The aim was always to innovate the musical word of the Venetian Republic. Still today, some institutions are trying to preserve the great Venetian musical culture. Vivaldi innovated deeply the music between the and changing completely the Italian baroque music. He revitalized the formal and rhythmic structure of the concerto adding many harmonic contrasts and unusual melodies. His style was considered exuberant and was appreciated by both the public and the expert musicians. The Red Priest achieved success especially in Austria and Germany where people defined his pieces as something magnificent and modern.
Sebastian Bach considered Vivaldi as his main source of inspiration. The only country that dislike the Vivaldi was the United Kingdom, which define his music appropriate only for the kids. After his death his works was forgotten for almost 2 centuries and only after the Second World War, they come back famous all over the world and cherished by many experts. His most famous masterpiece realized during the period in Mantua about , where he found inspiration in its countryside, indeed the work wants to describe the nature with its flowers, animals and the farm-life around the rural area.
Thus could Tartini be referred to as the godfather of modern violin playing.
The Venetian Violinist
Tartini stood along with Vivaldi and Veracini as one of the great composers, violinists and theorists of the 18 th century. He produced at least each of sonatas and concertos; the exact figure is not yet known. His work presents good examples of changes that occurred after Corelli.
The movements were reduced from four or five to three in the solo sonatas, usually S-F-F. There was a greater range in pitch, speed, variety of figuration, double- and triple-stops, and bowings, and a newly intimate, sensitive expression. One sign is the increased preference for more emotional tempo markings such as Andante affettuoso, instead of Largo or Grave. The intimate style is most often seen in the freer, and perhaps later, solo sonatas, where all else is subordinated to melody.
The romantic lyricism in his music was occasionally combined with Slavic folk elements which may reflect his stay in Prague. There are three movements instead of four or five, and the third goes through a series of slow-fast changes, as if in reminiscence of the older form with a fourth or even fifth movement. The melodies are hauntingly poignant and intensely expressive. The sonata is also programmatic to some extent. It is not known for certain that Tartini wrote the annotation on his original manuscript, but we know that he annotated many of his works with secular poetry—the waking dreams of poets.
Those he wrote in code.
Rachel Morgan: Book Review: The Venetian Violinist, by Marcio Goncalves
The story behind it begins with an interview that Tartini gave to the French astronomer Jerome Lalande a few years before his death, in the same year that he retired from St. Everything went as I desired: my new servant anticipated my every wish. I had the idea of giving him my violin to see if he might play me some pretty tunes, but imagine my astonishment when I heard a sonata so unusual and so beautiful, performed with such mastery and intelligence, on a level I had never before conceived was possible.
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I was so overcome that I stopped breathing and woke up gasping. Immediately I seized my violin, hoping to recall some shred of what I had just heard; but in vain. The date of the sonata is uncertain; Lalande wrote that the dream occurred in , but music historians have found it difficult to place the sonata earlier than about on stylistic grounds. The manuscript was said to have come from Pierre Baillot, who had studied violin in Rome for a number of years, returning to Paris in Thus we have both a sonata that was suppressed and a story that Tartini did not chose to reveal until a few years before his death in And even then he did it discretely.
The present writer suggests that such a private person as Tartini would hardly have thought of casually publishing his dreams. His employers at St. The story would have been likely to cause such ridicule or religious scandal that his reputation and livelihood would have been damaged. Tartini was a person who guarded his thoughts, to the extent of encoding some of the annotations of his music.
The code was deciphered only in ; the annotations were shown to be mottos and fragments of secular poetry by Metastasio, Petrarch and Tasso, which might have been contrary to church strictures. So the interesting questions then become why did he tell it to Lalande, and why then? His natural penchant for privacy dovetailing with the necessity for discretion would have caused Tartini to keep silent until, meeting the astronomer Lalande, he recognized both his own advancing years, and an appropriate confidant for a story he did not wish to be lost. It is noteworthy that he chose a scientist in whom to confide.
He had for years followed his natural interests by carrying on correspondence with scientists, including at least one astronomer, and would have heard of Lalande, who had most likely arrived in Italy with a letter of introduction to Tartini from a scientist or astronomer. Only 75 emoji are allowed. Display as a link instead. Clear editor. Upload or insert images from URL.
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