VIVALDI C.1728-1729

MELODY

• TYPES
• CONJUNCT RUNS; BROKEN CHORDS; REPEATED NOTES; ARPEGGIOS; CANTABILE (2ND MOVT); VIGOROUS (1ST/3RD MOVT); COMPOUND INTERVALS
• PHRASING
• IRREGULAR; OCCASIONAL BALANCED PHRASES
• MELODIC DEVICES
• SEQUENCES; INVERSION; IDEAS JOINED TOGETHER; MOTIVIC
• NON-HARMONY NOTES
• AUXILIARY; PASSING; CHROMATIC; SUSPENSION

HARMONY

• OVERALL:
• MAINLY CONSONANT; FUNCTIONAL HARMONY; MAINLY PERFECT CADENCES
• HARMONIC DEVICES:
• HARMONIC SEQUENCE; FLATTENED LEADING NOTE; EVEN HARMONIC RHYTHM; APPOGGIATURAS; SUSPENSIONS
• MORE UNUSUAL CHORDS:
• NEAPOLITAN 6TH; DIMINISHED 7TH

TONALITY

• DIATONIC
• MAJOR-MINOR
• MODULATION TO RELATED KEYS, BUT MORE THAN PURCELL
• PIVOT CHORDS
• PEDALS
• MODAL CHANGES
• CHROMATIC CHORDS

STRUCTURE

• 3 MOVTS FSF
• OUTER MOVTS RITORNELLO
• RITORNELLOS TEND TO BE SHORTER AFTER 1ST STATEMENT
• EPISODES TEND TO GET MORE ELABORATE
• SOME RELATIONSHIP BETWEEN RITORNELLO AND EPISODE MATERIAL
• OPENING RITORNELLO HAS SUCCESSION OF IDEAS
• 2ND MVT: BINARY FORM

SONORITY (TIMBRE)

• FLUTE CONCERTO
• REDUCED SCORING IN 2ND MOVT AND EPISODES
• STRINGS AND CONTINUO
• FLUTE ALONE
• TASTO SOLO - NO CHORDS IN CONTINUO PART

TEXTURE

• UNISON
• 3RDS
• HOMOPHONIC
• LITTLE IMITATION/CANON2-PART WRITING
• PEDALS
• PARTS OVERLAP

TEMPO, RHYTHM AND METRE

• OUTER MOVTS - ALLEGRO
• 4/4 AND 3/4
• DOTTED NOTES
• ANACRUSIS
• SYNCOPATION
• USE OF RESTS
• CADENZA - FREE TEMPO?
• DIMINUTION
• FERMATA
• RHYTHMIC DISPLACEMENT
• 2ND MVT - 12/8
• SICILIANO RHYTHM AND TEMPO

DYNAMICS AND ARTICULATION

• IN OUTER MOVTS - SOME TRILLS MARKED
• PIANO MARKINGS IN REDUCED SCORING SECTIONS
• FORTE FOR RITORNELLOS
• STACCATO MARKINGS ON REPEATED NOTES
• NO MARKINGS 2ND MOVT [IT USED TO BE THOUGHT THAT THE PAUCITY OF DYNAMIC MARKINGS - MAINLY JUST F AND P MEANT THAT PLAYERS USED TO JUST PLAY LOUD AND SOFT 'TERRACED DYNAMICS' BUT IT IS MORE LIKELY THAT THEY JUST DIDN'T NEED TO READ THE DYNAMIC MARKINGS AS WE DO: EXTREMES OF DYNAMICS, HOWEVER, WOULD CERTAINLY HAVE BEEN AVOIDED.]

HOW THE MUSIC AFFECTS THE MOOD

• 1ST MOVT - RELATIONSHIP TO 'GOLDFINCH': USE OF FLUTE, CADENZA, TRILLS, HIGH PITCHES, REDUCED SCORING, NO BASS
• 2ND MOVT - LIKE A SONG (CANTABILE), SILICIANA RHYTHM WITH PASTORAL OVERTONES; IRREGULAR PHRASES
• 3RD MOVT - SIMILAR TO 1ST. MORE GENERAL MOOD OUTER MOVTS: DYNAMIC AND FORWARD-MOVING: COMPOUND INTERVALS, VIGOROUS MELODIES, IRREGULAR PHRASING, SUSPENSIONS AT CADENCES, CONSONANT MODULATION, MAJOR TONALITY, MAINLY CONSONANT, CONTRAST BETWEEN RITORNELLOS AND EPISODES, VARIETY IN SCORING, MAINLY HOMOPHONIC