Vivaldi flauto traverso
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The first violin, for instance, sometimes steps forth from the tutti strings group and joins in the solo flute part, as in the last movement of the concerto La Notte, where the flute and the solo violin engage in virtuoso dialogue with each other. But it was a complicated process, transferring a string part originally written for a solo instrument to a woodwind soloist with orchestral accompaniment, and this can be seen here and there in the concertos. It doubtless seemed an attractive proposition to Vivaldi to present the various possibilities offered by a single family of instruments using concerto form as a vehicle. This is a procedure with which we are familiar from Johann Sebastian Bach, who made arrangements of his own concertos along these lines, as well as of concertos by other composers – Vivaldi himself among them! 5 was originally a recorder concerto, the remaining four works are arrangements of concerti da camera for several solo instruments without orchestra”. The other five are the result of arranging works originally scored for different ensembles: the F major concerto No.
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4) was actually composed as a flute concerto. 10 set by his publisher Roger: “According to modern research, only one of the six works (the G major No.
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The Vivaldi expert Karl Heller believes that the composer was motivated to write the six concertos of the op. Vivaldi’s concertos anticipate this development, with the total of 18 that he wrote for the flute family including three concertos for “flautino” or “sopranino” recorder, which was tuned an octave higher than the alto instrument. The “traversa” went on to become one of the most fashionable instruments by the mid-18th century. Circa 1710, the “traversa” or “flauto traverso”, the forerunner of the transverse flute, started to displace the recorder (“flauto”), which had dominated thitherto.
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Since the beginning of the 18th century, the timbres of the individual instruments had become a source of increasing interest for composers the specific potential of different instruments was tested, new sounds were discovered. There was hardly any instrument extant in Vivaldi’s day for which he did not write a concerto. 1728/29, are a particularly fine example of Vivaldi’s talent for innovation. 10, which were published in Amsterdam ca. Vivaldi introduced new elements to the concerto genre inaugurated by Corelli and other Italian corn-posers, and he was also responsible for inventing such new playing techniques and combinations of sounds as were so admired by Herrn von Uffenbach. His concerti in particular for one, two or more soloists – Vivaldi wrote a total of over 500 – established his reputation as an innovative composer of considerable imagination. At this time, the Italian composer and violin virtuoso Antonio Vivaldi was already starting to become famous in Europe. – thus the account of one music-loving Herr von Uffenbach that he jotted down in his diary of his travels after an evening at the opera in Venice on 4th February 1715. “… towards the end, Vivaldi played an admirable accompagnement solo, to which he then added a fantasy that gave me a fair shock, it being impossible that anything of this kind has been played thus before now …”