Easily one of the most impressive ‘concerti con molti strumenti’ by Vivaldi, this work was famously played in Amsterdam on 7 January 1738 to celebrate the centenary of the Schouwbourg theater. Although it was long speculated that Vivaldi might have made the trip to Amsterdam in that year, there is no evidence that he ever travelled there. No original manuscript of RV 562 has survived, except a discarded page containing the first few bars of the second violin part, in Vivaldi’s hand. The verso of the page bears the last bars of RV 120. The handwriting is consistent with a fairly early date (1712-1717?). Besides the Amsterdam version already mentioned, the only source is a copy by Pisendel. The part shown in this video is the Violino principale which he would have played himself. It was written on Venetian paper (tre mezzelune). Vivaldi's monogram is transcribed on the title page (upper left corner). This manuscript bears evidence that this version, like the Amsterdam version, originally had a part for timpani (see the abbreviation T.). The last movement contains a cadenza that is identical with the one from RV 208 (‘Grosso Mogul’), 3rd movement. At the end of the cadenza, the notes of the closing tutti originally written there were struck out: these belong to the concerto RV 212 (‘San Antonio’). So the cadenza was presumably inserted here by Pisendel and not original. The Amsterdam version has no cadenza at the end. The Dresden and Amsterdam versions have different middle movements. Here in the Dresden version is a Grave strongly reminiscent of the ‘Grave Recitativo’ of… RV 208. On the first page, the title of the work is given as ‘Per la Solennità di S. Lorenzo’. Because this title page is on the obverse of the added cadenza, Peter Ryom asserts (Ryom-Verzeichnis) that the title of ‘San Lorenzo’ belongs to another work. However, the list of instruments corresponds exactly to the contents, so I find this reasoning hard to comprehend. Perhaps it is based on physical evidence. I. Andante - Allegro (0:00) II. Grave (5:30) III. Allegro (9:20) Composed: probably not later than 1717 Source: D-Dl, Mus. 2389-O-94, ff. 1-10 Les Ambassadeurs, ‘Per l’orchestra di Dresda’ Zefira Valova, violino principale Alexis Kossenko, direzione Alpha 190
Vivaldi remains my favorite baroque composer! I like the musical dynamic, variety, and elascity of his compositions! A shame that he had to die from starvation in Vienna. Even Bach paid homage to him by transcribing some of his compositions for organ.
“Even Bach” is an understatement. Bach transformed Vivaldi’s many concertos (not just those six for organ) just to learn from him. Bach worshipped Vivaldi, openly and secretly.
Easily one of the most impressive ‘concerti con molti strumenti’ by Vivaldi, this work was famously played in Amsterdam on 7 January 1738 to celebrate the centenary of the Schouwbourg theater. Although it was long speculated that Vivaldi might have made the trip to Amsterdam in that year, there is no evidence that he ever travelled there.
No original manuscript of RV 562 has survived, except a discarded page containing the first few bars of the second violin part, in Vivaldi’s hand. The verso of the page bears the last bars of RV 120. The handwriting is consistent with a fairly early date (1712-1717?).
Besides the Amsterdam version already mentioned, the only source is a copy by Pisendel. The part shown in this video is the Violino principale which he would have played himself. It was written on Venetian paper (tre mezzelune). Vivaldi's monogram is transcribed on the title page (upper left corner). This manuscript bears evidence that this version, like the Amsterdam version, originally had a part for timpani (see the abbreviation T.).
The last movement contains a cadenza that is identical with the one from RV 208 (‘Grosso Mogul’), 3rd movement. At the end of the cadenza, the notes of the closing tutti originally written there were struck out: these belong to the concerto RV 212 (‘San Antonio’). So the cadenza was presumably inserted here by Pisendel and not original. The Amsterdam version has no cadenza at the end.
The Dresden and Amsterdam versions have different middle movements. Here in the Dresden version is a Grave strongly reminiscent of the ‘Grave Recitativo’ of… RV 208.
On the first page, the title of the work is given as ‘Per la Solennità di S. Lorenzo’. Because this title page is on the obverse of the added cadenza, Peter Ryom asserts (Ryom-Verzeichnis) that the title of ‘San Lorenzo’ belongs to another work. However, the list of instruments corresponds exactly to the contents, so I find this reasoning hard to comprehend. Perhaps it is based on physical evidence.
I. Andante - Allegro (0:00)
II. Grave (5:30)
III. Allegro (9:20)
Composed: probably not later than 1717
Source: D-Dl, Mus. 2389-O-94, ff. 1-10
Les Ambassadeurs, ‘Per l’orchestra di Dresda’
Zefira Valova, violino principale
Alexis Kossenko, direzione
Alpha 190
Always great job, also for extremely accurate info about any type of work by Vivaldi. Where do you find all this information?
Excelente comentário. Vivadi, sempre sentido, mesmo quando sofre reparos ocasionais ou apagamentos históricos.
Estilo de caça. Pompa e circunstância!
VIVALDI I LOVE YOUUUUUUUUUUU MY HEART IS ON FIRE
Viva Vivaldi!
Viva Del Vivaldi!
Vivaldi remains my favorite
baroque composer! I like the
musical dynamic, variety, and
elascity of his compositions!
A shame that he had to die
from starvation in Vienna.
Even Bach paid homage to
him by transcribing some of
his compositions for organ.
“Even Bach” is an understatement. Bach transformed Vivaldi’s many concertos (not just those six for organ) just to learn from him. Bach worshipped Vivaldi, openly and secretly.
6 days ago! The previous video 2 months ago! I am happy Del Vivaldi is back 😊
Buen juego de instrumentos. Gran concierto
More Vivaldi!
🎶 🎵
that small part on top of the cadenza at 8:33-8:38 makes the grave part so unique and awesome
Such lovely middle movement ❤
Two Thumbs Up 👍👍
Great music from the legendary Vivaldi, you earned a subscriber!
¡Extraordinaria obra musical!
Gracias por compartir.
I just notice that the improvisation in movement 3 is identical to the one in RV 208.
00:50
01:17
With cadenza!
Obviously Vivaldi wasn't out to reinvent his wheel with this one.
What do you mean?
@@VicāriusHispāniārum He reincorporated previous melodies into this piece
He is allowed to have a slow day.
@@weiliu3623 I strongly agree ✅
@@BohemianBaroque that was normal in those days.
The SAME harmonic sequence as in the GLORIA... 😴
It's called The Circle of Fifths. Good night, sleepy head!
@@DelVivaldi I know, I'm a conductor and Vivaldi was lazy.
@@solcarzemog5232 Vivaldi is better than you
@@ReformedCrusader I'm crying
@@solcarzemog5232 L