Fonti e letteratura critica , 1991 . 6. K. HELLER , Vivaldi . Cronologia della vita e dell'opera , 1991 . 7. Vivaldi . Vero e falso . Problemi di attribuzione , a cura di A. Fanna e M. Talbot , 1992 . Serie : OPERA E LIBRETTO a cura di ...
Author: Istituto italiano Antonio Vivaldi
Tonal Space in the Music of Antonio Vivaldi incorporates an analytical study of Vivaldi's style into a more general exploration of harmonic and tonal organization in the music of the late Italian Baroque. The harmonic and tonal language of Vivaldi and his contemporaries, full of curious links between traditional modal thinking and what would later be considered common-practice major-minor tonality, directly reflects the historical circumstances of the shifting attitude toward the conceptualization of tonal space so crucial to Western art music. Vivaldi is examined in a completely new context, allowing both his prosaic and idiosyncratic sides to emerge clearly. This book contributes to a better understanding of Vivaldi's individual style, while illuminating wider processes of stylistic development and the diffusion of artistic ideas in the 18th century.
The Manchester Concerto Partbooks. 2 vols. New York: Garland, 1990. ———. “Opening 'Il sepolcro': Ziani, Vivaldi, and a Question of Stylistic Authenticity.” In Vivaldi, vero e falso: Problemi di attibuzione, Quaderni vivaldiani VII, ed.
Author: Bella Brover-Lubovsky
Publisher: Indiana University Press
Since 1978, the 300th anniversary of Vivaldi's death, there has been an explosion of serious writing about his music, life and times. Much of this has taken the form of articles published in academic journals or conference proceedings, some of which are not easy to obtain. The twenty-two articles selected by Michael Talbot for this volume form a representative selection of the best writing on Vivaldi from the last 30 years, featuring such major figures in Vivaldi research as Reinhard Strohm, Paul Everett, Gastone Vio and Federico Maria Sardelli. Aspects covered include biography, Venetian cultural history, manuscript studies, genre studies and musical analysis. The intention is to serve as a 'first port of call' for those wishing to learn more about Vivaldi or to refresh their existing knowledge. An introduction by Michael Talbot reviews the state of Vivaldi scholarship past and present and comments on the significance of the articles.
729–57; Kees Vlaardingerbroek (1992), 'Vivaldi and Lotti: Two Unknown Borrowings in Vivaldi's Music', in Antonio Fanna and Michael Talbot (eds), Vivaldi. Vero e Falso. Problemi di attribuzione, Quaderni vivaldiani 7, Florence: Istituto ...
Author: Michael Talbot
Detailed survey of Vivaldi's unjustly neglected chamber cantatas, showing them to stand comparison with his more famous works. Vivaldi's chamber cantatas for solo voice, some forty in total, are steadily gaining in popularity: but because of their relatively small place in the oeuvre of a composer famed for his productivity, and also on account of the general scholarly neglect of their genre, they are little discussed in the literature. This book comprehensively explores their literary and musical background, their relation to the composer's biography, the chronology of their composition, and their musical qualities. Each cantata is discussed individually, but there is also a broader consideration of aspects concerning them collectively, such as performance practice, topical allusion, and the conventions of Italian verse. The author argues that while Vivalid's cantatas are not as innovative as his concertos and operas, he produced several masterpieces in the genre that rank with his best music. MICHAEL TALBOT is Emeritus Professor of Music at the University of Liverpool.
L'attività operistica di Vivaldi a Mantova ' , in Antonio Fanna and Giovanni Morelli ( eds ) , Nuovi studi ... Vivaldi . Vero e falso . Problemi di attribuzione , Florence : Olschki , 1992 . Fanna , Francesco , and Michael Talbot ( eds ) ...
Author: James and Constance Alsop Professor of Music Michael Talbot
Publisher: Boydell Press
Federico Maria Sardelli writes from the perspective of a professional baroque flautist and recorder-player, as well as from that of an experienced and committed scholar, in order to shed light on the bewildering array of sizes and tunings of the recorder and transverse flute families as they relate to Antonio Vivaldi's compositions. Sardelli draws copiously on primary documents to analyse and place in context the capable and surprisingly progressive instrumental technique displayed in Vivaldi's music. The book includes a discussion of the much-disputed chronology of Vivaldi's works, drawing on both internal and external evidence. Each known piece by him in which the flute or the recorder appears is evaluated fully from historical, biographical, technical and aesthetic standpoints. This book is designed to appeal not only to Vivaldi scholars and lovers of the composer's music, but also to players of the two instruments, students of organology and those with an interest in late baroque music in general. Vivaldi is a composer who constantly springs surprises as, even today, new pieces are discovered or old ones reinterpreted. Much has happened since Sardelli's book was first published in Italian, and this new English version takes full account of all these new discoveries and developments. The reader will be left with a much fuller picture of the composer and his times, and the knowledge and insights gained from minutely examining his music for these two wind instruments will be found to have a wider relevance for his work as a whole. Generous music examples and illustrations bring the book's arguments to life.
Edizione e cronologia critica delle opere. florence: olschki, 1988. fanna, antonio, and talbot, Michael (eds), Vivaldi. Vero e falso. Problemi di attribuzione. florence: olschki, 1992. farup-Madsen, inge, 'Vivaldisanvendelse ...
Author: Michael Talbot
The Vivaldi Compendium will serve as the most reliable and up-to-date source of quick reference on the composer Antonio Vivaldi and his music. This takes the form of a dictionary listing persons, places, musical works and many other topics connected with Vivaldi; its alphabetically arranged entries are copiously cross-referenced so as to guide the reader towards related topics. The Vivaldi Compendium also provides a gateway to further reading. This is achieved via an extensive bibliography, to which reference is made in most of the dictionary entries. These two sections are complemented by an article-length biography of the composer and a carefully organized list of his works. Knowledge about Vivaldi and his music is still advancing at an incredible rate - many discoveries occurred while the book was in preparation - and every effort has been made to ensure that The Vivaldi Compendium represents the latest in Vivaldi research, drawing on the author's close involvement with Vivaldi and Venetian music over four decades. MICHAEL TALBOT is Emeritus Professor of Music at the University of Liverpool and a Fellow of the British Academy. He is known internationally for his studies of late-baroque Italian music, which include recent books on Vivaldi's chamber cantatas (2003) and the same composer's fugal writing (2007).
Antonio Fanna and Michael Talbot (eds), Vivaldi. Vero e falso. Problemi di attribuzione, QV 7 (1992). FaoTra Fabio Fano, 'Una traccia prossima alla prima origine della raccolta di musiche vivaldiane conservata alla Biblioteca Nazionale ...
Author: Michael Talbot
Publisher: Boydell Press
The Four Seasons and the rest of the concertos in Op. 8 represent Vivaldi's remarkable innovation in the field of the Baroque concerto. This detailed guide examines the work's origin and construction in a way that enables the reader to distinguish what is extraordinary about the Seasons and what constitutes the composer's customary method of 'characterising' the solo concerto. Drawing on recent research and his own expertise in the appraisal of Vivaldi's manuscripts, the author draws interesting and sometimes startling conclusions about the conception of the Seasons, the origin of their programme, the dating of the concertos and the rationale behind the collection's ritornello-form structures and aria-like slow movements. The significance of Vivaldi's idiosyncratic art is thus revealed in some of the most popular concert music of all time.
2 For critical analysis of this and other portraits of the composer , see F. Farges and M. Ducastel- Delacroix , ' Au suget du vrai visage de Vivaldi : essai iconographique ' , in Vivaldi . Vero e falso . Problemi d'attribuzione , ed .
Author: Paul Everett
Publisher: Cambridge University Press
This volume is dedicated to "Serenata and Festa Teatrale in 18th Century Europe", especially to the production of this music-dramatic genre at the courts on the Iberian Peninsula, in Italy, and the Holy Roman Empire where it was an integral part of court ceremonials and a privileged ritual of repraesentatio maiestatis. The 16 studies on patrons and artists, exceptional events and local traditions, reveal highly interesting material for the research on these up to now largely neglected genre. Any approach to these works full of metaphors, symbols and allusions has to take into account the context of the celebration and the resulting multiplicity of aspects: choice of themes, dramaturgical forms, textual and musical structures, vocal and instrumental ensembles, and the various options regarding the stage apparatus. "Serenata and Festa Teatrale in 18th Century Europe", edited by Iskrena Yordanova (Lisbon) and Paologiovanni Maione (Naples), inaugurates the series "Cadernos de Queluz", a subseries of "Specula Spectacula" by Don Juan Archiv Wien.
Edizione e cronologia critica delle opere, 2 voll. Firenze: Olschki, 1988 (= Studi di musica Veneta 4). FANNA, ANTONIO, e MICHAEL TALBOT (a cura di): Vivaldi vero e falso. Problemi di attribuzione. Firenze: Olschki, 1992 (= Studi di ...
Author: Iskrena Yordanova
Publisher: Hollitzer Wissenschaftsverlag
English version for the first volume of the book series: "Piccola guida alla grande musica", edited in Italy by Edizioni Sonda. An easy and peculiar way to getting to know great composers and their works, understanding their specific historical context, their life and human events. A delicate and progressive path for getting acquainted with great classical music and its masters.
According to it, the collection of concerts named Il Cimento dell'Armonia e dell'Invenzione is indicated as op. ... VIII, Marsilio, Venezia 2000; Antonio Fanna e Michael Talbot, Vivaldi vero e falso: problemi di attribuzione, Olschki, ...
Author: Rodolfo Venditti
The composition of the solo concerto studied as an evolving debate (rather than a static technique), and for its stylistic features. The solo concerto, a vast and important repertory of the early to mid eighteenth century, is known generally only through a dozen concertos by Vivaldi and a handful of works by Albinoni and Marcello. The authors aim to bring thisrepertory to greater prominence and have, since 1995, been involved in a research programme of scoring and analysing over nine hundred concertos, representing nearly the entire repertory available in early prints and manuscripts.Drawing on this research, they present a detailed study and analysis of the first-movement ritornello form, the central concept that enabled composers to develop musical thinking on a large scale. Their approach is firstly to present the ritornello form as a rhetorical argument, a musical process that dynamically unfolds in time; and secondly to challenge notions of a linear stylistic development from baroque to classical, instead discovering composers trying out different options, which might themselves become norms against which new experiments could be made. SIMON McVEIGH is Professor of Music, Goldsmiths College, University of London; JEHOASH HIRSHBERG is Professor in the Musicology Department, Hebrew University of Jerusalem.
Everett , Paul , Vivaldi : ' The Four Seasons ' and Other Concertos , Op . 8 ( Cambridge : Cambridge University Press , 1996 ) Eynard ... ( Florence : Olschki , 1988 ) Fanna , Antonio and Michael Talbot , eds . , Vivaldi vero e falso .
Author: Simon McVeigh
Publisher: Boydell Press