The Interrelationship Between Music and Program in Vivaldis Violin Essay

The Interrelationship between Music and Program in Vivaldis Violin Concerto in F minor, Op. 8, no. 3 Autumn (The quaternity Seasons) (1725) - Essay Example.The ritornello form used in the Autumn concerto is clear. The tutti section in the first exploit outlines the antecedent and is reiterate numerous times in variation throughout the front man. The fly sections embellish on the main theme as well as moving into more free-flowing segments. The Italian Concerto format of lead movements (fast, slow, fast) is a basic standard for the period and Vivaldi adheres to that model. Key changes in the Baroque period, from minor to major be made more rapidly than examples of concerti from the latter 18th Century where composers took more time in both tutti and solo sections before shifting to alternate keys. Phrases are very much played in forte and repeated in piano this style is a signature of Vivaldi in many of his concerti.In the Baroque style, often the solo sections of a concerto a re accompanied by a simple bass line, or foundation bass, perhaps with incidental strings or other puppets and usually cembalo. Vivaldi follows this convention. The solo violin is go forth with lower-ranking background from the orchestra, leaving more room for free flowing play with the theme and variations upon it. The opening to Vivaldis concerto is lively and athletic. In four quarter time, it has a quality reminiscent of folk dance. There is a leaping feature to the subject with strongly accenting downbeats. The violin enters, strictly following the theme still turns a portion of the theme upside down. In the next solo section the violin takes a series of leaps and arpeggios as it moves toward a slightly slower and more chromatic subject. Slowing pace in the middle of an allegro movement deviates from the standard form of the day. Vivaldis style of composition varies from other composers in that there is less strictness in the solo sections or adherence to the original the me. Instead, the violin is left to fly through arpeggios and runs adding to the strong rhythms and rich texture of the work. The second movement is slow and simple, using the harpsichord as the main instrument accompanied by quiet strings in chromatic lines and bass voice continuo. Along with the emphasis on a single melody and bass line came the practice of basso continuo, a method of musical notation in which the melody and bass line are indite out and the harmonic filler indicated in a type of shorthand.1 The third movement opens with a vigorous theme, with a strong leaping rhythm in triple time. In the opening solo section, the violin turns the theme upside down in contrast to the tutti and with harshly struck bow work, which adds to the artless flavour of the music. As in the first movement, ritornello is used to bring the theme back throughout the movement, embellished by the resolute solos of the violin. Again, there is a slowing of the music before one final and triumphan t reappraisal of the theme. In context of the poem, Vivaldis Autumn accurately describes the verses. From the opening dance of the peasants to the slower paced section in the first movement that describes the full liquor of Bacchus, the music complements the words. As well, the rich texture of the theme and harmonics in major thirds reflects the colors of the season. However, the solo sections break from strict Baroque form by allowing the solo instrument to take more liberty with variation and free form phrasing, within the work. This shift away from the theme allows Vivaldi to play with the images in the poem invoking dance and even the movement of wind in the trees. The second movement reflects the sleeping peasants. The slow, chromatic strings and the quiet harpsichord invoke a clear sense of a calm night. The third movement, with its rousing opening theme