Concerto in A MInor

Piano Concerto (Grieg)

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Despite originating in a religious institution, the print copies were widely distributed throughout Europe, with 20 reprintings of Estienne Roger's Amsterdam edition between and Sales were slightly more successful than those of Vivaldi's famous collection Il cimento dell'armonia e dell'inventione which contained The Four Seasons. In London John Walsh , Handel 's printer, published the twelve concertos in two instalments in and , when he also published all twelve in one volume, with individual concertos included in later collections.

In London his version was pirated by other printing firms in the s; and in Paris there were five or more reprintings from the late s to the early s. The works were also transmitted through manuscript copies, often of individual concertos, the most popular by far being Op. Talbot gives a detailed description, drawn from contemporary accounts, of the performances and reception of the concertos in Britain and Ireland in the eighteenth century. The most popular concerto from the set was Op.

Track 8. Piano Concerto in A Minor (Cadenza)

Two other concertos from the set were also played by the public, Op. In a London catalogue from , the solo part for each of the three concertos was advertised for a sum of sixpence per concerto; and in a different catalogue from , the solo part with an added bass line was advertised at a price of one shilling per concerto. Few Italian violinists promoted Vivaldi in England. In the case of Francesco Geminiani , this was due partly to his allegiance to his teacher Corelli and partly to his own ambitions as a composer.

On the other hand, in London the violinist Matthew Dubourg , another student of Francesco Geminiani , is known to have given many performances of the fifth concerto at least as early as and used it for training his pupils; this is recounted by one of them, Francis Fleming, in the autobiographical novel "The Life and Extraordinary Adventures of Timothy Ginnadrake":.

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At this time he had a great desire to learn the violin, and his father knowing something of it himself, initiated him; he improved so fast that he soon put it out of the power of his father to instruct him. The old gentleman finding he had a genius for music, engaged a famous musician, one Dubourg, to teach him; he also improved greatly under this professor: And indeed that instrument requires it, if a student is resolved to make any great proficiency. The Irish violinist John Clegg , a child prodigy who studied with both Geminiani and Dubourg, is also known to have been an advocate of Vivaldi's concertos, although no records specifically mention L'estro armonico.

To illustrate the extent to which "Vivaldi's Fifth" had entered the popular culture, Talbot mentions a musical entertainment where a performance was advertised in a programme involving "rope-dancing, tumbling, vaulting and equilibres", with dances that included "the Drunken Peasant", a "Hornpipe in wooden shoes" and new "Morrice dances". In a essay, Oliver Goldsmith recorded the following anecdote about the celebrated blind Irish harpist Turlough O'Carolan:.

Being once at the home of an Irish nobleman, where there was a musician present who was eminent in the profession, Carolan immediately challenged him to a trial of skill. To carry the jest forward, his lordship persuaded the musician to accept the challenge, and he accordingly played over the fifth concerto of Vivaldi.

Carolan, immediately taking his harp, played over the whole piece after him, without missing a note, though he had never heard it before: The violinist is not named, but commentators have suggested Geminiani, Dubourg or Clegg; as Talbot points out, it is unlikely to have been Geminiani, because of his known antipathy to Vivaldi. Transcriptions for harp of the third and fifth concertos survive in the collections of the another celebrated blind harpist, the Welshman John Parry ; they are held in the National Library of Wales in Aberystwyth.

Under the entry for Harmonica or Armonica , a glass harmonica is described, about which its inventor, the Dublin physician Edward Cullen, writes:. I myself, though very far from being an accomplished player, can with great ease go through all the parts of Fisher's celebrated rondeau; nay, I have heard the fifth concerto of Vivaldi played upon it with as much distinctness as upon a violin.

There were numerous arrangements for keyboard instruments in the eighteenth century, as described in the next section. One surviving eighteenth century transcription of Op. Themes from movements in the concertos were borrowed by other composers for vocal works: The most substantial borrowing occurred in the burletta The Golden Pippin , first performed in at the Theatre Royal, Covent Garden , with the music of various composers arranged by John Abraham Fisher. The first movement of the fifth concerto was arranged for the final number, a sextet for the principal characters, Jupiter, Juno, Pallas, Venus, Paris and the Dragon.

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The many surviving transcriptions of Vivaldi's L'estro armonico reflect the immediate popularity of these works within his lifetime. As Talbot points out, Op. The collection—and especially the fifth concerto—spawned many arrangements for keyboard instruments. As Vivaldi scholars agree, some of the earliest and most significant transcriptions—those made in Weimar in the s by Johann Sebastian Bach as part of a series of arrangements for keyboard and organ of Italian and Italianate concertos—indirectly played a decisive role in restoring Vivaldi's reputation during the so-called "Vivaldi revival" in the twentieth century.

The Ryom-Verzeichnis , explained in detail in the two volumes Ryom and Ryom , contains a summary of the known surviving publications, handwritten manuscript copies and arrangements of the concertos.

Schumann - Piano Concerto in A minor

Of these six were arranged by Bach: The concerto transcriptions by Bach were probably made in Weimar where he was employed as court organist and later concertmaster in the period — Bach made harpsichord arrangements of three of the concertos for solo violin:. There is a much later arrangement of one of the concertos for four violins as a concerto for four harpsichords and strings. It has been dated to Bach's period in Leipzig, probably in the late s or early s.

Bach's transcriptions were not widely disseminated. They were only published in the s and s by C. Peters in the editions prepared by Friedrich Griepenkerl—part of the nineteenth century "Bach revival". At that stage all of Bach's concerto transcriptions were described as "after Vivaldi", regardless of authorship. In any event, the only autograph source to survive are parts Bach copied out along with other copyists [3] in Leipzig circa [4] from a now lost score or draft.

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Allegro , in A minor , 2 4 meter;. The opening movement is in ritornello form. This means that there is a main section that comes back in fragments in both the solo violin and orchestral parts. This 'ritornello' can be found in the first movement up until bar The motifs of the theme appear in changing combinations and are separated and intensified throughout the movement. Andante , in C Major , Common Time meter;. In the Andante second movement, Bach uses an insistent pattern in the ostinato bass part that is repeated constantly in the movement.

He focuses the variation in the harmonic relations.

But notes that "Bach seems to have associated" the ostinato scheme "particularly with violin concertos. Allegro assai , in A minor 9 8 meter. In the final movement Bach relies on bariolage figures to generate striking acoustic effects.

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