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13楼
发表于 2006-1-13 08:41
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来自 江苏省镇江市
下面是引用grantzhao于2006-01-13 01:45发表的:
后几首不是VIVALDI的作品，是专门为四只史特拉底名琴谱写的作品！
Concerto for 4 violins, cello, strings & continuo in B minor ("L'estro armonico" No. 10) Op. 3/10, RV 580
Composition Description by James Leonard
Known to the cognoscenti by manuscript, the actual publication of Antonio Vivaldi's first set of concertos called "L'estro armonico" as his Op. 3 by Estienne Roger in 1711 in Amsterdam was not only the most important event in Italian orchestral music of the first half of the eighteenth century, it was the most important work in all European orchestra music. "L'estro armonico," roughly meaning The Genius of Harmony, took the weighty Roman concerto style of Corelli and infused it with a lightness, a muscularity, and a virtuosity that determined the history of the genre.
The tenth work in the set is the Concerto in B minor, RV 580, a three-movement work for four solo violins plus orchestral ripieno of violins, violas, cello, and basso continuo. The opening Allegro, like all the other works in the set, alternates between the continuo and the ripieno, but both groups share the same propulsive repeated-note theme driving the movement to its powerful final cadence. In the central Larghetto e spiccato, big dotted note chords for the ripieno alternate with imitative arpeggios for the soloists, followed by a shivering central episode that predicts the snowy central movement of the "Winter" concerto from the Four Seasons. The closing Allegro follows immediately, a dancing triple time theme for the ripieno alternating with scintillating episodes for the four soloists.
Concerto for 3 violins, strings & continuo in F major, RV 551
Composition Description by Andrew Lindemann Malone
The Concerto for 3 violins, strings, and continuo in F major is often counted among Antonio Vivaldi's more striking concerti; the profusion of his favorite solo instrument apparently inspired him to find fresh ways for the violins to interact and create exceptionally colorful textures using the interactions. The appeal of Vivaldi's invention is evident in the very first episode of the ritornello-form first movement: The three violins each solo in sequence, the first two with the same exuberant line, the third with different material that eventually draws the first two back into the fray for some high-spirited harmonizing. Similar antics inform the remainder of the episodes in the first movement: Unexpected entries and exits creating ear-catching textures and are spiced by Vivaldian virtuoso runs and arpeggios. The second movement drops the orchestra altogether, as one violin plays a graceful, sad melody above busy, quiet ostinato accompaniment from the other two violins, one playing arpeggios and the other plucking out a rhythm; the effect is luminous, especially when a few bars of the bare accompaniment close the movement. In the third movement, the first violin also gets more prominence, but the three violins as a unit are still a formidable force. During the last episode, they unleash an avalanche of minor mode notes to lead into the last ritornello, but Vivaldi nevertheless manages to snatch major mode victory from the jaws of defeat — an imaginative ending to a highly imaginative concerto. |
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