Although Antonio Vivaldi (1678-1741) had already
accomplished himself as a composer of violin sonatas
and of sacred music, nothing propelled his career more
than his first set of concertos -- L'estro armonico
(Op.3) -- which first appeared in 1711. Besides being
widely popular with both musicians and audiences of the
day, L'estro armonico had a significant impact on the
development of the relatively new solo-concerto. The
set's influence was felt all across Europe -- no less a
figure than J.S. B...(+)
Although Antonio Vivaldi (1678-1741) had already
accomplished himself as a composer of violin sonatas
and of sacred music, nothing propelled his career more
than his first set of concertos -- L'estro armonico
(Op.3) -- which first appeared in 1711. Besides being
widely popular with both musicians and audiences of the
day, L'estro armonico had a significant impact on the
development of the relatively new solo-concerto. The
set's influence was felt all across Europe -- no less a
figure than J.S. Bach transcribed six of the Op.3
concertos for keyboard.
This, the Violin Concerto in D Major (RV 212) was
composed in 1712 as ‘Per la Solennità della S.
Lingua di S. Antonio in Padoa’; most of the original
2nd mvt has been lost due to source damage with only a
set of parts copied by Pisendel on Venetian paper &
dated ‘1712’ remaining. Little is written of this
particular work and it is seldom performed. Although
originally scored for Violin and Strings (2 Violins,
Viola, Cello, Bass & Continuo), I took extensive
creatice license with this piece and created this
arrangement for Viola & Cello Quartet (2 Violas & 2
Cellos).
PARTITION