Antonio Vivaldi (1678-1741)

Donald Macleod explores Vivaldi's large and little-heard musical catalogue, revealing an energetic and diverse composer.

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01*2008042120090706Donald Macleod explores Vivaldi's large and little-heard musical catalogue, revealing an energetic and diverse composer. |The story of the 20th century Vivaldi renaissance.|Kreisler: Concerto in C for violin and string orchestra with organ 'in the style of Vivaldi' (Finale: Allegro assai)|Gil Shaham (violin)|Robert Wolinsky (organ)|Orpheus Chamber Orchestra|Motet: In furore iustissimae irae, RV 626|Sandrine Piau (soprano)|Stefano Montanari (violin)|Accademia Bizantina|Ottavio Dantone (conductor)|Trio in C for violin, lute and basso continuo, RV 82|Rolf Lislevand (lute)|Manfred Kraemer (violin)|Beatrice Pornon (theorbo)|Eduardo Eguez (guitar battente)|Guido Morini (positif organ)|Dixit Dominus, RV 807|Roberta Invernizzi, Lucia Cirillo (sopranos)|Sara Mingardo (contralto)|Paul Agnew, Thomas Cooley (tenors)|Kornerscher Sing-Verein Dresden|Dresden Instrumental-Concert|A look at Vivaldi's musical catalogue, focusing on the 20th century Vivaldi renaissance.|Donald Macleod explores Vivaldi's large and little-heard musical catalogue, revealing an energetic and diverse composer.|He explores the story of the 20th-century Vivaldi renaissance.|Robert Wolinsky (organ/conductor)|naive OP 30416, Trs 1-4|Astree E 8587, Trs 7-9|Archiv 00289 477 6145, Trs 1-11.
01The Forgotten Baroque Master20110926Donald Macleod explores the music of Vivaldi, presenting works including the Four Seasons.|Donald Macleod begins his story of an unconventional priest and composer, who wrote The Four Seasons, and was rediscovered in the twentieth century as one of the most important musical figures of his age.
01The Pieta20141222Donald Macleod introduces the life and music of the Venetian priest, feted in his lifetime as both composer and violinist, yet destined to die in obscurity in faraway Vienna.|Antonio Vivaldi's name is now inextricably linked with Venice's charitable institution the Ospedale della Pietà, where the female residents benefitted from his skills as composer, violinist, teacher and impresario. As a boy, Vivaldi was taught by his father, inheriting both his red hair and his skill as a violinist. Young Antonio was soon to be seen deputising for his father in the orchestra of the Basilica of St. Mark's. As the eldest son in a poor family, Vivaldi was destined for the priesthood, and he was ordained in 1703. Combining the careers of musician and priest wasn't unusual at the time, and that same year Vivaldi was appointed violin teacher at the Pietà. Donald Macleod presents a selection of music Vivaldi wrote specially tailored to display the dazzling array of talents offered by the girls of the Pietà including an ensemble concerto for two recorders, two oboes, bassoon and two violins. He also introduces a concerto from Vivaldi's op.3 - the first collection to make his name outside Italy and regarded as the most influential music publication of the first half of the eighteenth century.
01Vivaldi And Venice20130318Donald Macleod focuses on the relationship between Vivaldi and his home city of Venice.|As part of Baroque Spring, a month long season of Baroque music and culture, Donald Macleod explores the life and music of Vivaldi, beginning with the relationship between composer and his home town of Venice.|As Friedrich Nietzsche put it, "When I search for a word to replace that of Music, I can think only of Venice." Vivaldi lived in Venice almost his entire life and had fingers in many Venetian pies: he played the violin at St Mark's, wrote sacred music for services and festivals at some of the hundreds of churches, convents and oratories in the city, provided operas for the famous Carnival and taught at the Pieta. This week - the story of the perfect storm: one of the most prolific composers the world has ever known, born (during an earthquake) into the most musical city in Europe.
01Vivaldi The Virtuoso Violinist2005103120070102Donald Macleod examines the many mantles this multifaceted composer assumed during his lifetime.|Concerto in Bm, RV 386|Giuliano Carmignola (baroque violin)|Venice Baroque Orchestra|Andrea Marcon (conductor)|Trio Sonata in E flat for two violins and violone/continuo, Op 1, No 7, RV 65|Ingrid Seifert, Richard Gwilt (violin)|Terence Charlston (harpsichord)|Concerto in Gm for two violins and cello, Op 3, No 2, RV 578|Elizabeth Wilcock, Monica Huggett (solo violin)|Susan Sheppard (cello)|The Academy of Ancient Music|Christopher Hogwood (conductor)|Vengo a voi, luci adorate, RV 682|Catherine Bott|Players from the New London Consort|Philip Pickett (conductor)|Sonata in C for violin and continuo, Op 2, No 6|Walter Reiter (violin)|Cordaria.
02*2008042220090707An examination of the claim that Vivaldi merely rewrote the same concerto many times over.|Donald Macleod considers whether there is truth in the claim, once made by the Italian composer Luigi Dallapiccola, that Vivaldi did not write hundreds of different concertos, but actually wrote the same concerto many times over.|Concerto in C for two trumpets, strings and basso continuo, RV 537|Gabriele Cassone, Luca Marzana (trumpets)|Zefiro|Alfredo Bernardini (conductor)|naive E 8679, Trs 1-3|Concerto in A for for strings, RV 158|Collegium Musicum 90|Simon Standage (conductor)|Chaconne CHAN 0867, Trs 1-3|Concerto in F for recorder, oboe, violin, bassoon and basso continuo, RV 98 (La tempesta di mare)|Michael Schneider (recorder)|Hans-Peter Westermann (oboe)|Mary Utiger (violin)|Michael McCraw (bassoon)|Rainer Zipperling (cello)|Harald Hoeren (harpsichord)|Deutsche Harmonia Mundi RD77156, Trs 4-6|Concerto in B minor for four violins, cello, strings and basso continuo, RV 580|John Holloway, Monica Huggett, Catherine Mackintosh, Elizabeth Wilcock (violin)|Susan Sheppard (cello)|Academy of Ancient Music|Christopher Hogwood (conductor)|L'Oiseau-Lyre 410 553-2, Tr 2|Concerto in E flat for bassoon, strings and continuo, RV 483|Klaus Thunemann (bassoon)|I Musici|Philips 416 355-2, Trs 7-9|Concerto in C for violin, two string orchestras and basso continuo, RV 581 (Per la santissima assontione di Maria Vergine)|Antonio de Secondi (violin)|Concerto Italiano|Rinaldo Alessandrini (conductor)|naive/Opus 111 OP 30383, Trs 26-28.
02Opera Impresario20141223Donald Macleod introduces music from two of Vivaldi's earliest successful operatic productions which opened up new job opportunities outside of Venice.|Vivaldi took over the running of the small Venetian theatre of San Angelo, firstly producing works by other composers, but in the 1714-15 season, he made his own operatic debut in Venice there. Vivaldi was soon in demand at another theatre, placing him in a very powerful position within Venice's operatic life. New opportunities opened up beyond the shores of the Republic and, in 1718, Vivaldi travelled to the court of Mantua where he took up the position of music director. There he was able to take full advantage of the court orchestra with its rich variety of instruments.||Donald Macleod introduces music from two of the operas which helped establish his reputation, a dramatic solo cantata typical of the kind of thing Vivaldi composed for singers to perform during the long operatic off-season, and an example of a chamber concerto that may have been intended for the virtuoso members of the Mantuan court orchestra.
02Starting Out In Venice20110927Donald Macleod on how Vivaldi took on a prestigious teaching job and delved into opera.|Donald Macleod sees Vivaldi embark on a professional relationship that will dominate the rest of his career, and take his first tentative steps into the perilous world of opera.
02Starting Out in Venice20110927
02Starting Out In Venice2011092720151228 (R3)Donald Macleod sees Vivaldi embark on a professional relationship that will dominate the rest of his career, and take his first tentative steps into the perilous world of opera.|Vivaldi: La Stravaganza, Concerto No.12 in G RV.298 (3. Allegro)|Rachel Podger (violin), Arte Dei Suonatori Baroque Orchestra|Vivaldi: Bassoon Concerto in B flat, RV.503|I Musici, Klaus Thunemann (bassoon)|Vivaldi: Juditha triumphans: Mundi rector de caelo micanti|Magdalena Kozena (mezzo, Juditha), Anke Herrmann (soprano, Abra), Academia Montis Regalis, Coro Giovanile dell'Accademia Nazionale di Santa Cecilia di Roma, directed by Alessandro De Marchi|Vivaldi: Orlando finto pazzo (Act 1, Scene 1-4)|Gemma Bertagnolli (soprano, Ersilla), Marina Comparato (mezzo, Tigrinda), Sonia Prina (contralto, Origille), Manuela Custer (mezzo, Argillano), Martin Oro (counter tenor, Grifone), Marianna Pizzolato (mezzo, Brandimarte), Academia Montis Regalis, Coro del Teatro Regio di Torino, directed by Alessandro de Marchi|Vivaldi: L'estro armonico: Concerto No.8 in A minor RV.522|Elizabeth Wilcock (violin), Micaela Comberti (violin), The English Concert, directed by Trevor Pinnock.
02Vivaldi And The Pieta20130319Donald Macleod on Vivaldi's relationship with the Pieta, a convent and music school.|As part of Baroque Spring, a month long season of Baroque music and culture, Donald Macleod explores the life and works of Vivaldi.|Venice was famous for its Ospedali, foundations set up to take care of orphaned or otherwise unwanted children. Vivaldi had a long relationship with the Pieta, which took in girls and trained them in domestic skills and in music-making. Vivaldi was employed as a violin teacher, and was soon writing music for the girls to sing and play too. Very quickly, no trip to Venice was complete without attending a service or performance at the Pieta. As one visitor wrote home, "it leads in the perfection of symphonic music.. they play the violin, the recorder, the organ, the oboe, the cello, the bassoon, in short, there is no instrument large enough to frighten them..".
02Vivaldi The Priest2005110120070103Donald Macleod takes a look at Vivaldi in his guise as priest, and finds that though the composer himself may have often acted in a manner that was less than saintly, his sacred music leaves little cause for reproach.|Laudate Dominum, RV 606|Choir of the King's Consort and the King's Consort|Robert King (director)|Clarae Stellae, Scintillate, RV 625|Sara Mingardo (contralto)|Concerto Italiano|Rinaldo Alessandrini (conductor)|L'Autunno (Autumn) from the Four Seasons - Concerto in F, Op 8, No 3, RV 293|Guiliano Carmignola (baroque violin)|Andrea Marcon (harpsichord/director)|Venice Baroque Orchestra|Gloria, RV 589|Deborah York, Patrizia Biccire (soprano)|Akademia, Concerto Italiano
03*2008042320090708Donald Macleod explores Orlando Furioso, considered by many to be Vivaldi's operatic masterpiece, and written during a lifetime devoted to working in this form.|Orlando Furioso, RV 728 (1st mvt)|Matheus|Jean-Christophe Spinosi (conductor)|Orlando Furioso (excerpts from Act 1)|Angelica....Veronica Cangemi (soprano)|Alcina....Jennifer Larmore (mezzo-soprano)|Astolfo....Lorenzo Regazzo (bass-baritone)|Bradamante....Ann Hallenberg (mezzo-soprano)|Orlando....Marie-Nicole Lemieux (contralto)|Orlando Furioso (Act 1, Scene 11)|Ruggiero....Philippe Jaroussky (countertenor)|Orlando Furioso (Act 2, Scenes 11-13)|Medoro....Blandine Staskiewicz (mezzo-soprano)|Choeur Les Elements|naive/Opus 111 OP 30393, CD1 Tr 1|naive/Opus 111 OP 30393, CD1, Trs 5, 7, 9, 11, 13|naive/Opus 111 OP 30393, CD1, Tr 24|naive/Opus 111 OP 30393, CD 2, Trs 22-35.|Exploring Orlando Furioso, considered by many to be Vivaldi's operatic masterpiece.
03Acceptance in Rome20141224Donald Macleod introduces music associated with a devoted follower of Vivaldi's from Dresden, and influential patrons in Rome.||As Vivaldi's reputation began to spread across Europe, musicians from far and wide made a point of visiting him in Venice. One such was Johann Georg Pisendel, a distinguished violinist from the Dresden court who studied with Vivaldi. On his return he ensured Vivaldi's concertos formed a central role in the repertoire of the court orchestra. Offers of work came in from elsewhere, including Rome, and Vivaldi soon found himself on the invitation lists of some of the most powerful and influential princes and cardinals, including the music-loving Cardinal Pietro Ottoboni. Donald Macleod introduces a sonata from a collection owned by the Cardinal, an excerpt from an opera premiered in Rome and a concerto dedicated to the faithful Pisendel's employer at the court of Dresden.
03Vivaldi And Anna20130320Donald Macleod focuses on Vivaldi's relationship with singer Anna Giro.|As part of Baroque Spring, a month long season of Baroque music and culture, Donald Macleod explores the life and works of Vivaldi.|Vivaldi met the singer Anna Giro during a trip to Mantua and they quickly became inseparable. He wrote role after role for her, and they toured for months at a time, putting on operas as they went, with Anna in the starring role. According to Vivaldi's librettist, she "did not have a beautiful voice, nor was she a great musician, but she was pretty and attractive, she acted well and had protectors: one needs nothing more to deserve the role of a prima donna.".
03Vivaldi The Teacher2005110220070104In this persona, Vivaldi is best known for his long association with the Pieta, the girls' orphanage where the talents of the pupils scaled astonishing peaks of accomplishment.|Sonata in C (Salmoe) for oboe, violin, organ and chalumeau, RV 779|Paul Goodwin (oboe)|John Holloway (baroque violin)|Colin Lawson (chalumeau)|John Toll (organ)|Concerto in G for 2 mandolins, strings and harpsichord, RV 532|Ugo Orlandi, Dorina Frati (mandolin)|I Solisti Veneti|Claudio Scimone (conductor)|Sposa son disprezzata (excerpt from Tamerlano/Bajazet)|Cecilia Bartoli (mezzo)|György Fischer (piano)|Sinfonia for Strings in G, RV 149|Academy of Ancient Music|Andrew Manze (conductor)|Dresden Sonata in Dm, RV 15|Fabio Biondi (violin)|Maurizio Naddeo (cello)|Rinaldo.
03Years Of Travel2011092820151229 (R3)Having won over his home crowd in Venice, Vivaldi set out to capitalise on his growing fame by finding work and influential patrons abroad. Presented by Donald Macleod.|Vivaldi: Aria - Dell'alma superba (Serenata a tre, RV 690)|Ernesto Palacio (tenor), I Solisti Veneti, directed by Claudio Scimone|Vivaldi: Tito Manlio, Act 2, Scene 1: Non ti lusinghi la crudeltade|Emma Kirkby (soprano, Lucio), The Brandenburg Consort, directed by Roy Goodman|Vivaldi Sonata No.11 in E flat RV.756|Andrew Manze (violin), Nigel North (archlute), John Toll (harpsichord)|Vivaldi: Magnificat RV.610b|Emily Van Evera (soprano), Nancy Argenta (soprano), Alison Place (mezzo), Catherine King (mezzo), Margaret Cable (contralto), The Taverner Choir and Players, directed by Andrew Parrott|Vivaldi: Concerto Op.8 No.3 'l'autunno' RV.293|Antonio De Secondi (violin), Concerto Italiano, directed by Rinaldo Alessandrini.
03Years Of Travel20110928Donald Macleod on how Venice's favourite composer set his sights beyond his home city.|Having won over his home crowd in Venice, Vivaldi set out to capitalise on his growing fame by finding work and influential patrons abroad.|Presented by Donald Macleod.
03Years of Travel20110928
042011092920151230 (R3)Vivaldi was ordained a priest, but he eschewed the altar for the opera stage and set up home with his favourite soprano and her sister. Presented by Donald Macleod.||Vivaldi: Gloria RV589 (opening)|John Alldis Choir, English Chamber Orchestra, conducted by Vittorio Negri||Vivaldi: La fida ninfa (trio from Act 1)|Sandrine Piau (soprano, Licori), Marie-Nicole Lemieux (contralto, Elpina), Topi Lehtipuu (tenor, Narete), Ensemble Matheus, directed by Jean-Christophe Spinosi||Vivaldi: Orlando furioso: Act II Scene 11: Cosi potessi anch'io|Jennifer Larmore (mezzo, Alcina), Ensemble Matheus, directed by Jean-Christophe Spinosi||Vivaldi: Concerto in A minor RV445|Michala Petri (sopranino recorder), I Solisti Veneti, directed by Claudio Scimone||Vivaldi: Laudate pueri, Dominum RV601.|Catherine Bott (soprano), Stephen Preston (flute), The Purcell Quartet.
04Celebrity20141225Donald Macleod introduces two notorious events: the Venetian debut of the singer with whom Vivaldi became infamously associated, and the publication of The Four Seasons.||1725 was an important year for Vivaldi. He once again took over running the San Angelo Theatre in Venice where he oversaw the debut of a young singer whose name was to become inextricably, and rather scandalously, linked with his. At the same time, his collection of concertos entitled Il cimento dell'armonia e dell'inventione was published. It contained a set of 4 concertos known collectively as The Four Seasons, destined to become one of the most popular works of all time. The set were particularly fashionable in Paris where the young Louis XV insisted upon a command performance of the Spring Concerto at Versailles. Alongside the concerto, which famously evokes the icy blasts of winter, Donald Macleod introduces part of a grand serenata Vivaldi composed as a paean of praise to France, a sonata for cello - an instrument for which Vivaldi had a particular empathy, and an excerpt from one of the operas in which Vivaldi's protégé, Anna Giraud, first tread the boards at the San Angelo Theatre.
04Impresario20110929Donald Macleod focuses on why Vivaldi eschewed the altar for the opera stage.|Vivaldi was ordained a priest, but he eschewed the altar for the opera stage and set up home with his favourite soprano and her sister.|Presented by Donald Macleod.
04La Chiesa20130321Donald Macleod focuses on the sacred music of Vivaldi. Includes Gloria, RV589.|As part of Baroque Spring, a month long season of Baroque music and culture, Donald Macleod explores the sacred music of Vivaldi.|For a small city, Venice in the eighteenth century was teeming with churches, convents and oratories. It's estimated that 1 in 20 adult Venetians was a priest or a nun, and that included Vivaldi himself. His two careers, as musician and priest, ran side by side for his whole life (although he applied himself to one with rather more enthusiasm than the other). The result was a collection of glorious music for use in Church, where huge congregations would gather and unable to applaud, would show their appreciation of the music of the Maestro by shuffling their feet and coughing.
04Vivaldi The Impresario20051103Though the composer's eye to the main chance was always wide open when it came to making money, it was largely in the cut-throat arena of opera production that he chose to concentrate his entrepreneurial spirit.|Agitata da due venti (excerpt from Griselda)|Cecilia Bartoli (mezzo soprano)|Sonatori de la Gioiosa Marca|Concerto in F for violin, two oboes, bassoon, two horns and strings, RV 574|The King's Consort|Robert King (conductor)|Excerpt from Orlando Finto Pazzo|Orlando....Antonio Abete (bass)|Argillano....Manuela Custer (mezzo soprano)|Coro del Teatro Regio di Torino|Academia Montis Regalis|Alessandro De Marchi (conductor)|Excerpts from La Verita in Cimento|Rosane....Gemma Bertagnolli (soprano)|Zelim....Philippe Jaroussky (counter tenor)|Melindo....Sara Mingardo (contralto)|Ensemble Matheus|Jean-Christopher Spinosi (conductor)|Del destin non vi lagnate - from L'Olimpiade|Clistene....Riccardo Novaro (baritone)|Concerto Italiano|Rinaldo Alessandrini (conductor)|Se mai senti spirarti sul volto, from Catone in Utica|Emma Kirkby (soprano)|The Brandenburg Consort|Roy Goodman (conductor).
05A Pauper's Funeral2011093020151231 (R3)It's a mystery why the elderly Vivaldi chose to abandon his home in Venice, ending his days poverty-stricken in a foreign land. Donald Macleod investigates.||Vivaldi|Concerto in F, RV574|The King's Consort, directed by Robert King||Concerto funebre in Bflat, RV579|Europa Galante, directed by Fabio Biondi||Griselda (Opening of Act II)|Carla Huhtanen (soprano, Costanza), Lynne McMurtry (mezzo, Roberto), Jason Nedecky (baritone, Corrado), Aradia Ensemble, conducted by Kevin Mallon||Concerto in C, RV558|The Academy of Ancient Music, directed by Andrew Manze.
05A Pauper's Funeral20110930
05 LAST2009070820090710Donald Macleod concludes his exploration of Vivaldi with an examination of the music published during the composer's own lifetime, from his variations on La Follia to his flute concerto La Notte.|Sonata (20 Variations on La Follia) in D minor for two violins and continuo, RV 63|Manfredo Kraemer, Mauro Lopes (violins)|Balazs Mate (cello)|Xavier Diaz-Latorre (guitar)|Xavier Puertas (violone)|Carlos Garcia-Bernalt (harpsichord)|Alis Vox AVSA9844, Tr 15|Concerto in G minor for flute, strings and continuo, RV 439 (La Notte)|Janet See (flute)|Jakob Lindberg (archlute)|John Toll (organ)|Taverner Players|Andew Parrott (conductor)|EMI CDC 7 47700 2, Trs 9-13|Sonata in D minor for violin and continuo, RV 14|Elizabeth Wallfisch (violin)|Richard Tunnicliffe (cello)|Malcolm Proud (harpsichord)|Hyperion CDA67467, Trs 10-13|Concerto in B flat for violin, strings and continuo, RV 362 (La caccia)|Academia Montis Regalis|Enrico Onofri (violin/director)|naive OP 30417, Trs 13-15|Sonata in B flat for cello and continuo, RV 46|David Watkin (cello)|Helen Gough (continuo cello)|David Miller (baroque guitar)|Robert King (chamber organ)|Hyperion CDA66881/2, CD 2, Trs 9-12.|Donald Macleod examines the music published in Vivaldi's own lifetime.
05 LASTA Pauper's Funeral20110930Donald Macleod focuses on the tragic end to Vivaldi's life.|It's a mystery why the elderly Vivaldi chose to abandon his home in Venice, ending his days poverty stricken in a foreign land.|Donald Macleod investigates.
05 LASTAnd Beyond...20130322Donald Macleod focuses on Vivaldi's travels around Europe.|As part of Baroque Spring, a month long season of Baroque music and culture, Donald Macleod follows Vivaldi as he travels around Europe.|Vivaldi had always looked towards the international market, and he toured extensively, all over Italy and as far north as Amsterdam. He picked up VIP fans as he went, including King Fredrik IV of Denmark and Norway, the Hapsburg Emperor Charles VI, and Louis XV of France, who adored the Four Seasons and had command performances of them at Versailles.
05 LASTInto Obscurity20141226Donald Macleod reflects on Vivaldi's bittersweet relationship with Vienna and introduces music from the final decade of his life, as musical tastes in Venice began to change.|Vivaldi continued to compose for the stage through his final decade though, as tastes in Venice began to change, his standing as an opera composer was about to peak. He was constantly on the road, travelling from one court to another with his favourite singer, Anna Giraud. After a very acrimonious debacle with the Cardinal of Ferrara, who refused Vivaldi entry into the city, he nearly went bankrupt. Vivaldi still had friends in high places and, in 1740, Vivaldi made the fateful decision to travel to Vienna and seek patronage from Charles VI, Emperor of Austria. Tragically for Vivaldi, the Emperor died just as Vivaldi arrived. The composer himself only survived a few more months, ending his career in abject poverty. Donald Macleod introduces music from those final years including two operas staged in Venice in which Anna sang key roles, a concerto from one of the collections dedicated to the music-loving Emperor of Austria and, finally, one of Vivaldi's colourful multi-instrument concertos played at his final farewell to Venice.
05 LASTVivaldi The Traveller *2005110420070105His itinerary includes Vivaldi's final ill-fated trip to Vienna where he met his death.|Concerto in F for two horns, strings and continuo, RV 538|Zefiro|Alfredo Bernardini (conductor)|La Senna Festeggiante, RV 693 (excerpt)|L'Età dell'Oro....Carolyn Sampson (soprano)|La Virtù....Hilary Summers (alto)|La Senna....Andrew Foster-Williams (bass)|The King's Consort|Robert King (conductor)|Concerto in A, Op 9, No 6, RV 348|I Musici|Manchester Sonata in Em, RV 17A|Fabio Biondi (violin)|Rinaldo Alessandrini (harpsichord)|Maurizio Naddeo (cello)|Paolo Pandolfo (bass).