If it’s an authentic sound and perfectly judged playing that you want, try a version by Ugo Orlandi (mandolin) and I Solisti Veneti.
It was written in Bohemia, although its three short movements never saw publication in his lifetime. This concerto comes from this globe-trotting period (or, at least, Europe-trotting period). The job at the Pietà was still assured via a unique contract to supply new tunes in the post, so he was able to zip around with relative freedom, often with an eyebrow-raising entourage of two soprano sisters in tow, to spread the Vivaldi word. In his fifties, his reputation as a composer preceded him and Vivaldi was able to travel quite a lot. The string section repeats the beginning portion as the ending of this movement.Although we associate Vivaldi mainly with Venice because he spent pretty much the first forty years of his life there, he did, inevitably, get itchy feet as he became older.Īs well as wanting to travel, he was also keen to oversee productions of his operas, not just in order that they came out well, but also so that he might pitch for new work in different geographical markets. The third movement makes more use of the string orchestra, where the mandolin is not heard at the beginning or the ending of the movement. The second movement, is slightly less than three minutes long, and in contrast to the rapid and enthusiastic tune of the first movement, is slower and thoughtful in its composition. Throughout the piece, Vivaldi creates sharp and low contrasts between the mandolin and the rest of the orchestra, attracting much attention to several crescendos within the music. The first movement is a rapid, cheerful tune lasting slightly more than three minutes. ( January 2021) ( Learn how and when to remove this template message) Statements consisting only of original research should be removed. Please improve it by verifying the claims made and adding inline citations. This section possibly contains original research.
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