Allegro composer: Antonio Vivaldi part of: Cello Sonata no. IV in B-flat major, RV i.
IV in B-flat major, RV IV in B-flat major, RV ii. IV in B-flat major, RV iii. IV in B-flat major, RV iv. Antonio Vivaldi tracks 1— Pulcinella Orchestra tracks 1— Cello Sonata No. Cello Sonata no.
Sonata in G minor, RV 42 movement tracks 9— Largo track 1. Allegro track 2.
Largo track 3. Allegro track 4.
Largo track Allegro poco track Allegro track Largo track 5. Allegro track 6.
Largo track 7. Allegro track 8. Sonata in G minor, RV I.
Manuscripts of three sonatas RV39, 44 and 47 are preserved in the library of the Naples Conservatoire. Once again, there are no clues to a patron, but the fact that RV47 also exists in the Paris collection as Sonata I suggests a similar date. It remains merely to cite a further sonata, RV38, of which the Leipzig publishing firm Breitkopf once held a manuscript copy the work is advertised in a catalogue of but which does not survive today.
The coevality of the nine extant sonatas explains the uniformity of their structure. Without exception, the cello sonatas are laid out in four movements conforming to the plan slow—fast—slow—fast. Each movement is in binary form, with two repeated sections.
The third movements frequently move to a different key for contrast. Many movements have a distinctly dance-like character: in the Wiesentheid sonatas but not the concordance of RV46 in Paris all appropriate movements bear actual dance titles. Vivaldi recognized very well the main peculiarity of the cello as a solo instrument.
Title: Fantasy Pieces Fantasiestucke , Op. Mp3 MIDI. II 4 Sketches for pedal piano, Op. Photography is permitted at the Elbphilharmonie for private purposes only. Editor Martin Grayson. Displaying 21 of Products.
But beyond these important technical considerations, writing for the cello seems to have drawn from Vivaldi a special empathy: there is a degree of seriousness and expressive depth which is encountered much less consistently in his violin music. The instrumentation of the accompaniment to the solo cello in these sonatas and others like them has drawn from editors and musicians many different proposals and solutions. But Bach was only one voice among many and was recommending his favoured practice rather than describing general usage let alone usage in Italy some thirty years earlier.
True, the use of both a bowed instrument and a keyboard instrument aids good balance between the obbligato notated parts and ensures harmonic fullness, but it can be very limiting if it excludes other possibilities. In the present recording several different combinations are employed. They include the use of chamber organ in addition to harpsichord reflecting the popularity of organetti in Italy at the time as well as the theorbo, archlute and baroque guitar. The presence of plucked instruments, rarely employed in previous recordings, is especially significant; it is only in recent times that we have become aware of how durable their popularity and widespread their employment was in late-baroque music.
Les sonates pour violoncelle comportent, sans exception, quatre mouvements, conformes au plan lent—rapide—lent—rapide.
Um einen Kontrast zu erzeugen, ist jeweils der dritte Satz oft in eine andere Tonart transponiert. Vivaldi erkannte bald die Besonderheiten des Cellos als Soloinstrument. Diese Art von Ernsthaftigkeit und ausdrucksvoller Tiefe ist in seinen Violinwerken wesentlich seltener anzutreffen.
In der vorliegenden Aufnahme wurden verschiedene Kombinationen verwendet.