THE HARMONY CF WVALDPS STQNATAS AND CQNCERTOS 7:1er f‘ov Hm Dawes of M. A. {LfiCEEMfi STATE WWERSETY Dewafm Lewis Richter £968 31293 00672 019 LIBRAR Y " Mum 111111:an 11111111111”, [“iiiifiiiifi“ 1 ABSTRACT THE HARMONY OF VIVALDI'S SONATAS AND CONCERTOS by Dewain Lewis Richter In my thesis I have made an attempt to describe characteristics of the harmony of Vivaldi's instrumental compositions, Sonatas as well as Concertos. Because of the vastness of his output, I have confined my investiga- tion to those of his works that have appeared in print (opus #1 through Opus #13) during his lifetime, but these (amounting to 120 works) represent all phases of his career. Whenever feasible, I have compared stylistic features with corresponding ones in Corelli on the one hand and Bach on the other. The results of my analysis are too specific to allow a summary. I have therefore decided merely to list the various aspects of the composer's harmony which I have studied. They divide into four main categories: I, key relations; II, types of cadences; III, types of sequences; IV, types of chords. Category I deals with frequency of main tonalities, with key relations between movements and those inside movements (mostly bipartite). Dewain Lewis Richter With regard to the latter, there are references to key relations between the end of the first section and the beginning of the second, between the main key and the first modulation, between the penultimate and the ulti- mate key, and to additional modulations. Category II covers types of cadences, among others, deceptive cadences sometimes resulting in a change of mode, unison cadences and pedal points as well as repetitions of cadences or parts of them. Category III contains a discussion of modulatory and non-modulatory sequences, those proceeding by fifths, stepwise ascending and descending. Finally, in category IV there is an analy- sis of the composer's chord vocabulary consisting of diminished and augmented triads, as well as various kinds of sevenths and ninth chords. Here also suspen- sion dissonances (and the way they are reinforced) and other non-harmonic tones are mentioned. THE HARMONY OF VIVALDI'S SONATAS AND CONCERTOS BY Dewain Lewis Richter A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of Music 1968 ACKNOWLEDGMENTS I have used the following orchestral scores of Vivaldi's instrumental Sonatas and Concertos for this study: Opus 1. DODICI SONATE DA CAMERA A TRE, pub- lished in 1705—1709 by Gioseppe Sala, Venice (modern edition copyright 1965 by Barenreiter, Germany): Opus 2. DODICI SONATE PER VIOLINO E BASSO CONTINUO PER IL CEMBALO, published in 1709 by Antonio Bortoli, Venice (modern edition copyright 1963 by G. Ricordi and C., Milano, Italy): Opus 3. DODICI CONCERTI PER STRUMENTI VARI, "L'ESTRO ARMONICO," published in 1712 by Estienne Roger, Amsterdam (modern edition OOpyright 1932 by Ernst Eulen- burg, Mainz, Germany); Opus 4. DODICI CONCERTI PER TRE VIOLINI, VIOLA! VIOLONCELLO E ORGANO, "LA STRAVAGANZA," published in 1712—1713 by Estienne Roger, Amsterdam (modern edition copyright 1965 by G. Ricordi, Milano,. Italy); Opus 5. SEI SONATE, published in 1716 by Jeanne Roger, Amsterdam (modern edition OOpyright 1954 by Nagels Verlag Kassel, Germany); Opus 6. SEI CONCERTI, published in 1716-1717 by Jeanne Roger, Amsterdam (modern edition copyright 1966 by G. Ricordi, Milano, ItalY); Opus 7. DODICI CONCERTI, published in 1716-1717 by Jeanne Roger, ii Amsterdam (modern edition copyright 1966 by G. Ricordi, Milano, Italy): Opus 8. DODICI CONCERTI PER QUATTRO 0 PER CINQUE STRUMENTI, "IL CIMENTO DELL'ARMONIA E DELL'INVENZIONE," published in 1725 by Le Cene, Amster- dam (modern edition copyright 1950 by G. Ricordi, Milano, ItalY); Opus 9. DODICI CONCERTI PER TRE VIOLINI, VIOLA, ‘ VIOLONCELLO E ORGANO, "LA CETRA," published in 1728 by Le Céne, Amsterdam (modern edition COpyright 1951 by G. Ricordi, Milano, Italy); Opus 10. SEI CONCERTI, pub- lished in 1729-1739 by Le Céne, Amsterdam (modern edition c0pyright 1952 by G. Ricordi, Milano, Italy); Opus 11. SEI CONCERTI, published in 1729-1730 by Le Cene, Amster- dam (modern edition copyright 1959 by Ernst Eulenburg, Ltd., London, England); Opus 12. SEI CONCERTI, published in 1729-1730 by Le Céne, Amsterdam (modern edition COpy— right 1954 by G. Ricordi, Milano, Italy); Opus 13. SEI SONATE PER MUSETTA, FLAUTO OBOE E VIOLINO, "IL PASTOR: EIQQ," published in 1737 by Me Boivin, Paris (modern edition copyright 1956 by Barenreiter, Germany). I should like to express my sincere thanks to my thesis director, Professor Hans Nathan of the Music Department, Michigan State University, for having guided me in my work. iii TABLE OF CONTENTS ACKNOWLEDGMENTS . . . . . . . . . . LIST OF LIST OF LIST OF INTRODU Chapter I. II. III. IV. V. VI. TABLES O O O O O O O O O . ILLUSTRATIONS . . . . . . . APPENDICES . . . . . . . . CTION O O 0 O O O O O O O 0 MAIN KEY RELATIONSHIPS . . . INNER KEY RELATIONSHIPS . . CADENCE PRACTICE . . . . . . SEQUENTIAL PRACTICE . . . . CHORD VOCABULARY . . . . . . NONHARMONIC TONES . . . . . BIBLIOGRAPHY . . . . . . . . . . . APPENDI CBS 0 O O O O O O O O O O 0 iv Page ii vi viii 14 25 33 39 43 47 Table 1. LIST OF TABLES Key Relationship Between the Main Key and the Inner Key . . . . . . . Key Relationship Between the Main Key and the Inner Key . . . . . . . Key Relationship Between the Conclusion of Part I and the Beginning of Part II Key Relationship Between the Penultimate Key and the Final Key . Key Relationship Between the Tonic Key and the First Modulation . . . Key Relationship Between the Penultimate Key and the Final Key . Page 11 12 LIST OF ILLUSTRATIONS Musical Example 1. 2. l3. l4. 15. 16. 17. 18. 19. Vivaldi, opus 8 #9, mm. 5—8 . . Vivaldi, opus 3 #12, mm. 146-147 Vivaldi, Opus 4 #10, mm. 47-49 . Vivaldi, opus 12 #5, mm. 135-140 Vivaldi, opus 7 #1, mm. 63-65 . Vivaldi, opus 7 #11, mm. 145-157 Vivaldi, opus 8 #4, second movement, mm. 14-18 . . . . . . . . . . Vivaldi, Opus 3 #7, mm. 101-105 Vivaldi, opus 8 #10, mm. 340-345 Vivaldi, opus 12 #5, mm. 285-288 Corelli, Opus 6 #6, Allegro, mm. J. S. Bach, Brandenburg Concerto third movement, mm. 120-124 . Vivaldi, Opus 4 #12, mm. 235-239 Vivaldi, Opus 3 #10, in bm, mm. Vivaldi, opus 3 #11, mm. 153-158 Vivaldi, opus 3 #11, mm. 131-135 Corelli, Concerto Grosso Opus 6 #1, m. 98-104 0 o o O O o O o o o J. S. Bach, Brandenburg Concerto #2, first movement, mm. 76-80 . . Vivaldi, Opus 4 #8, mm. 200-202 vi 78-82 Page 16 17 17 18 18 19 20 21 22 23 23 24 26 27 28 29 31 32 34 Musical Example Page 20. Vivaldi, opus 4 #8, mm. 35-36 . . . . . . 35 21. Vivaldi, opus l #1, mm. 1-4 . . . . . . . 36 22. Vivaldi, opus 3 #1, mm. 64-66 . . . . . . 37 23. Vivaldi, Opus 8 #3, first movement, mm. 20-30 ,. o o o o o o o o o o o o o o 38 24. Vivaldi, Opus 9 #9, Largo e spiccato, mm. 90-93 0 o o O O o o o o O o o o o o 39 25. Vivaldi, Opus 2 #4, Andante, mm. 1-4 . . 40 26. Vivaldi, Opus 1 #7, Sarabanda, mm. 14-15. 40 27. Vivaldi, Opus 3 #11, mm. 59-61 . . . . . 42 28. Vivaldi, Opus 1 #1, mm. 10—12 . . . . . . 42 vii LIST OF APPENDICES Appendix Page I. An Index of the Complete Works of Antonio Vivaldi as Published by Istituto Italiano Antonio Vivaldi, Edited by Gian Francesco Malipiero. "Edizioni Ricordi" . . . . . . . . . . . . . . . . 47 viii INTRODUCTION This thesis represents an attempt to study the harmonic style of Vivaldi's instrumental compositions. I have profited a great deal from the book entitled Vivaldi by Marc Pincherle, which deals with Vivaldi's instrumental compositions in a most comprehensive and thorough manner, though the book pays no special atten- tion, aside from occasional remarks, to his harmony. I wish to stress that I have not studied every single work of Vivaldi's huge output. Instead I have concentrated on a selection of compositions which are representative of practically all phases of his career; Opus #1 (1705-1709), Opus #2 (1709), Opus #3 (1712), opus #4 (1712-1713), opus #5 (1716), Opus #6 (1716-1717), Opus #7 (1716-1717), Opus #8 (1725), opus #9 (1728), Opus #10 (1729-1730), Opus #11 (1729-1730), opus #12 (1729-1730), opus #13 (1737). Sonatas and Concertos have been treated as separate topics whenever it seemed desirable. I have also made an attempt to compare Vivaldi's harmonc style with that of Corelli's on the one hand and J. S. Bach's on the other. Vivaldi's harmonic idiom is dependent on the tempo of the movement. The harmony is more complex in a slow movement than in a fast one, that is it contains a greater variety of types of chords and a larger number of key relationships. This harmonic difference, within a large work, creates contrast between movements which is rein- forced by the comparatively short length of the slow movements. It is also interesting to note that after Opus #1 (1705-1709) and Opus #2 (1709), which are almost entirely dependent on Corelli, opus #3 (1712) offers a harmonic vocabulary which changed in no significant detail in the later years of the composer. CHAPTER I MAIN KEY RELATIONSHIPS In his selection of the main key of a composition (the key of the majority of the movements), Vivaldi uses fifteen of the twenty-four possible tonalities. In a Sonata, he shows a preference for the keys of CM, AM, dm, gm, and bm; in the Concertos for the keys of DM, BbM, and gm. His preference for the minor keys of gm and dm is the same in both the Sonatas and Concertos, no doubt because in these keys the Open strings of the violins, violas, violoncellos, and contrabasses can be exploited, and low positions are feasible. The keys of AbM, BM,F#M, C#M, bbm, ebm, abm, f#m, and c#m, do not appear as the main tonality of a movement. Vivaldi confines himself to three flats, and to four sharps, plus their relative and parallel minors. No Concerto or Sonata uses AbM as the main key of a movement. Possibly the reason that AbM is never used as a main key is because meantone temperament was still in use at Vivaldi's time, and the key of AbM would have" presented problems in intonation. The string instruments would have been able to adjust their intonation but the keyboard instrument (mainstay of the Basso Continuo), would have been out of tune. The key of AbM rarely appears as an inner key modulation, which reinforces this hypothesis. The main key preference for a Sonata in which a woodwind instrument appears, such as an oboe, flute, or bassoon, is CM. When a woodwind appears in a Con- certo, the key preference is GM or FM. This not only applies when the woodwind appears as a solo instrument, but also when the woodwind appears as part of an ensemble. These instruments are all pitched in CM, and this is probably the reason that the key preference is not far removed from CM. Vivaldi uses the minor mode as a main key in approximately half (40%) of his Concertos and Sonatas. This frequent usage of a minor mode, which also occurs in Bach's works, is in contrast to the time previous to Vivaldi when a composer such as Corelli rarely resorted to the minor mode. Two-thirds of the Sonatas have all movements (from three to five) in the same key, while one-third of the Sonatas have an inner movement in a related key. When a Sonata has an inner movement in a related key, the key relationship is as follows: Table l.--Key Relationship Between the Main Key and the Inner Key Inner Movement Key Main Key Most Frequent Parallel minor . . . . . . . . . . . . . Major Subdominant of relative major . . . . . Minor Less Frequent Dominant or relative minor . . . . . . . Major One-half of the Concertos have all movements in the same key, and one-half have an inner movement in a related key. When a Concerto has an inner movement in a related key, the key relationship is as follows: Table 2.--Key Relationship Between the Main Key and the Inner Key Inner Movement Key Main Key Most frequent Relative and parallel minor . . . . . . Major Dominant, subdominant, and relative major . . . . . . . . . . . . Minor Less frequent Dominant and its relative minor . . . . Major Neither Corelli nor Bach have all the movements of a Concerto in the same key. The most frequent key relatiOn- ship of inner movements in Corelli's and Bach's instru- mental works is to the relative key, but not the parallel key. In the Concertos and Sonatas, the most common change of key between movements is from a major key to its parallel minor, especially from Opus #7 on, while it is infrequent in early works. The frequent occurrence of this key relationship is in contrast to Vivaldi's Italian contemporaries. CHAPTER II INNER KEY RELATIONSHIPS Sonatas The movements of the Sonatas are, practically without exception, in bipartite form. Part I, of the bipartite form, is usually shorter than part II, and has only one or two key changes, whereas, part II has many more. Part I is characterized by a modulation from tonic to a closely related key. The most frequent key change in part I is from a major tonic to the key of its dominant. In a minor key, the movement of the tonality toward the double bar goes most frequently to the key of the dominant or to its relative major, with the dominant being prevalent. Occasionally part I has more than two keys. A major tonic key usually goes to the relative minor and then to the dominant of the relative minor (Opus 2 #8, Giga). A minor tonic key usually goes to the relative major and then to the minor dominant (Opus 2 #1, Giga). In part II of the bipartite form, in contrast to part I, the key changes are less fixed and tend not to fall into set patterns. Part II may move directly from the dominant to the tonic, modulate briefly through transient keys, or alternate between parallel major and parallel minor. Part I usually concludes on its dominant, the key of its dominant, or on the relative key. After the double bar, part II continues either by staying in the key of part I, or by making the key of part I unstable through modulation. The following table illustrates the relationship between the concluding key of part I and the beginning key of part II and is arranged according to the number of times the relationship occurs: Table 3.—-Key Relationship Between the Conclusion of Part I and the Beginning of Part II Conclusion Beginning Percentage of Part I of Part II of Occurrence Minor Mode Dominant . . . . Dominant . . . . . . . . . 29% V chord . . . . Modulatory . . . . . . . . 23% Dominant . . . . Modulatory . . . . . . . . 10% Relative major . Modulatory . . . . . . . . 10% Tonic . . . . . . . . . 10% Tonic . . . . . . . . . . 10% Relative major . . . . . . 5% Tonic . . . . . . . . . . 3% Dominant . . . V chord . . . Relative major Relative major Major Mode Dominant . . . . Dominant . . . . . . . . . 58% Dominant . . . . Modulatory . . . . . . . . 18% Dominant . . . . Tonic . . . . . . . . . . 15% Tonic . . . . . Tonic . . . . . . . . . . 7% V Chord . . . . Modulatory . . . . . . . . 2% The greatest diversity of key relations in a Sonata occurs between the penultimate and the final key of each movement. The following table illustrates the relationship between the penultimate and the final key and is arranged according to the number of times the relationship occurs: Table 4.--Key Relationship Between the Penultimate Key and the Final Key Percentage Penultimate Key Final Key of Occurrence Minor Mode Dominarlt O O O I. O O Tonic 0 0 O O O 0 O O O 3 8% Relative major . . . Tonic . . . . . . . . . 31% subtonic O O O O O O Tonic O O O O O O O O O 19% Subdominant . . . . Tonic . . . . . . . . . 12% Major Mode Relative minor . . . Tonic . . . . . . . . . 43% Dominant . . . . . . Tonic . . . . . . . . . 34% Parallel minor . . . Tonic . . . . . . . . . 13% Subdominant . . . . Tonic . . . . . . . . . 5% The tonic key usually appears several times within a movement before its last appearance at the conclusion of the movement. Some movements are in one key throughout without any real key Change (opus l #2, Gavotta). A move- ment usually ends in the same key in which it begins; however, opus l #9, Preludio is an exception. 10 Concertos In the Concertos more harmonic variety occurs in the second movement than in the other movements. Here, within a piece of short duration and slow tempo, fre- quent modulations appear, sometimes to the point of tonal ambiguity. When a movement of a Concerto begins in a major key, the first modulation is usually to the dominant or relative minor. When a movement begins in a minor key, the first modulation is usually to the dominant, relative major, or subdominant. After the first modu- lation, the pattern okaey sequence becomes leSs fixed,. and the number of combinations that exist are almost infinite. The following table illustrates the relation- ship between the tonic key and the first modulation and is arranged according to the number of times the rela- tionship occurs (see Table 5). Usually the movements conclude with a perfect authentic cadence in the tonic key; however, occasionally a movement ends on a dominant chord which usually func- tions as the preparation for the next movement (Opus 9 #6, first movement), but not always (opus 10 #1, first movement). Occasionally some movements are entirely in one key without any modulations (opus 3 #6, second move- ment). 11 Table 5.-—Key Relationship Between the Tonic Key and the First Modulation Percentage Tonic Key First Modulation of Occurrence Minor Mode Tonic . . . . . Dominant . . . . . . . . . . 41% Tonic . . . . . Relative major . . . . . . . 26% Tonic . . . . . Subdominant . . . . . . . . 21% Tonic . . . . . Parallel major . . . . . . . 6% Tonic . . . . . Relative major of the dominant . . . . ... . . . 2% Tonic . . . . . Relative major of the subdominant . . . . . . . 2% Tonic . . . . . Major dominant . . . . . . . 2% Major Mode Tonic . . . . . Dominant . . . . . . . . . . 67% Tonic . . . . . Relative minor . . . . . . . 14% Tonic . . . . . Relative minor of the subdominant . . . . . . . 6% Tonic . . . . . Relative minor of the dominant . . . . . . . . 5% Tonic . . . . . Parallel minor . . . . . . 2% Tonic . . . . . Subdominant . . . . . . . . 4% Tonic . . . . . Supertonic . . . . . The relationship of the penultimate key to the final key in a movement in a major mode is usually domi- nant to tonic, relative minor to tonic, or relative minor of the dominant to tonic. The relationship of the penul— timate key to the final key in a movement in a minor mode is usually dominant to tonic, relative major to tonic, or subdominant to tonic. The following table illustrates the relationship between the penultimate and the final key and is arranged according to the number of times the relationship occurs: 12 and the Final Key Table 6.--Key Relationship Between the Penultimate Key Percentage Penultimate Key Final Key of Occurrence Minor Mode Dominant . . . . . . . Tonic . . . 35% Relative major . . . . Tonic . . . 34% Subdominant . . . . . Tonic . . . 14% Major dominant . . . . Tonic . . . 5% Relative major of the subdominant . . . . Tonic . . . 4% Relative major of the dominant . . . . . . Tonic . . . 4% Supertonic . . . . . . Tonic . . . 2% Parallel major . . . . Tonic . . . 2% Major Mode Dominant . . . . . . . Tonic . . . 41% Relative minor . . . . Tonic . . . 33% Relative minor of the dominant . . . . . . Tonic . . . 14% Subdominant . . . . . Tonic . . . 4% Relative minor of the subdominant . . . . Tonic . . . 2% Parallel minor . . . . Tonic . . . 2% Minor dominant . . . . Tonic . . . 2% Subtonic . . . . . . . Tonic . . . 1% Mediant . . . . . . . Tonic . . . 1% The relationship between the main key and the other keys within one movement is usually to the dominant, or subdominant, plus their relative and parallel minors or majors. A movement, of course, always ends in the same key in which it begins; however, opus 7 #12, second movement, is an exception since it begins in D major and ends in A major. l3 Modulation Modulations are accomplished either by a common chord, no common Chord, or the insertion of a sequential passage, with a common Chord or a sequential passage oc- curring most often. The insertion of a sequential passage occurs between two key areas and the sequence simply serves as a link from one key to another. When Vivaldi modulates from a main key to its parallel key, the modulation is usually not a common chord modulation but simply an abrupt Change from major to minor or vice versa. CHAPTER III CADENCE PRACTICE The most common cadence which occurs in Vivaldi's instrumental works is the authentic cadence, or the per- fect authentic cadence. The authentic cadence is the predominant one within a movement occasionally in connec- tion with the Neapolitan sixth Chord.1 The perfect authentic cadence normally appears as the conclusion of a movement. The IV chord or IIG chord normally preCedes 5 both of these cadences. Cadences which occur within a movement usually do not interrupt the music.2 The half cadence does not appear often in Vivaldi's instrumental works. When it appears however, it is at the end of a movement and, thus introduces the next. The practice of ending a movement on a half cadence seems to have been ad0pted by Vivaldi from Corelli. In Corelli's Concerti Grossi an inner movement very frequently ends with a half cadence as a preparation for the next move- 3 ment. But Corelli uses the half cadence at the end of a movement more frequently than Vivaldi. lVivaldi, opus 7 #11, second movement, mm. 9-11. 2Vivaldi,opus 7 #1, mm. 50-52. 3Corelli, Opus 6 #2 in F major, mm. 32—44. 14 l5 Vivaldi's half cadence within a movement is usually followed by new material or a sequential passage. This is also true of J. S. Bach, while Corelli, within a movement, avoids the half cadence. The plagal cadence, the phrygian cadence, and the deceptive cadence are rare in Vivaldi. In contrast, Corelli uses the phrygian cadence very frequently and always in connection with the half cadence. Vivaldi very frequently changes mode, either to major (Ex. 1) or minor (Ex. 2), on the final chord of an authentic cadence. The type of cadence in which the final chord of a minor cadence goes to the relative major appears not only as a cadence but usually in connection with a modulation (Ex. 3). Sometimes a diminished seventh chord replaces the final Chord in an authentic cadence.4 In connection with the different types of cadences which have been discussed Vivaldi has several methods of emphasizing these cadences. The most common way includes a trill on the penultimate chord with a syncoPation before the final chord and this can be found in Corelli and Bach. 4Vivaldi, opus 6 #6, mm. 125-131. 16 Example 1. Vivaldi, opus 8 #9,_mm. 5-8. An anticipation is usually associated with this type of cadence and appears just before the final chord. Some- times in Vivaldi two trills appear simultaneOusly a major third apart (Ex. 4). A cadence frequently includes nonharmonic tones such as suspensions, anticipations, appoggiaturas, pass- ing tones, and neighboring tones (ex. 5). Vivaldi also leaves out harmony entirely and concludes movements with unison cadences (Ex. 6). 17 Example 2. Vivaldi, opus 3 #12, mm. 146-147. I I f 3 ‘v'. —:::°“—— Sole. , - . ’ p VI. \4. W C. Cl. Be. Example 3. Vivaldi, Opus 4 #10, mm. 47-49. VL SOLO WI Example 4. i ' ' ('13:: ' ‘ Sol ' 'b: V1: Cl. 8:. Example 5. 01.: v1.1: VI- 1 m; _. We. a; Vivaldi, opus 18 12 #5 mm. 135-140. r Vivaldi, opus 7 #1, mm. 63-65. UU .‘ .,...l40. ..‘£h 19 Example 6. Vivaldi, opus 7 #11, mm. 145-147. M W Wm H E 4 E-L6401 A cadential approach is sometimes extended by the use of a pedal point either sustained or reiterated. The pedal point usually occurs on the dominant or tonic tone, and occasionally two pedal points appear simul- taneously (Ex. 7). The use of a pedal point to extend and to prepare the cadence occurs more frequently in the Concertos than in the Sonatas in order to give a proper ending to a large scale work. The notes of a cadence, always in small values, are often reiterated (Ex. 8). This normally occurs in a fast movement. Vivaldi often repeats his cadences two or three times (Ex. 9). Because of the exact repetition, this 20 Example 7. Vivaldi, opus 8 #4, second movement, mm. 01:: Print, 1) -F. cadential passage is usually varied through a sudden 14-18. Change from piano to forte or vice versa: it frequently occurs at the end of a movement. 21 Example 8. Vivaldi, opus 3 #7, mm. 101-105. VI [{Qfiggw m: 'e"? s S.‘° L II ”E l l E A: L l 'I '1'; 9fiWHSEm-‘z: ~ at 1": 3:: e J M . A V'. , .I_ r I I _L J L I . w‘ I LL __ 1 I l I I I l I. =3 f 1 , 11.1111 wjf wf’:q|_fiw7$?rEET’d—bffiéfi F—L : 1 g 1 u. j 'L'LUI—‘L' 'I 'I_I L I l I. - . f — d'iifld- - g m m We. 62.155353; — 45—431—‘EJ-Jv-n4—1— , , p. , : LIL ,1 ,1 f} ‘1. i, :17} ...T...J..I_ VL— J' 99 Age ' e ( 2‘» 13:-.__. . . i I .. 1 .. a? '- 3 “‘3: it .5: a: a: d: L€E?_L‘7'1#P—*_*‘ .LLszy‘ f\ :22: whiff}: I rep—9m I. ' ‘ ' . M34 "’1"? imam. ‘L'ILJKIW"'”J" ' ‘ 5 h . 5 8 o - . IE 3 5 5 Vivaldi also uses a double or triple preparation before a cadence, in which, he repeats the material pre- ceding the cadence two or three times (Ex. 10). This practice is a typical device of the middle Baroque period and especially in Corelli. In the various types of cadences the tonic does not come as a surprise. It usually appears three or 22 Example 9. Vivaldi, opus 8 #10, mm. 340-345. '340 345 four chords before the final tonic chord. This practice is also characteristic of Corelli though not of Bach. Vivaldi's and Corelli's cadential formulas dif- fer somewhat. The latter repeats his cadences quite often but varies them slightly by altering the inter- vallic structure or reorchestrating them (Ex. 11). The cadence reiterated literally as well as the unison cadence are rare in Corelli's work. 23 Example 10. Vivaldi, opus 12 #5, mm. 285-288. Example 11. Corelli, opus 6 #6, Allegro, mm. 56-60. ' _/ =33 ' ' ‘VLfi, - _.'_._... ‘9" '— F J- P 1 ma 24 Vivaldi's cadential practices, however, differ considerably from those in Bach. The difference is not so much in the type of chords selected but in the use of these chords. The repeated cadence rarely appears in Bach's works. When it does, it is altered to the degree of being almost unrecognizable (Ex. 12). Also Bach does not reiterate his cadences by using small note values. When Bach approaches a cadential point, the complexity of the melodic structure, the motivic structure, and the harmonic structure creates a high degree of tension. Consequently, the end of the cadence serves as a point of relaxation. This is not true to this extent of Vivaldi because of the lack of tension previous to the conclusion of the movement. Example 12. J. S. Bach, Brandenburg Concerto #1, third movement, mm. 121-124. , V' e. W: A — ~ 8 0 ~ - h— , -1 ‘b‘j -l ;WJE:EEEi;5fi§i;EQigfiggggia4 um— tags; 0 V1.1 V1.11 Fgfl’lc. 2 Ch. Cemb. Cont. CHAPTER IV SEQUENTIAL PRACTICE Sequential passages are frequent in Vivaldi, particularly in his fast movements. They are usually repeated several times and may even continue throughout an entire movement (Opus 2 #7 Preludio). The pattern as a rule appears in small note values such as eighth notes, sixteenth notes, or thirty-second notes. Vivaldi's sequences consist of nonthematic material and thus serve mainly in a rhythmic and harmonic capacity. All of the characteristic Chords in Vivaldi's vocabulary are employed in his sequential passages. The length of the pattern varies from one-half of a measure to six measures, and the most common pattern covers one measure. Repetition varies from two to eight times, the average being six times. In regard to the harmony, a sequential pattern usually consists of two chords, often in tonic-dominant relation. When a sequence is based only on a single chord, its melodic intervals are more meaningful than in a two chord pattern (Ex. 13). 25 26 Example 13. Vivaldi, Opus 4 #12, mm. 235-239. 235 Vivaldi employs modulatory and non-modulatory sequences. The former usually moves within a seventh' chord because this affords a variety of possibilities of modulation. Sequences are usually tranposed down a fourth, up a fifth, or diatonically stepwise, downwards in most cases. The descending stepwise sequence is usually non- modulatory (Ex. 14) though not always.5 The sequence a ' 5Vivaldi, opus 3 #9, first movement, mm. 20-25. 27 fourth down or a fifth up may be either non-modulatory6 or modulatory (Ex. 15), both possibilities occurring approximately an equal number of times. The ascending O I C O 7 sequence 15 rare in Vlvaldl. Example 14. Vivaldi, opus 3 #10, in bm, mm. 78-82. Vet. It frequently happens that once a sequential pat- tern is completed, another follows immediately. Sometimes an entire movement consists of nothing but sequential pat- terns, though in this case it serves as a link between a preceding and a subsequent movement. 6Vivaldi, opus 3 #11, first movement, mm. 19-31. 7ViVa1di, opus 3 #10, mm. 40-47. 8Vivaldi, opus 4 #12,second movement. 28 Example 15. Vivaldi, opus 3 #11, mm. 153-158. V1.1 Solo V1.11 Solo V0. Solo V1.1 _ puma puma Vlad pane ~Yls.n puma Cont. V1.11 Solo Yo. Bola V]. II Vb. ll Cont. Before leaving the tOpiC of Vivaldi's sequential passages, a word should be said on the treatment of se- quences in a Concerto Grosso. Here they always appear in the Concertino (sometimes doubled by the Ripieno). 29 Since sequences add to motion rather than to melodic interest, they contribute to the virtuosity of such passages (Ex. 16). Example 16. Vivaldi, opus 3 #11, mm. 131-135. Vll Bola VI. 11 Solo Va. Bola Vla. l Vla. I! Cant. 30 Vivaldi's sequences and the manner in which they are employed have much in common with Corelli's (Ex. 17). However, it should be noted that Vivaldi uses sequences in his Sonatas and Concertos while Corelli does so mainly in his Concerti Grossi (Opus #6). In Corelli's small scale (though ingenious) Trio and Solo Sonatas they are hardly needed. As far as Bach is concerned, we notice that in contrast to Vivaldi, he supports his sequences with two or three different motives, imitation, and very complex harmonies (Ex. 18). 31 Example 17. Corelli, Concerto Grosso opus 6 #1, mm. 98- 104. vu‘ W F- We. VLI WU: V'O. 8:. VII VIII“ We. V1.1: W. I; WA Ge. R as 0‘ - a: 0‘ 0‘ 32 Example 18. J. S. Bach, Brandenburg Concerto #2, first movement, mm. 76-80. CHAPTER V CHORD VOCABULARY Vivaldi's harmonic vocabulary consists of triads, seventh chords, and ninth chords. These appear in almost all inversions and on all diatonic degrees of the major and minor modes. In some of his works the I, IV, and V Chords form the tonal outlines of large areas, and in some cases of entire movements.9 The diminished triad, always in first inversion, occurs very frequently in sequential passages and in deceptive cadences. The chord also functions as a secondary dominant, expanding the harmonic limits of the key. Augmented triads are rare; however, they do appear in chromatic passages (Ex. 19). Non-diatonic triads are represented by the Nea- politan sixth chord and the Italian sixth chord. The Neapolitan sixth chord usually appears in the minor mode in connection with sequences, and cadences. Aug- mented sixth chords are almost non-existent except for an occasional Italian sixth chord. 9Vivaldi, opus 8 #1, third movement. 33 34 Example 19. Vivaldi, Opus 4 #8, mm. 200-202. 200' v: ' *5 W. I 3.1., Vivaldi uses a large quantity of four note chords. Thus, all types of seventh chords appear, and these are among the most characteristic elements of his harmonic style. The seventh Chords are as follows: Major Triad with a Minor Seventh Major Triad with a Major Seventh Minor Triad with a Minor Seventh Diminished Triad with a Minor Seventh" Diminished Triad with a Diminished Seventh Augmented Triad with a Minor Seventh' A seventh chord may appear not only as a chord but also as a melodic figuration (Ex. 20). 35 Example 20. Vivaldi, opus 4 #8, mm. 35-36. The dominant seventh chord in root position, first or third inversions, but rarely in second inversion,, is so common in Vivaldi's works that it may be found on almost any page of his scores. It also appears fre- quently as a secondary dominant,10 sometimes preparing a modulation and in any case expanding the key. The diminished seventh chord appears normally in the minor mode in third inversion. It usually functions loVivaldi, Opus 8 #l,first movement, mm. 50. 36 as a secondary dominant, or as a component of a modulation within deceptive cadences, and sequential passages. Two chords occur frequently in Vivaldi: the half diminished seventh chord (diminished-minor), usually in root position or first inverSion, with the same func- tion as a diminished seventh chord, as well as the minor- minor seventh Chord in root position and first and third inversions. Vivaldi, in his early works, Opus #1 and #2, adopts the 9—8 suspension from Corelli (Ex. 21); however, in his later works he uses the ninth chord with all of its tones, in root position and first inversion (Ex. 22). Example 21. Vivaldi, opus l #1, mm. 1-4. PRELUDIO Grave Violino I ' Violino II Organo e Vloloncello a a a g 73 765 5 £35 a 37 Example 22. Vivaldi, opus 3 #1, mm. 64-66. 6:. Ir t" W tr (7‘ W V” VI Vt 7 s 3 Though Vivaldi's harmonic vocabulary includes a large variety of chords, it is hardly eVer fully exploited in a single work. Rather it is restricted to the chOrds of I, IV, V, and II. Those of VI, III, and VII are rare and merely serve as a foil. There is a similarity between Corelli's and Vivaldi's chord progressions. The main difference is that Vivaldi uses the tonic chord much more often than Corelli, and at times after every other chord (Ex. 23). Another difference is that Vivaldi is fond of restating a chord progression which includes an unusual chord such as a Neapolitan sixth. Example 23. all-'— 7M! W Solo 38 Vivaldi, opus 8 #3, first movement, mm. 20-30. CHAPTER VI NONHARMONIC TONES Nonharmonic tones occur throughout Vivaldi's entire instrumental work, though not nearly as often as in Bach, and they are prepared and resolved according to the practice of the period. Vivaldi, however, occa- sionally writes long passages without nonharmonic tones. These are frequently diatonic violin passages in which the violin simply arpeggiates the notes of the chord (Ex. 24). Example 24. Vivaldi, Opus 9 #9, Largo e spiccato, mm. 90-93. Largo e spiccato V0.1 Count? (13 mar‘ Cbuuwfii t I 1 v: 1' v1.11" Wm V". k i C 5. 84‘! 40 Many cadences include anticipations which, placed on weak beats, create syncopations. Suspensions appear more often in slow movements than fast ones, where they would be less audible. After the suspension, the lower voice may be sustained (Ex. 25), or move simultaneously with the resolution (Ex. 26). Example 25. Vivaldi, Opus 2 #4, Andante, mm. 1-4. Andante ‘ ‘ ,/-——--\\ ’,__‘\\ Yiolino 09 Cembalo Example 26. Vivaldi, Opus 1 #7, Sarabanda, mm. 14-15. 41 The types of suspensions which occur are above all the 7-6, and 4-3, also the 9-8, and 2-3 are employed. Due to Corelli's influence, there are many more suspen- sions in Vivaldi's Opus #1 and #2 than in any of his other works. By comparing an early, middle, and late opus number of Vivaldi's, a definite development can be seen in the use of suspensions. In his early compositions, Opus #1 and #2, Vivaldi's suspensions are resolved imme- diately (Ex. 25 and 26). After Opus #2, the suspensions normally have a neighboring tone before the resolution or, in some works, an elaborate ornamentation (Ex. 27). In opus #13 suspensions are almost non-existent. Why this is so is not clear since the harmony, form, and orchestration are related to previous works of the com- poser. Sometimes the dissonance which occurs in a sus- pension is reinforced by another vOice jumping over the dissonance and "pushing" it down to its resolution (Ex. 28). The suspension dissonance between two voices be- comes particularly audible when the tone that forces the sustained tone to descend is reached by a leap from below (Ex. 28). If this device is extended, the voices exchange their roles several times. 42 Example 27. Vivaldi, opus 3 #11, mm. 59-61. 60 VI. 1 Solo 71.1] Bola Vc. Solo Cont. V1. 1 Solo V]. 11 Solo Va. Bola “L! “a." Cant. Example 28. Vivaldi, Opus 1 #1, Preludio, mm. 10-12. r , s . VflI we Bo BIBLIOGRAPHY. Books Abbado, Michelangelo. Antonio Vivaldi. Turin, 1942. Antonio Vivaldi. Note e documenti sulla vita e sulle opere. Accademia MusicaIe Chigiana, Siena, 1939. Borrel, Eugene. La Sonate. Paris, 1951. Bukofzer, Manfred F. Music in the Baroque Era. New York: W. W. Norton, 1947. Engel, Hans. Das Instrumentalkonzert. Leipzig, 1932. Hutchings, Arthur James Bramwell. The Baroque Concerto. London: Faber, 1961. Kolneder, Walter. Antonio Vivaldi. Wiesbaden, 1965. . Aufffihrungspraxis bei Vivaldi. Leipzig, 1956. Loeser, N. Vivaldi. Haarlem, 1959. Luciani, Sebastiano Arturo. Vivaldi: Concerti e Sonate. Milan, 1946. Newman, William S. A History of the Sonata Idea. Chapel Hill, North Carolina: UniversIty of North Carolina Press, 1959. . The Sonata in the Baroque Era. Chapel Hill, North Carolina: University of North Carolina Press, 1958-59. Pincherle, Marc. Antonio Vivaldi et la Musique Instru- mentale. 2 vols. Paris, 1948. . Vivaldi, Genius of the Baroque. New York: W. W. Norton, 1962. 43 44 Rinaldi, Mario. Antonio Vivaldi. Milano, 1943. . Catalago Numerico Tematico delle Conposizioni di Antonio Vivaldi. Rome, 1945. Rolandi, Ulderigo. Qpere ed Oratorii de Antonio Vivaldi. Siena, 1939. Schering, Arnold. Geschichte des Instrumentalkonzerts bis auf die Gegenwart. Leipzig, 1927. Stefani, Federigo. Sei Lettere di Antonio Vivaldi Veneziano. Venice, I871. Veinus, Abraham. The Concerto. New York: Doubleday, 1945. Vivaldi, Antonio Lettre e Dediche. Edited by Olga Rudge. Siena, 1942. Articles Altmann, Wilhelm. "Thematischer Katalog der gedruckten Werke Antonio Vivaldi's," Archiv ffir Musik- wissenschaft, IV (April 1922), 262-79. Barford, Philip T. "The Sonata Principle: a Study of Musical Thought in the Eighteenth Century,“ Musical Review, XII (1952), 255. Bonaccorsi, Alfredo. "Contributo alla Storia del Con- certo Grosso," Rivista Musicale Italiana, XXXIX, 1932. Chiaffetelli, F. "Vivaldi e la Sua Obra,‘ Revista Brasileira de Musica (Rio de Janeiro), Sept., 1934. Clercx, Suzanne. "A prOpos de Vivaldi," Revue Inter— nationale de Musique, I (Bruxelles), Oct., 1938. Eller, Rudolf. "Fur Frage Bach-Vivaldi," Kongressbericht Gesellschaft fur Manuscript, Hamburg, 1956. "Vivaldi,“ Die Musik in Geschichte und Gegen- wart, XIII (Barenreiter Kassel), 1966. . "Vivaldi Dresden-Bach," Beitrage zu Musik- wissenschaft, III (Berlin), 1961. 45 Gallo, Rodolfo. 'Antonio Vivaldi, il Prete Rosso, la Famiglia, la Morte," Ateneo Veneto (venice), Dec., 1938. Gentili, Alberto. "Vivaldi," Rivista Musicale Italiana, 1917. Jung, R. "Die Dresdner Vivaldi Manuscripte," Archiv ffir Musikwissenschaft, XII, 1955. Kiwi, E. "Die Triosonate von inren Anfangen bis zu Haydn," Zeitschrift ffir Hausmusik, III, 1934. Kolneder, Walter. "Die Klarinette bei Antonio Vivaldi," Die Musikforschung, 1951. . "Noch einmal: Vivaldi und die Klarinette," Die Musikforschung, VIII, 1955. . "Vivaldis Aria-Concerto," Deutsches Jahrbuch der Musikwissenschaft, IX (Leipzig), 1964. . "Zur Frage der Vivaldi-Katalogue," Archiv ffir Musikwissenschaft, II (1954), 323-33I. Lebermann, Walter. "Zur Besetzungsfrage der Concerti Grossi von Vivaldi," Die Musikforschung, VII (1954), 337-339. Luciani, Sebastiano Arturo. "Un Concerto di Vivaldi attribuito a Marcello," La Scuola Veneziana (Siena), 1941. . "Vivaldi," Bollettino bibliografico-Musicale (Milan), January, 1928. Mishkin, H. G. "The Solo Violin Sonata of the Bologna School," Musical Quarterly, XXIX (1943), 92-112. Newman, William S. "The Sonatas of Albinoni and Vivaldi," Journal of the American Musicological Society, V (1952), 99-113. Pincherle, Marc. "La Naissance du Concerto," Courrier Musical, I (Paris), Oct., 1930. . "Vivaldi and the Ospitali of Venice," Musical Quarterly, XXIV (October, 1938), 300-312- 46 Poole, Reginald Lane. "Vivaldi," Grove's Dictionary of Music and Musicians, 3rd ed. Edited by H. C. Colles, 1927-1928. Radcliffe, Philip. "Arcangelo Corelli and Antonio Vivaldi," Heritage of Music, III (1951), 53. Rinaldi, Mario. "La data di nascita d'Antonio Vivaldi," Quaderni della Accademia Chigiana (Siena), 1943. Rudge, Olga. "Antonio Vivaldi," Grove's Dictionary of Music and Musicians, Supplementary volume, 1939. Salvatori, Arcangelo. "Antonio Vivaldi, i1 Prete Rosso: note biografiche," Rivista Mensile della Citta di Venezia (Venice), August, 1928. Terenzio, Vincenzo. "Temi vivaldiani," La Rassegna Musicale, XXIII, 1953. Torrefranca, Fausto. "Antonio Vivaldi," Enciclopedia Italiana, XXXV. "Modernita di Antonio Vivaldi,” Nuova antologia, I, August, 1942. . "Problemi Vivaldiani," Kongress-bericht Inter- nationale Gesellschaft ffir Musikwissenschaft, Basel (1949), 195-202. Waldersee, Paul Graf. "Antonio Vivaldi's Violinconcerte unter besonderer Berficksichtigung der von J. S. Bach bearbeiteten," Vierteljahrsshrift ffir Musik- wissenschaft, I, 1885. Wolff, Hans Christian. "Vivaldi und die Oper," Acta Musicologica, XXXVIII, 1966. Other Sources Adler, Guido. Preface in Denkmaler der Tonkunst in Osterreich, XV, 1908. Engel, Hans. "Das Concerto Grosso," preface in Das Musikwerk, XXIII (KOln), 1962. Giegling, Franz. "Historischerlfinfluss zu Solosonate," preface in Das Musikwerk, XV (KOln), 1959. Schenk, Erich. "Die Italien Triosonate," preface in Das Musikwerk (KOln), 1955. APPENDIX I An Index of the Complete Works of Antonio Vivaldi as Published by Istituto Italiano Antonio Vivaldi, Edited by Gian Francesco Malipiero. "Edizioni Ricordi" Opus 1. DODICI SONATE DA CAMERA A TRE, 1705. No. 1. No. 2. NO. 3. No. 4. No. 5. No. 6. No. 7. NO. 8. No. 9. No. 10. No. 11. No. 12. Opus 2. DODICI SONATE PER VIOLINA E BASSO CONTINUO PER IL CEMBALO, 1709. No. 1. No. 2 No. 3 No. 4. NO. 5. NO. 6 No. 7 No. 8 No. 9. No. 10- No. 11. No. 12. Opus 3. DODICI CONCERTI PER STRUMENTI VARI, "L'ESTRO ARMONICO, " 1712 . No. 1. No. 2. No. 3 No. 4 No. 5 No. 6 No. 7 No. 8 47 Opus 3. Opus Opus Opus Opus NO. NO. NO. NO. NO. NO. NO. NO. NO. NO. NO. NO. NO. NO. NO. NO. NO. NO. NO. NO. NO. NO. NO. No. NO. No. No. No. NO. NO. NO. NO. NO. NO. NO. NO. NO. NO. NO. NO. 48 Continued 9. 10. ll 12. Vol. 180. DODICI CONCERTI PER TRE VIOLINI, VIOLA, VIOLON- CELLO E ORGANO, "LA STRAVAGANZA," 1712-1713. 1. OmQQUlh-UJN l-‘l-‘H NI—‘O O O SEI SONATE, 1716. ONUlubWNl-J SEI CONCERTI, 1716-1717. O‘U'IIthH a ODICI CONCERTI, 1716-1717. D l 2 3 4 5 6 7 8 9 10 11. Vol. 314. 12. Opus 8. Opus Opus Opus Opus No. No. No. No. No. No. No. No. No. No. No. NO. NO. NO. NO. NO. NO. NO. NO. NO. NO. NO. NO. NO. 10. No. NO. No. No. No. No. 11. No. No. No. No. No. No. 12. No. No. NO. 49 DODICI CONCERTI PER QUATTRO 0 PER CINQUE STRUMENTI, "IL CIMENTO DELL'ARMONIA E DELL' INVENZIONE," 1725. 1. Vol. 76. 2. Vol. 77. 3. Vol. 78. 4. Vol. 79. 5. Vol. 80. 6. Vol. 81. 7. Vol. 82. 8. Vol. 65. 9. Vol. 2. 10. Vol. 83. 11. Vol. 84. 12. Vol. 85. DODICI CONCERTI PER TRE VIOLINI, VIOLA, VIOLON- CELLO E ORGANO, "LA CETRA," 1728. 1. Vol. 122. 2. Vol. 126. 3. Vol. 127. 4. Vol. 123. 5. Vol. 128. 6. Vol. 129. 7. Vol. 130. 8. Vol. 131. 9. Vol. 132. 10. Vol. 124. 11. Vol. 133. 12. Vol. 125. SEI CONCERTI, 1729-1730. 1. Vol. 150- 2. Vol. 33. 3. 4. 5. Vol. 46. 6. Vol. 52- SEI CONCERTI, 1729-1730. 1. 2. 3. 4. 5. 6. SEI CONCERTI, 1729-1730. 1. 2. 3. Opus Opus Opus Opus Opus Opus Opus Opus Opus Opus 12. No. No. No. 13. No. No. NO. No. No. No. 14. 15. 16. NO. No. 17. No. No. NO. NO. NO. No. 18. 19. No. NO. No. No. 20. No. No. No. No. 21. No. No. No. No. NO. NO. 50 Continued. 4. 5. Vol. 183. 6. SEI SONATE PER MUSETTA, FLAUTO OBOE E VIOLINO, "IL PASTOR FIDO," 1737. mtneubhop (Sconosciuta) 1740. CONCERTI. DUE CONCERTI. 1. N SEI SONATE. 1 2 3 4 5 6 SONATA IN RE MINORE. QUATTRO SONATE PER DUE VIOLINI E BASSO. 1. Vol. 58. 2. Vol. 17. 3. Vol. 57. 4. Vol. 24. QUATTRO CONCERTI PER UNO STRUMENTO. l. 2. Vol. 100. 3. 4. Vol. 98. UNDICI CONCERTI PER DUE STRUMENTI UGUALI. 1. Vol. 27. 2. Vol. 60. 3. Vol. 145. 4. Vol. 48. 5. Vol. 107. 6. Vol. 111. Opus Opus Opus Opus Opus Opus 21. NO. No. NO. NO. NO. 22. No. No. No. No. 23. NO. No. No. NO. 24. 25. NO. NO. NO. No. NO. No. 26. No. No. No. NO. No. No. No. No. No. No. No. No. No. No. No. No. No. No. 51 Continued. Vol. 108. Vol. 89. Vol. 116. l—‘l-‘KOCDQ 6. 1. Vol. 104. QUATTRO CONCERTI PER DUE STRUMENTI DIVERSI. 1. Vol. 135. 2. Vol. 35. 3. Vol. 146. 4. Vol. 95. QUATTRO CONCERTI PER STRUMENTI VARI. 1. Vol. 88. 2. Vol. 53. 3. Vol. 26. 4. Vol. 99. SONATA IN DO MINORE. Vol. 20. SEI CONCERTI PER VIOLA D'AMORE. Vol. 248. Vol. 341. Vol. 197. Vol. 196. Vol. 198. Vol. 189. mmwaH DICIOTTO CONCERTI PER VIOLONCELLO. Vol. 204. Vol. 205. Vol. 206. Vol. 138. Vol. 218. Vol. 220. Vol. 137. Vol. 211. Vol. 212. Vol. 219. Vol. 221. Vol. 235. Vol. 232. komxlmU'lnbLUNH l-‘I-‘l-‘l-‘H prl-‘O O C O O O 15. Vol. 233. 16. Vol. 231. 17. Vol. 244. 18. Vol. 243. 52 Opus 27. CINQUE CONCERTI PER PIU VIOLINI. No. 1. Vol. 208. No. 2. Vol. 207. NO. 3. Vol. 209. No. 4. Vol. 210. No. 5. Vol. 134. Opus 28. QUATTRO CONCERTI PER STRUMENTI VARI. No. 1. Vol. 202. No. 2. Vol. 203. No. 3. Vol. 136. NO. 4. Vol. 250. Opus 29. SINFONIA IN FA MAGGIORE. Vol. 242. Opus 30. OTTO CONCERTI PER RIPIENO. No. Vol. 8 1. . No. 2. Vol. 226. No. 3. Vol. 241. No. 4. Vol. 246. No. 5. Vol. 252. No. 6. Vol. 6. NO. 7. Vol. 30. No. 8. Vol. 251. Opus 31. VENTUNO CONCERTI PER VIOLINO. No. 1. Vol. 284. No. 2. Vol. 70. No. 3. Vol. 245. No. 4. Vol. 228. No. 5. Vol. 16. No. 6. Vol. 227. No. 7. Vol. 229. No. 8. Vol. 230. NO. 9. Vol. 247. No. 10. Vol. 253. No. 11. Vol. 255. NO. 12. Vol. 86. No. 13. Vol. 256. No. 14. Vol. 257. No. 15. Vol. 261. No. 16. Vol. 258. No. 17. No. 18. Vol. 260. No. 19. Vol. 262. NO. 20. Vol. 259. No. 21. Vol. 254. Opus 32. TRE SINFONIE A QUATTRO. No. 1. Vol. 161. NO. 2. Vol. 162. No. 3. Vol. 56. 53 Opus 33. VENTUNO CONCERTI PER VIOLINO. No. 1. Vol. 38. No. 2. Vol. 160. No. 3. Vol. 158. No. 4. Vol. 157. NO. 5. Vol. 163. No. 6. Vol. 96. NO. 7. Vol. 164. No. 8. Vol. 1. No. 9. Vol. 165. No. 10. Vol. 166. No. 11. Vol. 167. NO. 12. Vol. 171. No. 13. Vol. 168. No. 14. Vol. 29. No. 15. Vol. 170. No. 16. Vol. 169. No. 17. Vol. 174. No. 18. Vol. 172. No. 19. No. 20. Vol. 173. No. 21. Opus 34. DIECI CONCERTI PER RIPIENO. No. 1. Vol. 114. No. 2. Vol. 115. No. 3. Vol. 287. No. 4. Vol. 288. No. 5. Vol. 289. No. 6. Vol. 200. No. 7. Vol. 290. No. 8. Vol. 309. No. 9. Vol. 308. No. 10. Vol. 310. Opus 35. VENTITRE CONCERTI PER VIOLINO. No. 1. Vol. 120. No. 2. Vol. 295. No. 3. Vol. 294. No. 4. Vol. 285. No. 5. Vol. 296. No. 6. Vol. 297. No. 7. No. 8. Vol. 286. No. 9. Vol. 201. No. 10. Vol. 292. No. 11. Vol. 293. No. 12. Vol. 291. No. 13. No. 14. Vol. 302. 54 Opus 35. Continued. No. 15. No. 16. Vol. 311. No. 17. Vol. 303. No. 18. Vol. 304. No. 19. Vol. 312. No. 20. Vol. 313. No. 21. Vol. 305. No. 22. Vol. 306. No. 23. Vol. 307. Opus 36. VENTI CONCERTI PER VIOLINO. No. 1. NO. 2. Vol. 117. No. 3. Vol. 74. No. 4. Vol. 68. No. 5. Vol. 178. NO. 6. Vol. 69. No. 7. Vol. 179. No. 8. Vol. 187. No. 9. No. 10. Vol. 188. No. 11. Vol. 199. NO. 12. No. 13. NO. 14. NO. 15. Vol. 194. No. 16. Vol. 186. No. 17. Vol. 192. No. 18. Vol. 191. No. 19. Vol. 195. No. 20. Vol. 193. Opus 37. DUE CONCERTI PER DUE STRUMENTI. No. 1. Vol. 181. No. 2. Vol. 39. Opus 38. TREDICI CONCERTI PER RIPIENO. No. 1. Vol. 113. No. 2. Vol. 50. No. 3. Vol. 32. No. 4. Vol. 59. No. 5. Vol. 31. No. 6. Vol. 5. No. 7. Vol. 184. No. 8. No. 9. Vol. 177. No. 10. Vol. 7. No. 11. Vol. 182. No. 12. Vol. 185. No. 13. Vol. 190. Opus 39. NO. NO. No. NO. NO. No. NO. 40. No. NO. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. NO. No. No. Opus 41. No. No. No. No. No. Opus 42. NO. No. No. Opus 55 SETTE CONCERTI PER OBOE. \IONMwaNI-J Vol. Vol. Vol. Vol. Vol. Vol. Vol. 216. 215. 217. 222. 265. 14. 279. VENTISETTE CONCERTI PER FAGOTTO. koooqmmthI—n r-PJH tupao Vol. Vol. Vol. Vol. Vol. Vol. Vol. Vol. Vol. Vol. Vol. Vol. Vol. Vol. Vol. Vol. Vol. Vol. Vol. Vol. Vol. Vol. Vol. Vol. 238. 214. 223. 239. 236. 240. 237. 283. 273. 270. 274. 271. 272. 275. 267. 268. 269. 266. 299. 298. 300- 278. 276. 277. CINQUE CONCERTI PER CINQUE TROMBE- UlowaH TRE CONCERTI WNH Vol. Vol. Vol. Vol. Vol. Vol. Vol.‘ 213. 249. 25. 90. 51. PER DUE STRUMENTI. 264. 280. Opus 43. Opus 44. NO. NO. NO. No. No. NO. No. NO. NO. NO. NO. NO. No. NO. NO. NO. No. No. NO. NO. No. No. No. NO. No. NO. 45. No. No. No. No. No. No. No. No. Opus 56 SONATA IN LA MINORE. VENTISEI CONCERTI PER FLAUTO O SUE \oooqmmuwaI-I rOBJN!0hJNr0h4HP4F‘HF‘FH‘F‘H O\UhhcubJF‘OHOCD~JO\thLukJPHD O O Q 0 O O O O O O O O O C O O 0 Vol. Vol. Vol. Vol. Vol. Vol. Vol. Vol. Vol. Vol. Vol. Vol. Vol. Vol. Vol. Vol. Vol. V01. V01. Vol. Vol. Vol. 102. 44. 23. 154. 317. 153. 110. 106. 105. 103. 40. 41. 42. 147. 149. 159. 148. 151. 155. 144. 143. 152. OTTO CONCERTI PER FAGOTTO. mxlONU'lnhWNl—l Vol. Vol. Vol. Vol. Vol. Vol. Vol. 47. 71. 28. 109. 72. 67. 12. Opus Opus 46. NO. NO. No. 47. TRE CONCERTI PER PIU TROMBE. 1. Vol. 97. 2. Vol. 43. 3. Vol. 94. SEI CONCERTI PER STRUMENTI DIVERSI. NO. NO. NO. NO. NO. NO. (J'\U'|0hLa\.)l\)I--I Vol. Vol. Vol. Vol. Vol. Vol. 156. 101. 3. 10. 91. 121. VARIETA. Opus Opus Opus Opus Opus Opus Opus Opus Opus Opus Opus Opus Opus 48. 49. 50. 51. No. No. NO. No. 52. 53. No. NO. No. 54. No. No. No. 55. NO. NO. 56. No. No. No. NO. No. No. No. 57. No. No. 58. No. No. NO. 59. 60. No. NO. 57 CONCERTO IN MI MINORE. SONATA AL "SANTO SEPOLCRO." SINFONIA "AL SANTO SEPOLCRO." Vol. QUATTRO CONCERTI PER VIOLINO. 1. Vol. 37. 2. Vol. 15. 3. Vol. 4. 4. Vol. 49. CONCERTO PER OBOE E VIOLINO. TRE CONCERTI PER STRUMENTI A FIATO. 1. Vol. 139. 2. Vol. 54. 3. Vol. 142. TRE CONCERTI PER STRUMENTI VARI. 1. 2. Vol. 141. 3. Vol. 55. DUE TRII. 1. Vol. 75. 2. Vol. 63. SETTE CONCERTI PER VIOLINO. 1. Vol. 66. 2. Vol. 92. 3. Vol. 87. 4. Vol. 93. 5. Vol. 64. 6. 7. Vol. 13. DUE CONCERTI PER FAGOTTO. 1. Vol. 119. 2. Vol. 118. TRE CONCERTI PER DUE STRUMENTI. l. 2. Vol. 140. 3. Vol. 61. CONCERTO PER DUE VIOLINI E LEUTO. DUE CONCERTI PER RIPIENO. 1. Vol. 11. 2. Vol. 9. Vol. Vol. 21. 22. 73. Vol. 62. 58 Opus 61. VENTIN CONCERTI PER VIOLINO E QUARTETTO. No. 1. Vol. 322. No. 2. Vol. 325. No. 3. Vol. 324. No. 4. Vol. 343. No. 5. Vol. 345. No. 6. Vol. 347. No. 7 No. 8. No. 9. Vol. 336. No. 10. Vol. 326. No. 11. Vol. 340. No. 12. No. 13. Vol. 112. No. 14. No. 15. No. 16. Vol. 346. No. 17. No. 18. Vol. 334. No. 19. No. 20. Opus 62. DUE CONCERTI PER DUE VIOLINI. NO. 1. Vol. 344. NO. 2. Vol. 319. Opus 63. DUE CONCERTI PER VIOLA D'AMORE. No. 1. Vol. 337. No. 2. Vol. 320. Opus 64. SEI CONCERTI PER STRUMENTI VARI. No. 1. No. 2. Vol. 350. No. 3. No. 4. No. 5. Vol. 338. No. 6. Vol. 318. Opus 65. SINFONIA A QUATTRO. Vol. 321. Opus 66. CONCERTO PER VIOLINO. Opus 67. SONATA PER FLAUTO. CONCORDANCE Volume opus 1:12. 1. 33 8. 2. 8 9. 3. 47 3. 4. 51 3. 5. 38 6. 6. 30 6. 7. 38 10. 8. 3O 1. 9. 60 2. 10. 47 4. 11. 60 l. 12. 45 8. 13. 56 7. 14. 39 6. 15 51 2. 16. 31 5. l7. l9 2. 18. 19. 20. 24 21. 49 22. 50 23. 44. 3. 24. 19 4. 25. 41 3. 26. 23 3. 27. 21 1. 28. 45 3. 29. 33 14. 30. 30 7. 31. 38 5. 32. 38 3. 33. 10 2. 34. 35. 22 2. 36. 37. 51 1. 38. 33 l. 39. 37 2. 40- 44 13. 41. 44 14. 42. 44 15. 43. 46 2. 44. 44 2- 45. 46- 10. 5. CONCORDAN CE Volume Opus 47. 45 48. 21 49. 51 50. 38 51. 41 52. 10 53. 23 54. 53 55. 54 56. 32 57. 19 58. 19 59. 38 60. 21 61. 58 62. 59 63. 55 64. 56 65. 8 66. 56 67. 45 68. 36 69. 36 70. 31 71. 45 72. 45 73. 52. 74. 36 75. 55 76. 8 77. 8 78. 8 79. 8 80. 8 81. 8 82. 8 83. 8‘ 84. 8 85. 8 86. 31 87. 56 88. 23' 89. 21 90. 41 91. 47 92. 91.9. l—ul O o o o o o o o o o o o o o o o o o o o o o 60 CON CORDAN CE Volume ems 132. 93. 56 4. 94. 46 3. 95. 22 4. 96. 33 6. 97. 46 1. 98. 20 4. 99. 23 4. 100. 20 2. 101. 47 2. 102. 44 1. 103. 44 12. 104. 21 11. 105. 44 11. 106. 44 10. 107. 21 5. 108. 21 7. 109. 45 5. 110. 44 9. 111. 21 6. 112. 61 13. 113. 38 1. 114. 34 l. 115. 34 2. 116. 21 9. 117. 36 2. 118. 57‘ 2. 119. 57 l. 120. 35 l. 121. 47 6. 122. 9 1. 123. 9 4. 124. 9 10. 125. 9 12. 126. 9 2. 127. 9 3. 128. 9 5. 129. 9 6. 130. 9 7. 131. 9 8. 132. 9 9. 133. 9 11. 134. 27 5. 135. 22 l. 136. 28 3. 137. 26 7. _CONCORDANCE Volume opus 138. 26 139. 53 140. 58 141. 54 142. 53 143. 44 144. 44 145. 21 146. 22 147. 44 148. 44 149. 44 150. 10 151. 44 152. 44 153. 44 154. 44 155. 44 156. 47 157. 33 158. 33 159. 44 160. 33 161. 32 162. 32 163. 34 164. 33 165. 33 166. 33 167. 33 168. 33 169. 33 170. 33 171. 33 172. 33 173. 33 174. 33 175. 176. 177. 38 178. 36 179. 36 180. 3 181. 37 182. 38 62 CON CORDAN CE Volume opus 183. 12 184. 38 185. 38 186. 36 187. 36 188. 36 189. 25 190. 38 191. 36 192. 36 193. 36 194. 36 195. 36 196. 25 197. 25 198. 25 199. 36 200. 34 201. 35 202. 28 203. 28 204. 26 205. 26 206. 26 207. 27 208. 27 209. 27 210. 27 211. 26 212. 26 213. 41 214. 40 215. 39 216. 39 217. 39 218. 26 219. 26 220. 26 221. 26 222. 39 223. 40, 224- 225. 226. 30 227. 31 228. 31 NO. 5. 7. 12. 10. H wfiHmOMWHNNi-‘OmhwlflNDJNl-HNl—Ikoml—IUIDJ o o o 0.0 o H obONN o o o 63 CONCORDANCE Volume opus fig. 229. 31 7. 230. 31 8. 231. 26 16. 232. 26 13. 233. 26 15. 234. 235. 26 12. 236. 40 6. 237. 40 8. 238. 40 1. 239. 40 5. 240. 40 7. 241. 30 3. 242. 29 243. 26 18. 244. 26 17. 245. 31 3. 246. 30 4. 247. 31 9. 248. 25 1. 249. 41 2. 250. 28 4. 251. 30 8. 252. 30 5. 253. 31 10. 254. 31 21. 255. 31 11. 256. 31 13. 257. 31 14. 258. 31 16. 259. 31 20. 260. 31 18. 261. 31 15. 262. 31 19. 263. 264. 42 2. 265. 39 5. 266. 40 21. 267. 40 18. 268. 40 19. 269., 40 20. 270. 40 11. 271. 40 13. 272. 40 14. 273. 40 10. 274. 40 12. CONCORDANCE Volume Opus E2- 275. 40 15. 276. 40 26. 277. 40 27. 278. 40 25. 279. 39 7. 280. 42 3. 281. 39 3. 282. 283. 40 9. 284. 31 1. 285. 35 4. 286. 35 8. 287. 34 3. 288. 34 4. 289. 34 5. 290. 34 7. 291. 35 12. 292. 23 10. 293. 23 11. 294. 35 3. 295. 35 2. 296. 35 5. 297. 35 6. 298. 40 23. 299. 40 22. 300. 40 24. 301. 302. 35 14. 303. 35 17. 304. 35 18. 305. 35 21. 306. 35 22. 307. 35 23. 308. 34 9. 309. 34 8. 310. 34 10. 311. 35 16. 312. 35 19. 313. 35 20. 314. 7 11. 315. 45 5. 316. 57 l. 317. 44 6. 318; 64 4. 319. 62 2. 320. 63' 2. (fagotte) (oboe) (oboe) 65 66 CONCORDANCE Volume opus No. 321. 322. 323. 324. 325. 326. 327. 328. 329. 330. 331. 332. 333. 334. 335. 336. 337. 338. 339. 340. 341. 342. 343. 344. 345. 346. 347. 348. 349. 350. This 1) 2) 65 61 1. 61 3. 61 2. 61 10. 61 18. 61 9. 63 l. 64 5. 61 11. 25 2. 61 4. 62 1. 61 5. 61 16. 61 6. 64 2. list has been compiled with the help of: Catalogo Numerico Tematico delle composizioni di Antonio Vivaldi, by Mario Rinaldi. Vivaldi, Genius of the Barogue, by Marc Pincherele' (translation of the original French edition, pub— lished 1955). "1111111111111“