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New Discoveries of Vivaldi in Dresden

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Abstract

The Schrank II (Cabinet II) collection from the Die Sächsische Landesbibliothek – Staats- und Universitätsbibliothek Dresden (SLUB) is not only one of the most interesting archives open to the worldwide audience thanks to the new technologies but also one of the major archives of Vivaldi's instrumental music. Although the archive had been digitized and studied there are more than 60 sonatas for violin and continuo, around 12 string trio sonatas and most than 50 concertos remaining anonymous. A Sonata for violin and continuo, a Trio Sonata for violin, violoncello and continuo and a Concerto for violin and orchestra captured my attention due its similarities with Vivaldi. Through the analysis of the external features of the sources (paper, watermarks, copyist, etc.) and the analysis of the style and language of Vivaldi and its characteristics, the final goal of this work is to highlight the possibility Vivaldi an authorship as much as possible. In other words, attempting to put together the strongest proofs and facts that can be used to point to Vivaldi as author of the analyzed pieces. In the light of the results of the present research the Vivaldian attribution is very consistent.

Key takeaways
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  1. The Schrank II collection houses over 60 anonymous Vivaldi works, including sonatas and concertos.
  2. Research identifies strong stylistic concordances linking anonymous pieces to Vivaldi, suggesting possible authorship.
  3. The study highlights the importance of both external and internal evidence in authenticating Vivaldi's works.
  4. Vivaldi's unique stylistic features, such as the 'acephalic' reprise and modular composition, facilitate attribution.
  5. New discoveries include a possible complete Vivaldi sonata and connections to RV 205 and RV 212.
Figures (106)
One of the sonatas for violin and continuo captured my attention because of its ostensible proximity to Vivaldi. Although the piece was already familiar to me, it was cataloged as anonymous in th e RISM® and none of the most recent additions to the Vivaldi catalog mentioned it. 1 The whole first movement of the anonymous sonata is a very close version of the second movement of the Vivaldi violin concerto RV 205. After this discovery I came back to the anonymous program. A different piece attracted my attention, a trio sonata for violin, violoncello and basso continuo. I performed this sonata for Professor Enrico Gatti and he was the first to notice that the Giga contained in this trio sonata was almost the same than the Giga contained in the Vivaldi’s Dresden sonata for violin and continuo RV 10.
One of the sonatas for violin and continuo captured my attention because of its ostensible proximity to Vivaldi. Although the piece was already familiar to me, it was cataloged as anonymous in th e RISM® and none of the most recent additions to the Vivaldi catalog mentioned it. 1 The whole first movement of the anonymous sonata is a very close version of the second movement of the Vivaldi violin concerto RV 205. After this discovery I came back to the anonymous program. A different piece attracted my attention, a trio sonata for violin, violoncello and basso continuo. I performed this sonata for Professor Enrico Gatti and he was the first to notice that the Giga contained in this trio sonata was almost the same than the Giga contained in the Vivaldi’s Dresden sonata for violin and continuo RV 10.
Those similarities encouraged me to deepen research about the authorship of the ynatas. The Concerto for Violin in D Major come much later.
Those similarities encouraged me to deepen research about the authorship of the ynatas. The Concerto for Violin in D Major come much later.
End of the Cadenza of RV 562: End of Cadenza from anonymous concerto:
End of the Cadenza of RV 562: End of Cadenza from anonymous concerto:
In this thesis the symbol will be used when the musical material is identical o1 when it have been transposed. When there are some variations in the articulation or in the instrumentation we will use the same symbol in brackets (=). In the following example** Sardelli compares the concordance with the symbol =, in this work the symbol (=) will be used instead.
In this thesis the symbol will be used when the musical material is identical o1 when it have been transposed. When there are some variations in the articulation or in the instrumentation we will use the same symbol in brackets (=). In the following example** Sardelli compares the concordance with the symbol =, in this work the symbol (=) will be used instead.
33 “Due o pit’ porzioni di musica vegono considerate identiche anche se presentano in tonalita 0 modi diferente, purche restino inalterate le relazioni di grado de la linea melddica [...] 0 con variazione de articulazione [...] di instrumentazione [...] di ottava” Sardelli, Federico Maria. Catalogo delle concordanze musicali vivaldiane, L. S. Olschki Editore, 2012, p. CXKX VIII - CX XIX 54 The examples on the use of the symbols are all taken from Sardelli, Federico Maria. Catalogo delle concordanze musicali vivaldiane, L. S. Olschki Editore
33 “Due o pit’ porzioni di musica vegono considerate identiche anche se presentano in tonalita 0 modi diferente, purche restino inalterate le relazioni di grado de la linea melddica [...] 0 con variazione de articulazione [...] di instrumentazione [...] di ottava” Sardelli, Federico Maria. Catalogo delle concordanze musicali vivaldiane, L. S. Olschki Editore, 2012, p. CXKX VIII - CX XIX 54 The examples on the use of the symbols are all taken from Sardelli, Federico Maria. Catalogo delle concordanze musicali vivaldiane, L. S. Olschki Editore
RV 641 (Non in patris), III (Pro me spinas), 1-4 The musical text is paraphrased. Here the musical idea is reformulated or it is expressed in another way, as long as we can percept the same musical substance.*° We will use the brackets (+) when the changes are quite significant, as long as the general morphology is not changed.
RV 641 (Non in patris), III (Pro me spinas), 1-4 The musical text is paraphrased. Here the musical idea is reformulated or it is expressed in another way, as long as we can percept the same musical substance.*° We will use the brackets (+) when the changes are quite significant, as long as the general morphology is not changed.
Bellotto, Bernardo. View of Dresden from the Right Bank of the Elbe with the Augustus Bridge (1748) Vivaldi’s connection with Dresden began on 29 February 1712 when the visiting electoral prince, Friedrich August, was presented at the Pieta with “un libro di suonate” [a book of sonatas] of his composition. This travel was following by a longer sojourn in 1716 — 1717, spent principally in Venice, *! accompanied by violinist Pisendel. The music of Vivaldi will take a more important role in Dresden from autumr 717, when Pisendel returned from Italy. 4?
Bellotto, Bernardo. View of Dresden from the Right Bank of the Elbe with the Augustus Bridge (1748) Vivaldi’s connection with Dresden began on 29 February 1712 when the visiting electoral prince, Friedrich August, was presented at the Pieta with “un libro di suonate” [a book of sonatas] of his composition. This travel was following by a longer sojourn in 1716 — 1717, spent principally in Venice, *! accompanied by violinist Pisendel. The music of Vivaldi will take a more important role in Dresden from autumr 717, when Pisendel returned from Italy. 4?
In the following example it is possible to see Vivaldi’s handwriting in the bottom staff, correcting the violins accompaniment: The Lebenslauf Herrn Johann Georg Pisendels (Biography of Johann Georg Pisendel), published in 1767,*° states that Pisendel in fact “took actua violin lessons’? from Vivaldi (and from the “famous violinist, Montanari”, in Rome, though presumably he mostly taught him modern Italian interpretation in Vivaldi’s manner). In addition, a recently rediscovered document proves that the consultations (as we might call Pisendel’s lessons with Vivaldi, using modem terminology) included composition: the autograph of concerto in A minor (Mus.2421-O-14) composed by Pisendel in Venice contains corrections in Vivaldi’s hand.
In the following example it is possible to see Vivaldi’s handwriting in the bottom staff, correcting the violins accompaniment: The Lebenslauf Herrn Johann Georg Pisendels (Biography of Johann Georg Pisendel), published in 1767,*° states that Pisendel in fact “took actua violin lessons’? from Vivaldi (and from the “famous violinist, Montanari”, in Rome, though presumably he mostly taught him modern Italian interpretation in Vivaldi’s manner). In addition, a recently rediscovered document proves that the consultations (as we might call Pisendel’s lessons with Vivaldi, using modem terminology) included composition: the autograph of concerto in A minor (Mus.2421-O-14) composed by Pisendel in Venice contains corrections in Vivaldi’s hand.
m 8,40. The first ve second. Pisendel. second This fi Pisen movem cst de en movement). A second movemen he sonata is p rsion (Mus.2-R-8,74) co version is copied by the ’sh t) an most t) an and is found just in the complete first p reserved in two different sources: Mus.2-R-8,74 and Mus.2- d the complete second page of the manuscript (rest of the seco age (First movement and two system of the ntains a different opening movement than tl named “Copyist B of Dresden Court” and the end of the first page (second system of the R - Ne DY nd d the third and fourtl h pages are by “Copyist B”.°° Both manuscripts are catalogued as anonymous in the RISM. In both cases they only mention that one sonata is a variant of the other sonata with a different opening movement.
m 8,40. The first ve second. Pisendel. second This fi Pisen movem cst de en movement). A second movemen he sonata is p rsion (Mus.2-R-8,74) co version is copied by the ’sh t) an most t) an and is found just in the complete first p reserved in two different sources: Mus.2-R-8,74 and Mus.2- d the complete second page of the manuscript (rest of the seco age (First movement and two system of the ntains a different opening movement than tl named “Copyist B of Dresden Court” and the end of the first page (second system of the R - Ne DY nd d the third and fourtl h pages are by “Copyist B”.°° Both manuscripts are catalogued as anonymous in the RISM. In both cases they only mention that one sonata is a variant of the other sonata with a different opening movement.
The movement is wrote by Copyist B of Dresden Court but the words “Violino Solo” and “Adagio” were written by Pisendel. In fact, the hand of Pisendel is found more times in this manuscript.’! This Adagio does not share as many concordances and elements of Vivaldi’s musical language as the others. However a deeper research is needed on this movement to try to unveil more cues about it origin.
The movement is wrote by Copyist B of Dresden Court but the words “Violino Solo” and “Adagio” were written by Pisendel. In fact, the hand of Pisendel is found more times in this manuscript.’! This Adagio does not share as many concordances and elements of Vivaldi’s musical language as the others. However a deeper research is needed on this movement to try to unveil more cues about it origin.
The only surviving sources for the concerto RV 205 are found in Dresden. ™ The movement is marked as Largo in all the other parts but referred as A dagio in just the Cembalo part.
The only surviving sources for the concerto RV 205 are found in Dresden. ™ The movement is marked as Largo in all the other parts but referred as A dagio in just the Cembalo part.
This movement has a high number of V ivaldian concordances which makes the onnection between movements more stylistically convincing in the copy by Grundig han in the copy of the Copyist B.This is the main reason that links this second novement with Vivaldi Those concordances and links with Vivaldi style will be analyzed carefully.
This movement has a high number of V ivaldian concordances which makes the onnection between movements more stylistically convincing in the copy by Grundig han in the copy of the Copyist B.This is the main reason that links this second novement with Vivaldi Those concordances and links with Vivaldi style will be analyzed carefully.
The second movement of the sonata could be easily linked with Vivaldi as ¢ result of the high number of concordances (at least twenty eight concordances”® had been found just in this movement). It is also very remarkable that all of those concordances were written during the same period, ca. 1717, when Pisendel came back to Dresden from Italy with a large collection of musical manuscripts mostly by Vivaldi.”
The second movement of the sonata could be easily linked with Vivaldi as ¢ result of the high number of concordances (at least twenty eight concordances”® had been found just in this movement). It is also very remarkable that all of those concordances were written during the same period, ca. 1717, when Pisendel came back to Dresden from Italy with a large collection of musical manuscripts mostly by Vivaldi.”
concatenation in Vivaldi is that he likes to make the same structural unit serve as the consequent of the one preceding it and the antecedent of the one following it.**
concatenation in Vivaldi is that he likes to make the same structural unit serve as the consequent of the one preceding it and the antecedent of the one following it.**
Furthermore other Vivaldian characteristics of those building block groupings are found. The lack of syntax is very obvious in the use of the perfect cadence (V-I) and i is “especially typical of Vivaldi’s fast movements”.®® This harmonic pattern is generally found in this movement, the words of Bella Brover-Lubovsky defining this Vivald characteristic seems to define the actual harmonic structure of this movement: “As result, the harmonic flow of the entire piece becomes riddled with full closed cadences For example, the total number of full cadences in the opening Allegro in the concertc for two mandolins RV 532 is fifty-five, while the closing one is forty-seven.”
Furthermore other Vivaldian characteristics of those building block groupings are found. The lack of syntax is very obvious in the use of the perfect cadence (V-I) and i is “especially typical of Vivaldi’s fast movements”.®® This harmonic pattern is generally found in this movement, the words of Bella Brover-Lubovsky defining this Vivald characteristic seems to define the actual harmonic structure of this movement: “As result, the harmonic flow of the entire piece becomes riddled with full closed cadences For example, the total number of full cadences in the opening Allegro in the concertc for two mandolins RV 532 is fifty-five, while the closing one is forty-seven.”
A similar variaton is also found in bars 24, 27, 30 and 33 where a note is missing in the bass part in Copyist B version: Other small variations are found in the bass line in bars 41-42 and its homologue in bb. 107-108:
A similar variaton is also found in bars 24, 27, 30 and 33 where a note is missing in the bass part in Copyist B version: Other small variations are found in the bass line in bars 41-42 and its homologue in bb. 107-108:
The last difference is found in bar 91 where an ornament is writen in the bass line in Copyist B version and not in the Grundig version:
The last difference is found in bar 91 where an ornament is writen in the bass line in Copyist B version and not in the Grundig version:
This beginning features the typical Vivaldian style of modular composition, syncopation, large intervals, echo reprises and the use of the perfect cadence pattern.
This beginning features the typical Vivaldian style of modular composition, syncopation, large intervals, echo reprises and the use of the perfect cadence pattern.
The phrase structure is also related to Vivaldi’s language. The overlapping of the nusical material is “an essential ingredient of his musical language: the listener is xpected to receive mild joints en route as phrases are cut short or, alternatively, xtended beyond their expected span’. !°9
The phrase structure is also related to Vivaldi’s language. The overlapping of the nusical material is “an essential ingredient of his musical language: the listener is xpected to receive mild joints en route as phrases are cut short or, alternatively, xtended beyond their expected span’. !°9
Beside those stylistic matches, some musical concordances are found in the ovement.
Beside those stylistic matches, some musical concordances are found in the ovement.
Anonymous sonata, IV, beginning:
Anonymous sonata, IV, beginning:
Cover page from Torelli's trio sonata (D-D] Mus.2035-Q-3) A logical conclusion is that Pisendel copied these pieces during his period in Ansbach (from 1697 to 1712).!28
Cover page from Torelli's trio sonata (D-D] Mus.2035-Q-3) A logical conclusion is that Pisendel copied these pieces during his period in Ansbach (from 1697 to 1712).!28
bass. The word is in works attributed to Torelli”. This feature is used widely also by Vivaldi and demonstrates the influence of Torelli and Corelli on Vivaldi’s early works. See: Talbot, Michael. Vivaldi. J.M. Dent, London, 1993, p. 140 and Talbot, Michael. The Vivaldi Compendium. The Boydell Press, 2012, p. 139
bass. The word is in works attributed to Torelli”. This feature is used widely also by Vivaldi and demonstrates the influence of Torelli and Corelli on Vivaldi’s early works. See: Talbot, Michael. Vivaldi. J.M. Dent, London, 1993, p. 140 and Talbot, Michael. The Vivaldi Compendium. The Boydell Press, 2012, p. 139
RV 60, first movement:
RV 60, first movement:
RV 60, I, bb. 11 — 12. Homophonic texture in upper voices: Anonymous sonata, bb. 15 — 16. Dialogue (Basso with long values): These similarities are not only related to the compositional tools used and its organization, but also with the musical material itself. Those concordances are quite obvious in the RV 60:
RV 60, I, bb. 11 — 12. Homophonic texture in upper voices: Anonymous sonata, bb. 15 — 16. Dialogue (Basso with long values): These similarities are not only related to the compositional tools used and its organization, but also with the musical material itself. Those concordances are quite obvious in the RV 60:
Anonymous trio sonata, II (1705 — 1715): Corelli, Op. V, III, III (Roma, 1700):
Anonymous trio sonata, II (1705 — 1715): Corelli, Op. V, III, III (Roma, 1700):
135 Talbot, Michael. The Vivaldi Compendium. The Boydell Press, 2012, p. al 136 Talbot, Michael. The Vivaldi Compendium. The Boydell Press, 2012, p. 1!
135 Talbot, Michael. The Vivaldi Compendium. The Boydell Press, 2012, p. al 136 Talbot, Michael. The Vivaldi Compendium. The Boydell Press, 2012, p. 1!
Vivaldi, RV 550 (L’Estro Armonico Op. 3, N.4), I bb.1 -4: Anonymous trio sonata, II bb. 12-15:
Vivaldi, RV 550 (L’Estro Armonico Op. 3, N.4), I bb.1 -4: Anonymous trio sonata, II bb. 12-15:
The B section (Adagio, b.12) of the anonymous sonata features a very similar material that it is used in the concerto above mentioned (RV 550.)
The B section (Adagio, b.12) of the anonymous sonata features a very similar material that it is used in the concerto above mentioned (RV 550.)
After the section in triplets the similarities with Vivaldi and the RV 60 are shown clearly:
After the section in triplets the similarities with Vivaldi and the RV 60 are shown clearly:
This kind of melodic movement is also found in other composers such as Bonporti whose influence is clearly found in early works by Vivaldi.'*! Anonymous Trio Sonata. Solo violin section. Adagio:
This kind of melodic movement is also found in other composers such as Bonporti whose influence is clearly found in early works by Vivaldi.'*! Anonymous Trio Sonata. Solo violin section. Adagio:
The reutilization of Bonporti’s music by Vivaldi in the first years of X VIII century is the earliest known example of other composers borrowing Vivaldi’s music. !“?
The reutilization of Bonporti’s music by Vivaldi in the first years of X VIII century is the earliest known example of other composers borrowing Vivaldi’s music. !“?
Anonymous trio sonata, Solo violin section,3/8:
Anonymous trio sonata, Solo violin section,3/8:
Anonymous Trio Sonata: Second Solo for the Violoncello. Giga
Anonymous Trio Sonata: Second Solo for the Violoncello. Giga
Anonymous Trio Sonata, Giga:
Anonymous Trio Sonata, Giga:
This elaboration strongly points to Vivaldi as a very plausible author but the evidence must be taken carefully. It is very plausible that Vivaldi took the material from other composer. In the chapter “Vivaldi rielabora gli altri”,!*” [Vivaldi re-elaborates the others] Federico Maria Sardelli shows a large catalogue of example of Vivaldian works composed with material of other composers. Ruggieri, Lotti, Ziani, Bonporti, Westhoff, Bononcini, Marini are just some examples of composers that served as inspiration to Vivaldi. B section of both sonatas:
This elaboration strongly points to Vivaldi as a very plausible author but the evidence must be taken carefully. It is very plausible that Vivaldi took the material from other composer. In the chapter “Vivaldi rielabora gli altri”,!*” [Vivaldi re-elaborates the others] Federico Maria Sardelli shows a large catalogue of example of Vivaldian works composed with material of other composers. Ruggieri, Lotti, Ziani, Bonporti, Westhoff, Bononcini, Marini are just some examples of composers that served as inspiration to Vivaldi. B section of both sonatas:
The cadential pattern used in the Giga contained in the RV 31 is the same as in the Giga of the Anonymous Trio Sonata.
The cadential pattern used in the Giga contained in the RV 31 is the same as in the Giga of the Anonymous Trio Sonata.
Trio Sonata Op. 1, N. 5. RV 69. Corrente:
Trio Sonata Op. 1, N. 5. RV 69. Corrente:
In addition to those concordances there are similar concordances also found in the RV 220, II:
In addition to those concordances there are similar concordances also found in the RV 220, II:
All those ideas (ostinato in the upper voices — open A in the violins -, harmonic pedal — in the bass part- and same kind of articulatione—¢ +) seems to be summarized in the passage of bb. 41 to 46 the Corrente of the RV 64:
All those ideas (ostinato in the upper voices — open A in the violins -, harmonic pedal — in the bass part- and same kind of articulatione—¢ +) seems to be summarized in the passage of bb. 41 to 46 the Corrente of the RV 64:
On the other hand there is also the possibility that this anonymous composer served as inspiration to Vivaldi. Vivaldi could compose the giga of his RV 10 by copying this anonymous composer. In this case, all the concordances found in the anonymous trio sonata and the links with other Vivaldian works could be said to be “common features” which influenced Vivaldi in the earliest stage of his career as a composer. In this extreme case, this anonymous sonata could be considered as a new discovery in the sources of Vivaldi’s music.
On the other hand there is also the possibility that this anonymous composer served as inspiration to Vivaldi. Vivaldi could compose the giga of his RV 10 by copying this anonymous composer. In this case, all the concordances found in the anonymous trio sonata and the links with other Vivaldian works could be said to be “common features” which influenced Vivaldi in the earliest stage of his career as a composer. In this extreme case, this anonymous sonata could be considered as a new discovery in the sources of Vivaldi’s music.
End of Cadenza I of the RV 212:
End of Cadenza I of the RV 212:
“Si ferma a piacimento” in the “Violino Primo” part (end of third movement) of Yattaneo’s concerto in A major (Mus.2468-0-2): Its use is more frequent in Vivaldi pieces and I have found at least six concerto: in Dresden!® with that sentence:
“Si ferma a piacimento” in the “Violino Primo” part (end of third movement) of Yattaneo’s concerto in A major (Mus.2468-0-2): Its use is more frequent in Vivaldi pieces and I have found at least six concerto: in Dresden!® with that sentence:
All those significant links to Vivaldi and the strong concordances that can be noticed with a quick revision of the score encourage me to include this concerto in the main work of this thesis.‘”°
All those significant links to Vivaldi and the strong concordances that can be noticed with a quick revision of the score encourage me to include this concerto in the main work of this thesis.‘”°
Anonymous concerto, III Movement, bb. 27 - 34 This kind of orchestration could indicate that the horns are part of the original scoring of the concerto, and they are not a later addition to a concerto for violin and strings. 172
Anonymous concerto, III Movement, bb. 27 - 34 This kind of orchestration could indicate that the horns are part of the original scoring of the concerto, and they are not a later addition to a concerto for violin and strings. 172
RV 212, Cadenza III, beginning: 178 Marked with (p) in the following chart
RV 212, Cadenza III, beginning: 178 Marked with (p) in the following chart
RV 690. Mio cor, povero cor. Aria XVII. Ad infiammar quel seno, b. 17
RV 690. Mio cor, povero cor. Aria XVII. Ad infiammar quel seno, b. 17
Besides those compositional similarities, some important and significant concordances are also found in those movements: All those movements feature passages in sixteenths notes which is why a section written in a very homophonic style of quarter notes and rests in striking: RV 574, II, bb. 120 -123 (Comi da caccia):
Besides those compositional similarities, some important and significant concordances are also found in those movements: All those movements feature passages in sixteenths notes which is why a section written in a very homophonic style of quarter notes and rests in striking: RV 574, II, bb. 120 -123 (Comi da caccia):
In addition to all those concordances, the possibility of Vivaldi’s authorship is strengthened by the characteristics found in the anonymous concerto.
In addition to all those concordances, the possibility of Vivaldi’s authorship is strengthened by the characteristics found in the anonymous concerto.
This quote is exemplified in the bars 13 — 21 of the opening movement of the anonymous concerto:
This quote is exemplified in the bars 13 — 21 of the opening movement of the anonymous concerto:
183 Talbot, Michael. The Vivaldi Compendium. The Boydell Press, 2012. P. 179
183 Talbot, Michael. The Vivaldi Compendium. The Boydell Press, 2012. P. 179
Cadenza for the RV 562 (Mus.2389-0-94):
Cadenza for the RV 562 (Mus.2389-0-94):
Despite the fact that both cadenzas are exactly fifty three bars long there are strong concordances regarding the musical material in both cadenzas. Cadenza from RV 562 (beginning):
Despite the fact that both cadenzas are exactly fifty three bars long there are strong concordances regarding the musical material in both cadenzas. Cadenza from RV 562 (beginning):
End of Cadenza from the Anonymous Concerto: End of the Cadenza of RV 562:
End of Cadenza from the Anonymous Concerto: End of the Cadenza of RV 562:
It is also very remarkable that this ending is also used in other cadenzas of Vivaldi: The Cadenza III found in the manuscript Mus.2389-0-74, which contains three cadenzas, the RV 212 and the slow movement of the RV 205:
It is also very remarkable that this ending is also used in other cadenzas of Vivaldi: The Cadenza III found in the manuscript Mus.2389-0-74, which contains three cadenzas, the RV 212 and the slow movement of the RV 205:
This compilation could be extremely useful, since the majority of works published are offering outdated information about this archive.’?'Also this chart puts exteraneous information about the works, including more information regarding the paper. This is of vital importance in order to know how many works by Vivaldi were brought from Italy by Pisendel.
This compilation could be extremely useful, since the majority of works published are offering outdated information about this archive.’?'Also this chart puts exteraneous information about the works, including more information regarding the paper. This is of vital importance in order to know how many works by Vivaldi were brought from Italy by Pisendel.

Related papers

The (lost) Violin Concerto RV 316 by Vivaldi: its Reconstruction and Dating
Fabrizio Ammetto

STUDI VIVALDIANI (ISSN: 1594-0012), vol. 18, pp. 69-89, 2018

Com’è noto, tra luglio 1713 e luglio 1714 Johann Sebastian Bach trascrisse per strumento a tastiera solo – organo e clavicembalo – (perlomeno) ventuno concerti ‘moderni’, composti soprattutto da noti maestri italiani: Alessandro e Benedetto Marcello, Giuseppe Torelli e Antonio Vivaldi. Di quest’ultimo, in particolare, ne rielaborò una decina, dei quali conserviamo il testo orchestrale originale, con la sola eccezione del Concerto per violino in Sol minore, RV 316, il cui unico manoscritto conosciuto (Darmstadt, Hessische Landes- und Hochschulbibliothek, Ms. 4443) fu distrutto durante la Seconda guerra mondiale. Grazie al testo trasmesso dalla trascrizione bachiana (BWV 975), si sa che i primi due movimenti di RV 316 condividevano materiale musicale comune con il Concerto per violino in Sol minore, RV 316a, Op. IV n. 6 (Amsterdam, E. Roger, 1716): in virtù di tali similitudini, Jean-Pierre Demoulin incoraggiava – in un saggio del 2009 – una ricostruzione del Concerto (perduto) RV 316, considerandola un’operazione “semplice”. In realtà, come viene dimostrato in quest’articolo, la situazione è ben più complessa, perché esistettero differenze significative – anche nei primi due movimenti – tra la versione utilizzata da Bach per la sua trascrizione clavicembalistica (RV 316) e il testo che Vivaldi consegnò alle stampe (RV 316a). Nel presente saggio, oltre a fornire una ricostruzione ‘critica’ di questo concerto per violino perduto, vengono discussi aspetti relativi alla relazione cronologica tra RV 316 e RV 316a, sulla base dei ripensamenti compositivi vivaldiani riscontrati (che investono aspetti strutturali, melodici, armonici e di orchestrazione): RV 316 sembrerebbe essere stato concepito intorno al 1710, mentre RV 316a sarebbe stato rielaborato ed inviato ad Amsterdam – insieme all’intera raccolta della Stravaganza, Op. IV – intorno al 1715, e non prima, come presumeva e annunciava lo stesso Vivaldi nella premessa (Alli Dilettanti di Musica) all’Estro armonico, Op. III (1711).

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A New Vivaldi Cadenza in an Anonymous Violin Concerto
Javier Lupiáñez

Studi Vivaldiani, 2018

In the Schrank II collection of the sächsische landesbibliothek – staats- und universitätsbibliothek (sluB) of dresden there is preserved a set of separate parts – copied out by Johann Georg Pisendel between 1720 and 1730 – for an anonymous violin concerto in d major (Mus. 2-o-1,45). laid out in three movements (allegro, Grave, allegro), this composition provides a clear example of the “Vivaldian musical language” exported to, and assimilated by, Dresden (via more or less faithful “followers” or epigones of the red Priest), while not being wholly attributable to Vivaldi. the most intriguing element within this anonymous concerto is an interesting cadenza at the end of the final allegro. the high incidence of musical concordances of this cadenza with other, authentic ones by the red Priest (in particular, with sections of cadenzas present in the concertos RV 206, 208, 212, 556 and 562), to which can be added a consideration of its overall structure, leads to the conclusion that the cadenza inserted into the final movement of the anonymous violin concerto Mus. 2-o-1,45 in the SLUB is a genuine product of Vivaldi’s pen. In addition, certain graphical peculiarities of the Dresden manuscript, including the strange form of connection between the end of the cadenza and the final tutti, suggest an interchangeability in the use of these cadenzas in different concertos, whether composed by Vivaldi himself or by others.

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Conserto Opus 3 No 6 by Antonio Vivaldi: An Overview of Forms of Ritornello and Music Construction
ance panggabean

Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences, 2021

This research aims at analyzing Concerto Opus 3 No. 6 by Antonio Vivaldi in terms of Ritornello's form and musical construction. The basic method applied in this research is descriptive. Besides that, the approach method used is the library method so that it is found and produced Ritornello Form Analysis and Musical Construction. Through Analysis of Concerto Opus 3 No 6 by Antonio Vivaldi Viewed From Ritornello's Form and Construction Vivaldi's concerto music which is famous for its string music characteristics, regarding the form and pattern of its structure as well as the parts contained in the construction of the music, the beginning, the continuation part, the complication part and the resolution section. In addition to his musical constructions, Vivaldi's concerto uses Ritornello and Episode patterns which are brilliant in Baroque terms. With the use of chord levels (harmony progressions) and soloist and tutti (orchestral) playing, this concerto was more solemn and majestic for its time.

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Vivaldi at Work: the Autograph of the "Gloria" RV 589
Paul Everett

It is generally true that the more one studies a manuscript and the manuscripts of cognate provenance with which it belongs, the more information one gleans. The problem most of us face, however, is limited access to the documents themselves. Many complexities of a manuscript are simply not discernible from photographic reproductions; and even when one has the opportunity to examine sources in situ, the time that can be devoted to a single document is often insufficient for the task of analysing all its features that deserve to be taken into account. When time is short and when many documents demand attention, the researcher inevitably tends to take an approach not unlike trzbge as applied in medicine to the diagnosis of casualties. Priority might be given, for instance, to manuscripts that are under-researched, on the assumption that the features of better-known manuscripts have already been assessed fully by others. Or priority might be given to manuscripts that have compellingly peculiar features (extensive deletions, evidence of physical rearrangement, and so forth), as opposed to those that seem entirely regular in their structure or routinely notated. Of course, the trap (into which I have regularly fallen) is that one's tnbge can be flawed. The mistake is to presume that manuscripts which are well-known or which present their texts accurately do not have hidden depths. Such a manuscript-with numerous hidden depths-is the autograph of the Gloria in D, RV 389, preserved in the Biblioteca Nazionale Universitaria, Turin: fols 90-129 in Giordano 32. Few works by Vivaldi are as famous as this, and few Vivaldi autographs can have been studied as frequently as this one has been since the 193Os, both in the preparation of modern editions and in the course of other kinds of research-not least on the relationship between the final movement, Cum Sancto Spirits, and its model by Giovanni Maria Ruggieri, a case of borrowing of which knowledge has existed for some time. But this is a particularly deceptive document that must have deceived many who have examined it. Its text, taken at face value, creates an illusion: the source seems like an autograph fair copy when it is not.' Vivaldi's notation here is neat and carefully laid out, almost always accurate, and less abbreviated, with a generously figured basso part, than in many other sources. In fact, it is so accurate and complete that very little intervention is required when an edition is prepared-a rare phenomenon so far as Vivaldi's multi-movement compositions are concerned. Sample pages are shown in Plates 1 and 2.

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Discovering the Rediscovery of Antonio Vivaldi by Miles Fish
Miles Fish

Article was Published The Choral Journal, May 2015. http://acda.org/files/choral_journals/FishMay15.pdf With more than two thousand recording and myriad music conductors programing his music worldwide, Antonio Vivaldi (1678-1741) is one of the most performed composers in music history. It is hard to believe that until the mid/late1950s, Vivaldi and his music were virtually unknown to the concert-going public. This article recounts the true story of the rediscovery of Vivaldi—from the 1920's uncovering of hundreds of compositions once thought lost to the quest to bring those compositions to the forefront of classical repertoire. Contained in the article are the author’s personal photographs, including images from the Italian National University Library in Turin where the Vivaldi Turin manuscripts are located and images from the library archives of the Accademia Musicale Chigiana in Siena.

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Concepts of Modal Dualism at the Time of Vivaldi
Bella Brover-Lubovsky

tutti i diritti riservati © 2016 Fondazione giorgio cini onlus isola di San giorgio Maggiore 30124 Venezia www.cini.it Prima edizione: 2016 redazione: Margherita gianola impaginazione: giovanna clerici iSbn 9788896445112 Fulgeat sol frontis decorae. Studi in onore di Michael Talbot, a cura di alessandro borin e Jasmin Melissa cameron, Venezia, Fondazione giorgio cini, 2016. Pubblicazione online: <www.cini.it> indice Prefazione, di Francesco Fanna Due città, una storia, di alessandro borin e Jasmin Melissa cameron Laudatio I, di colin timms Fabrizio ammetto, Dal manoscritto alla stampa. Aspetti del processo creativo nella Sonata RV 35a/35 di Vivaldi Fabrizio ammetto, From Manuscript to Print: Aspects of the Creative Process in Vivaldi's Sonata RV35a/35 (Summary) Marco bizzarini, «Allegro più ch'è possibile». Vivaldi e la velocità Marco bizzarini, «Allegro più ch'è possibile»: Vivaldi and la velocità (Summary) alessandro borin, Vivaldi e l'affaire Tourreil. Nuove ipotesi sulla Serenata à 3, RV 690 alessandro borin, Vivaldi and the Tourreil Affair: New Hypotheses on the Serenata à 3, RV 690 (Summary) bella brover-lubovsky, Concepts of Modal Dualism at the Time of Vivaldi bella brover-lubovsky, La concezione del dualismo modale all'epoca di Vivaldi (Sommario) enrico careri, Novità formali nelle sonate per violino Op. II di Vivaldi enrico careri, Novel Forms in Vivaldi's Sonatas for Violin, Op. 2 (Summary) Laudatio II, di Michael Spitzer Paul everett, Vivaldi at Work: The Late Cantatas and the Consignment for Dresden Paul everett, Vivaldi al lavoro. Le cantate del periodo maturo e la commissione dresdense (Sommario) 7 9 11 15 19 28 29 39 41 63 65 83 85 94 95 97 113 -7 -indice cesare Fertonani, Ancora su Vivaldi e Bach. Una traccia della Primavera nella cantata Wer weiß, wie nahe mir mein ende, BWV 27 cesare Fertonani, Vivaldi and Bach Once Again: A Reminiscence of la Primavera in the Cantata Wer weiß, wie nahe mir mein ende, BWV 27 (Summary) Karl heller, Zu der in Dresden überlieferten Fassung von Vivaldis Concerto RV 564/564a. Informationen, Beobachtungen, Überlegungen Karl heller, Sulla versione dresdense del Concerto RV 564/564a. Informazioni, osservazioni, riflessioni (Sommario) lowell lindgren, Nineteen Compilations of Arias from Sixty-Two Venetian Operas of 1667-1696, assembled for the Barberini Family in Rome lowell lindgren, Diciannove raccolte di arie da sessantadue opere veneziane del 1667-1696 per i Barberini di Roma (Sommario) Laudatio III. laus liberalitatis, di Kees Vlaardingerbroek Federico Maria Sardelli, Vivaldi prima di Vivaldi. La nuova Sonata RV 820 Federico Maria Sardelli, Vivaldi before Vivaldi: The new Sonata RV 820 (Summary) eleanor Selfridge-Field, Schulenburg, Corfù and the Dating of Juditha triumphans, RV 644 eleanor Selfridge-Field, Schulenburg, Corfù e la datazione di Juditha triumphans, RV 644 (Sommario) Janice b. Stockigt, Discoveries and recoveries of Vivaldi and Zelenka sources in the Sächsische Landesbibliothek -Staats-und Universitätsbibliothek, Dresden Janice b. Stockigt, Scoperte e riscoperte sulle fonti musicali di Vivaldi e Zelenka presso la Sächsische Landesbibliothek -Staats-und Universitätsbibliothek di Dresda (Sommario) roger-claude travers, Le temps du monaural: 1948-1959. Premier âge d'or méconnu du disque vivaldien roger-claude travers, The Era

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Antonio Vivaldi and the Musical Environment of Venice During the Early Eighteenth Century (ca. 1700–1741)
Christian Kaltwasser

Many treatises on the history and arts of Venice lament the loss resulting from the capitulation of the last doge to Napoleon’s forces in May 1797, when many records and manuscripts from its institutions were lost. Yet, fortunate discoveries have since filled in much detail and have allowed re-evaluation of the Republic of Venice’s role in history and culture by historians working since the mid-1800s. Antonio Vivaldi, now one of the most famous and well-regarded composers of the Baroque as well as of Venice, was for some time remembered mainly as a composer who was famous in his own time, and as an important influence on J.S. Bach’s keyboard style. A prolific and innovative composer, Vivaldi in fact made major and lasting contributions to instrumental music that helped shape the orchestra itself. This paper will examine how the unique environment of his native Venice shaped Vivaldi's work and thus his impact.

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Vivaldi's Music for Flute and Recorder
Federico Maria Sardelli

Ashgate, 2006

Federico Maria Sardelli writes from the perspective of a professional baroque flautist and recorder-player, as well as from that of an experienced and committed scholar, in order to shed light on the bewildering array of sizes and tunings of the recorder and transverse flute families as they relate to Antonio Vivaldi's compositions. Sardelli draws copiously on primary documents to analyse and place in context the capable and surprisingly progressive instrumental technique displayed in Vivaldi's music. The book includes a discussion of the much-disputed chronology of Vivaldi's works, drawing on both internal and external evidence. Each known piece by him in which the flute or the recorder appears is evaluated fully from historical, biographical, technical and aesthetic standpoints. This book is designed to appeal not only to Vivaldi scholars and lovers of the composer's music, but also to players of the two instruments, students of organology and those with an interest in late baroque music in general. Vivaldi is a composer who constantly springs surprises as, even today, new pieces are discovered or old ones reinterpreted. Much has happened since Sardelli's book was first published in Italian, and this new English version takes full account of all these new discoveries and developments. The reader will be left with a much fuller picture of the composer and his times, and the knowledge and insights gained from minutely examining his music for these two wind instruments will be found to have a wider relevance for his work as a whole. Generous music examples and illustrations bring the book's arguments to life.

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Vivaldi’s Gloria, RV 589: Sources and Critical Editions
Chad Steffey

Vivaldi’s Gloria RV 589 is one of his three settings of this mass section that share similar musical material with each other as well as significant borrowed sections from a double orchestra Gloria by Giovanni Maria Ruggieri. These multiple versions of the Gloria pose some confusion and editorial choices that merit inquiry by performers and conductors. The first modern performance of the work, led by Alfredo Casella on September 20, 1939, in Siena was part of a weeklong festival of revival concerts that led to the first modern edition published by Ricordi. Casella’s version, long considered authoritative, was replete with changes from the autograph that make it irreconcilable with the instrumental parts and unfaithful to Vivaldi’s manuscript. Paul Everett’s, Michael Talbot’s, and others’ recent research of the manuscripts illuminate the historical context, stylistic treatment, and some performance considerations of the work that should (and have) inform critical editions of Vivaldi’s most well-known and most-often performed sacred choral work. Tracing the publication history and comparing the available publications gives merit to those critical editions by Paul Everett, Michael Talbot, and Clayton Westermann.

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<i>Tonal Space in the Music of Antonio Vivaldi</i> (review)
Eleanor Selfridge-Field

Notes, 2010

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References (110)

  1. - Talbot, Michael New Grove. Vivaldi. Points of Style - Pincerle, Marc. Vivaldi. Norton & Company, New York, 1955, Chapter II, Vivaldi's Music: Style and Form - Kolneder, Walter, Melodietypen bei Vivaldi, Amadeus Verlag, 1973
  2. - Brover-Lubovsky, Bella. Tonal Space in the Music of Antonio Vivaldi, Indiana University Press, 2008 - Michael Talbot. "Vivaldi, Antonio." Grove Music Online. Oxford Music Online. Oxford University Press, accessed August 8, 2014 http://www.oxfordmusiconline.com/subscriber/article/grove/music/40120pg7.
  3. Brover-Lubovsky, Bella. Tonal Space in the Music of Antonio Vivaldi, Indiana University Press, 2008, p. 202
  4. Brover-Lubovsky, Bella. Tonal Space in the Music of Antonio Vivaldi, Indiana University Press, 2008, p. 202 -203
  5. Talbot, Michael. Vivaldi. J.M. Dent, London, 1993, Chapter V. "Vivaldi´s Musical Style" 91
  6. Talbot, Michael. Vivaldi. J.M. Dent, London, 1993, Chapter V. "Vivaldi´s Musical Style" - Talbot, Michael New Grove. Vivaldi. Points of Style - Talbot, Michael. The Vivaldi Compendium. The Boydell Press, 2012
  7. - Pincherle, Marc. Vivaldi. Norton & Company, New York, 1955, Chapter II, Vivaldi's Music: Style and Form - Brover-Lubovsky, Bella. Tonal Space in the Music of Antonio Vivaldi, Indiana University Press, 2008 102 "un moto di semicrome spezate ove una voce inferiore esegue il 'bassetto' ad una voce superiore che ribate". Sardelli, Federico Maria. Catalogo delle concordanze musicali vivaldiane, L. S. Olschki Editore, 2012, p. LIX 110 First movement is similar in RV 775 and RV 123
  8. Ryom, Peter Antonio Vivaldi Thematisch-systematisches Verzeichnis seiner Werke (RV) Weisbaden, Breitkopf & Härtel, 2007, p. 55
  9. Heller, Karl. Vivaldi, The Red Priest. Amadeus Press, USA, 1997, p. 182
  10. Heller, Karl. Vivaldi, The Red Priest. Amadeus Press, USA, 1997, p. 76
  11. Heller, Karl. Vivaldi, The Red Priest. Amadeus Press, USA, 1997, p. 76 115 RISM ID no.: 212000235 116 RISM-A/II-212001661
  12. Talbot, Michael, Vivaldi, Laudate Pueri Dominum, Edizione Critica, Ricordi Milano, 1995. Note Critiche, p. 115 Anonymous sonata, first movement (D-Dl Mus.2-Q-6): bass. The word is in works attributed to Torelli". This feature is used widely also by Vivaldi and demonstrates the influence of Torelli and Corelli on Vivaldi's early works. See: Talbot, Michael. Vivaldi. J.M. Dent, London, 1993, p. 140 and Talbot, Michael. The Vivaldi Compendium. The Boydell Press, 2012, p. 139 RV 75 (Op. 1 N.9), Incipit: RV 60, first movement: RV 562, I, bb. 76 -77: RV 569, III, bb. 159 -162: RV 212, Cadenza II, beginning: Anonymous concerto, I, bb. 31 -33: B. -"One -three formula". In other words, a single note followed by three repeated notes. Usually, those repeated notes are use as harmonic pedal note.
  13. Autograph, RV 690. Mio cor, povero cor. Aria XVII. Ad infiammar quel seno, bb. 6-7:
  14. See Appendix I. Ostinato and Pedal notes. 176 See page 35 177 "un moto di semicrome spezate ove una voce inferiore esegue il 'bassetto' ad una voce superiore che ribate". Sardelli, Federico Maria. Catalogo delle concordanze musicali vivaldiane, L. S. Olschki Editore, 2012, p. LIX RV 574, I, bb.83 -85: RV 562, I, bb. 54 -55: A common resource is to use this "one-three formula" to develop a harmonic progression 7 -6. 178 RV 569, I, bb. 32 -36 RV 562, III, bb. 71 -73: Anonymous concerto, I, bb. 86 -88: C. -Ascending sequences to very high notes, using open strings as pedal note. RV 574, I, bb. 76 -78 RV 212, Cadenza III, beginning: RV 205, III, bb. 249 -253
  15. Marked with (p) in the following chart RV 690. Mio cor, povero cor. Aria XVII. Ad infiammar quel seno, bb. 23 -24 Anonymous concerto, I, bb. 42 -46 Anonymous concerto, III, 108 -112: D. -A passage in double stops with a pedal note in one voice and a repeated moving interval in the other RV 562, I, b. 67 RV 571, I, bb. 73 -76 RV 212, III, bb. 25 -28 RV 690. Mio cor, povero cor. Aria XVII. Ad infiammar quel seno, b. 17 Anonymous concerto, I, bb. 129 -131: Anonymous, Cadenza, bb. 3 -5: Cadenza for the anonymous concerto (Mus.2-O-1,45): Despite the fact that both cadenzas are exactly fifty three bars long there are strong concordances regarding the musical material in both cadenzas. The beginning and the end of both cadenzas are very similar: Cadenza from RV 562 (beginning): Cadenza from anonymous concerto (beginning): End of the Cadenza of RV 562: End of Cadenza from the Anonymous Concerto: Of course some questions remain unanswered, such as the original instrumentation of the concerto. Even if the music is quite convincing with the provided instrumentation (for instance, there is no place with long rests). Looking at the concerto in its context, it seems the oboe parts are missing.
  16. RISM ID no.: 212000118
  17. Dated by Fertonani, Cesare. La musica strumentale di Antonio Vivaldi. Vol.
  18. LS Olschki, 1998. p. 436 206 Late copy by J.H. Roman. RISM ID no.: 190023857
  19. Unfortunately the manuscript is poorly conserved and it is impossible to read some parts. 208 Talbot is speaking here about the RV 206. Studi Vivaldiani: rivista annuale dell'Istituto Italiano Antonio Vivaldi della Fondazione Giorgio Cini Miscellany. (2012), p. 97
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  28. Falcone, F. "The Italian Style and the Period". Dance Chronicle, 29(3), 2006, p. 317- 340. Fanna, Antonio Opere strumentali di Antonio vivaldi: Catalogo numerico-tematico (secondo la catalogazione Fanna) Milano, G. Ricordi & Co., 1986, 2e edizione, 185p. ISBN 88-7592-022-2
  29. Fertonani, Cesare. La musica strumentale di Antonio Vivaldi. Vol. 9. LS Olschki, 1998
  30. Grattoni, Maurizio. "Qui si ferma 'a piacimento': Struttura e Funzione della Cadenza nei Concerti di Vivaldi." ("Here one pauses 'ad libitum': The Structure and Function of the Cadenza in Vivaldi's Concertos.") Nuovi Studi Vivaldiani: Edizione e Cronologia Critica delle Opere, 23 (1988): 479-492.
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  110. Zohn, Steven David. Music for a mixed taste: style, genre, and meaning in Telemann's instrumental works. Oxford University Press, USA, 2008. 223 http://www.oxfordmusiconline.com/subscriber/article/grove/music/40120pg7.

FAQs

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What new sources for Vivaldi concertos were discovered in Dresden?add

The project uncovered new sources for concertos RV 206 and RV 241, along with an unknown concerto (Mus. 2-O-7b), enhancing Vivaldi's catalog.

How does the anonymous sonata correspond to Vivaldi's RV 205?add

The anonymous sonata's first movement closely mirrors the second movement of RV 205, suggesting potential attribution to Vivaldi.

What criteria are used for authenticating Vivaldi's works?add

Authentication relies on both external and internal features; Vivaldi's unique stylistic traits facilitate positive identification, often more than external characteristics.

In what ways did Pisendel influence Vivaldi's music in Dresden?add

As a concertmaster, Pisendel collected numerous Vivaldi scores and likely shaped the orchestral performance style in Dresden, blending Italian influences.

What are the stylistic characteristics that define Vivaldi's compositions?add

Vivaldi's works often exhibit modular composition, asymmetrical phrasing, distinct cadential patterns, and unique features like the acephalic reprise.

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Javier Lupiáñez

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Related papers

Vivaldi’s Bohemian Manuscripts
Paul Everett

Journal of the Society for Musicology in Ireland, 2013

The present article was originally published in Czech translation by Michaela Freemanová: ‘Vivaldiho bohemikální rukopisy’, Opus musicum, 44/3 (2012), 14-25. It concerns the several manuscripts - mostly autographs - of Antonio Vivaldi that appear to originate from Bohemia and the time of the composer’s visit, accompanied by his father Giovanni Battista Vivaldi, to ‘Germania’ in 1729-30. Besides three manuscripts of compositions with lute (RV 83, 85 and 93), whose association with Count Johann Joseph von Wrtby (Jan Josef z Vrtba, 1669-1734) had been recognized in the 1970s, there are eleven further manuscripts (of RV 155, 163, 186, 278, 282, 288, 330, 380, 473, 500 and 768) discovered to be of similar, putatively Bohemian provenance that survive in Vivaldi’s personal archive of music, now preserved in Turin. Through the examination of their paper-types and rastrographies (utterly distinct from those of the music papers Vivaldi typically used in Italy), a clear picture emerges of the ...

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Two More New Vivaldi Finds in Dresden
Michael Talbot

Eighteenth-Century Music, 2006

two more new vivaldi finds in dresden janice b. stockigt and michael talbot A B S T R A C T Two further unknown sacred vocal compositions by Vivaldi, a Dixit Dominus and a Lauda Jerusalem, have turned up in a collection that has already witnessed two similar discoveries in recent decades: that of the former Saxon Hofkapelle, today in the Sächsische Landesbibliothek / Staats-und Universitätsbibliothek Dresden. Like their predecessors, the newly discovered works were acquired between the mid-1750s and early 1760s from the copying shop of Iseppo Baldan in Venice, who falsified the attribution on the title page to make the composer Galuppi instead of Vivaldi. Whereas the Lauda Jerusalem is an arrangement by Vivaldi of an anonymous stile antico setting of the same psalm in his own collection (and in turn the model for his own Credidi propter quod, rv605), the Dixit Dominus, scored for choir, soloists and orchestra, is an entirely original composition of outstanding musical quality that dates from the composer's late period. This article explores the background to the Hofkapelle's purchases from Baldan and provides a description of the new compositions, together with several arguments (based on musical concordances, general stylistic features and notational characteristics) for their attribution to Vivaldi.

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Vivaldi or Not Vivaldi? The Unreliable Attribution of the Sonata RV 34
Michael Talbot

2020

Ever since Johann Georg Pisendel copied, and took back to Dresden in 1717, the solo sonata in B flat for violin (or perhaps oboe) attributed by him to Antonio Vivaldi, the authorship of this work has been uncontested. Designated RV 34 in the standard Vivaldi catalogue, it is a popular piece among performers. But there are persuasive external and internal features establishing almost beyond doubt that its true author was the Venetian amateur composer Diogenio Bigaglia (1678-1745). Pisendel's incorrect attribution may have been an error inherited from a non-autograph source. The article takes the opportunity to add details about Bigaglia's life and describe his musical style.

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Second Thoughts, Embellishments and an Orphaned Fragment: Vivaldi and Pisendel’s Contributions to the Dresden Score of RV 340
Nicholas Lockey

Studi vivaldiani, 2010

The autograph score of the Violin Concerto in A Major RV 340, now held in the Sächsische Landesbibliothek – Staats- und Universitätsbibliothek Dresden (shelf number Mus. 2389-O-43), contains corrections and annotations by Vivaldi and his student, Johann Georg Pisendel. The present study proposes that these modifications relate to at least two planned performances subsequent to the initial purpose of the concerto. Two modifications in the third movement are most probably revisions made after the entire movement had been completed. These revisions, along with the provision of a cadenza and Vivaldi’s inscription of the concerto to Pisendel suggest that Vivaldi may have updated and “personalized” a pre-existing concerto for one or more performances by Pisendel while the latter was in Venice. With the concerto in his repertoire, Pisendel was given the score to take with him back to Dresden, whereupon he sketched numerous elaborations for the solo violin part – presumably for additional performances. Pisendel even composed a newly identified replacement passage – with new solo violin and basso continuo lines – for a portion of one solo episode in the third movement. This paper also points out that the recto of the added folio that contains the cadenza for RV 340 includes an autograph fragment of part of the aria Vivat in pace from the oratorio Juditha triumphans RV 644. This fragment is most likely to have been an aborted continuation of the manuscript now held in the Biblioteca Nazionale Universitaria, Turin (shelf number Foà 28, ff. 209-302) that was detached because Vivaldi inadvertently copied the vocal line on the viola stave. The presence of part of Juditha triumphans on the same folio as the cadenza for RV 340 allows us to date the cadenza within the period between early 1716 and spring 1717. Published in Studi vivaldiani 10 (2010): 125-141.

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By Vivaldi (after all): The Violin Concerto RV Anh. 131
Michael Talbot

Studi vivaldiani, 2021

BY VIVALDI (AFTER ALL): THE VIOLIN CONCERTO RV ANH. 131 SUMMARY The core of this article is a plea for the recognition of the violin concerto in F major RV Anh. 131, first admitted to the Vivaldi catalogue in 2007, as an authentic work of the composer – a change of status that, if accepted, would result in its move from the Anhang (Supplement) section of the catalogue into the main part and also make it eligible for publication in the critical edition. The concerto is of special interest for having the appearance of an early work already displaying many of the features expressed in their classic form in L’estro armonico (1711). It appears as the third of six concertos for various instrumental combinations contained in Harmonia Mundi, the Second Collection, an anthology brought out in late 1728 or early 1729 by John Walsh senior and Joseph Hare in London. To set the scene, the article begins by discussing Vivaldi’s significant presence in published concerto anthologies in general. Concerto III in Walsh’s print names Albinoni as the composer, but this is clearly wrong, since its style is palpably non-Albinonian. By good fortune, a thematic catalogue of the concertos once possessed by the Piarist monastery at Podolínec in eastern Slovakia lists the same concerto, this time attributed to Vivaldi. Although this catalogue is full of evident misattributions, it seemed a good idea to score the work up and test the credibility of its attribution. Close analysis of both the structure and the musical style of the concerto quickly leads to a positive conclusion. Each aspect of the work exhibits not only a multitude of features highly characteristic of Vivaldi but also a good many that are seemingly unique, or nearly so, to him and have been widely recognized as such in scholarly literature. The article uses several tables and music examples to support its arguments. Notwithstanding its brevity and a relative lack of technical challenge in the solo part, which could possibly reflect its use for pedagogical purposes at the Ospedale della Pietà, Concerto III can, in the author’s view, be attributed with absolute confidence to Vivaldi. Since the Harmonia Mundi anthology includes another work, the oboe concerto RV 456, that has had its attribution to Vivaldi in that source contested for a while in modern times before being ultimately vindicated, there is scope for future exploration of a possible link between the two compositions.

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