![]() ![]() laid out in three movements (allegro, Grave, allegro), this composition provides a clear example of the “Vivaldian musical language” exported to, and assimilated by, Dresden (via more or less faithful “followers” or epigones of the red Priest), while not being wholly attributable to Vivaldi. In the Schrank II collection of the sächsische landesbibliothek – staats- und universitätsbibliothek (sluB) of dresden there is preserved a set of separate parts – copied out by Johann Georg Pisendel between 17 – for an anonymous violin concerto in d major (Mus. Schreivogel’s name should certainly be added to the list of significant Milanese violinist-composers of the eighteenth century, and his reported Swiss connection deserves further investigation. The three concertos and at least two sonatas surviving in Dresden were copied by Johann Georg Pisendel in Venice in 1716–1717, while an isolated violin sonata in the so-called “Tartini Collection” in Berkeley can be dated, on account of its galant-inflected style, to the years around 1730–1740. His few surviving works for his own instrument, not previously studied, prove him to have been an unexpectedly capable composer, greatly indebted to Vivaldi but also possessing some individual traits, as the article describes in some detail. Few biographical details are known about his life there, and nothing at all about his life prior to his arrival in Milan, but a statement by Johann Joachim Quantz (who encountered him in 1726) that he was Swiss by birth is on the surface very plausible. 1707–1749), known as Il Tedeschino, was a leading violinist in Milan, active in both the Teatro Ducale and the Cappella Ducale. ![]() In the light of the results of the present research the Vivaldian attribution is very consistent.įor the three last decades of his life the violinist Johann Friedrich Schreivogel (fl. In other words, attempting to put together the strongest proofs and facts that can be used to point to Vivaldi as author of the analyzed pieces. Through the analysis of the external features of the sources (paper, watermarks, copyist, etc.) and the analysis of the style and language of Vivaldi and its characteristics, the final goal of this work is to highlight the possibility Vivaldi an authorship as much as possible. A Sonata for violin and continuo, a Trio Sonata for violin, violoncello and continuo and a Concerto for violin and orchestra captured my attention due its similarities with Vivaldi. Although the archive had been digitized and studied there are more than 60 sonatas for violin and continuo, around 12 string trio sonatas and most than 50 concertos remaining anonymous. The Schrank II (Cabinet II) collection from the Die Sächsische Landesbibliothek – Staats- und Universitätsbibliothek Dresden (SLUB) is not only one of the most interesting archives open to the worldwide audience thanks to the new technologies but also one of the major archives of Vivaldi's instrumental music. Published in Studi vivaldiani 6 (2006): 53-75 reprinted in Vivaldi, edited by Michael Talbot. Finally, the cataloging of these works demonstrates the remarkable range of contexts where Vivaldi used variation technique as a rigorous formal device. ![]() Of particular interest, also, is Vivaldi's use of variation-rondo hybrid structures and codettas featuring an independent part for a soloist before a final ritornello. Contrast on the foreground level (between the individual variations) is carefully arranged to enhance coherence on the background level (the set taken as a whole). Whereas many of his contemporaries emphasized the aesthetic value of individual variations, Vivaldi’s sets signal a shift towards a firmer conception of the set as a whole. The research finds that Vivaldi’s variation sets draw elements from both concerto and variation traditions but they combine them in ways that are rare, and perhaps unique, among variation sets of the early eighteenth century. This paper examines, for the first time as a whole, the twenty-plus instrumental variation sets that Vivaldi wrote, focusing on issues of genre, chronology, formal structure, and melodic, harmonic, and rhythmic detail. ![]()
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