Vivaldi - Concerto in D minor

Vivaldi - Concerto in D minor

1. Sonority

   • Three solo strings with a larger accompanying group of continuo (harpsichord) and violone
   • The strings are bowed and violin range extends up to D, two octaves above middle C. Solo cello extends to G above middle C.
   • Resonant exploitation of open strings at beginning.
   • Contrast of forces = essential throughout. Central part of the 3rd movement (Largo e spiccato) is for upper strings only; bass instruments and continuo rest at this point

2. Notation

   • Full score. Violin 1 + 2 = soloists and 3 + 4 = ripen. The solo cello line is above the continuo
   • Figured bass - harmonic shorthand, Terraced dynamics, Italian indications

3. Tempo, Metre and Rhythm

   • Allegro - Adagio e spiccato - Allegro - Largo e spiccato - Allegro
   • Allegro = 3/4. Adagio e spiccato = 4/4, Largo e spiccato = 12/8, Allegro = 4/4
   • 1,2,4 = motor rhythms - hard-driven patterns, percussive harpsichord continuo
   • 1 = continuous quavers -> running semiquavers. 2 starts with four quavers + minim. 3 = Sicilliano rhythms

4. Melody

   • Broken chord patterns at beginning of 1. Scales (descending at 2 bar 13 and rise at bar 37). Sequences are frequent - e/g 2, bar 25-26
   • Leaps e.g 5ths at 2 bars 25-26 and 7th at 3, bar 4.

5. Harmony

   • Functional, root position chords with occasional 'a' inversion.
   • Suspensions, false relation at 2, bar 3 (Eb in C minor chord followed by E of the succeeding A major chord)
   • Neopolitan 6th chord, 3 bar 2, Diminished 7th, 3 bar 5, and Dominant pedal at 2, bars 58-69

6. Tonality

   • Tonic key of all three = D minor. Modulation to A minor, G minor, F major. F minor = unusual movement bars 7-8
   • Circle of 5ths progression (2 bar 33-35), Dominant pedal (2 bar 58-69), Tierce de Picardie (2, bar 70) yet unusual conclusion to tonic minor

7. Structure

   • 1 = 1-31, 2 = Adagio 1-3, Allegro 4-73, 3 = Ternary, 4 = Loose ritornello
   • 2 - Allegro at bar 4, fugal textures are coordinated within a scheme of contrasting tutti-solo sections. Fugal terminology can apply for the start of the Allegro
     • Subject - bar 4, Answer - second theme, in V, Countersubject - answer in the bass bar 8, Countersubject 2 - Additional counterpoint to subject and counter-subject

8. Texture

   • 1 = two-part canon, lengthening at bar 6 to a bar between imitations. Bar 20 = cello melody with continuo
   • 2 = Homophonic for Adagio and Fugal for Allegro.
   • 3 = Melody-dominated homophony, with lower strings and continuo omitted in the central section.
   • 4 = Contrapuntal at beginning, other passages are homophonic.