ (Spring)
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