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A Level Music > Vivaldi 1711 > Flashcards

Vivaldi 1711 Flashcards

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1
Q

Context

A

Late Venetian Baroque composer
Op 3, L’Estro Armonico (Harmonic Inspiration)
String trio sonata group consisting of a concertino and ripen, v Italian
Helped move towards solo concerto, evident in this concerto grosso

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2
Q

Melody

A 
Some solo melody lines
Predominantly scalic, triadic, mixture of conjunct and disjunct
Sequences 
Mainly diatonic with chromaticism
Imitation, fugal
Decorative features, ornamentation
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3
Q

Some solo melodic lines

A

1st mv, solo cello breaks away from BC
4th mv, solo violin, sim to cadenza
One of the 1st composers to break away from CG structure, move towards SC
(After, 4 Seasons, Spring, 1st mv)

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4
Q

Predominantly scalic, triadic. Mixture of conjunct and disjunct

A

1st mv opening, based on D min arpeggio
Characteristic of Baroque music, reinforces tonality and focuses on consonance
(Before, La Follia, Corelli, 6th var, v triadic)

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5
Q

Sequences prevalent

A

4th mv, ascending sequence, characteristic of Vivaldi,
Melodic economy by developing short motifs
(After, 4 Seasons, Spring, 1st mv)

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6
Q

Mainly diatonic with chromaticism

A

3rd mv, 7th leaps, dim 5th, with chain of suspensions, create dissonance and tension that needs to resolve, characteristic of Vivaldi, melodic economy
(After, 4 Seasons, Summer, 2nd mv)

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7
Q

Imitation and fugal

A

2nd mv, B, vla, vln, vln with real answer, outlines C of 5th
Developing small melodic fragments, sense of unity throughout concerto
(After, Bach, Great Fugue,)

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8
Q

Decorative features, ornamentation

A

3rd mv, trills. 4th mv, virtuosic solo,

Characteristic of Baroque music, musicians were expected to improvise with the given notes

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9
Q

Texture

A 
Variety of textures explored, many juxtaposed against each other, textural contrast
2 part canonic writing
Contrapuntal
Mel dom hom
Homophony, homorhythm
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10
Q

2 part canonic writing

A

1st mv, 1 beat, 1 bar displacement.
Ensures that the D is always heard
(Before, Pachelbel’s canon, 2 bar displacement)
Use in 4th mv, unifies concerto
Unusual texture at beginning of concerto
Moving towards the solo concerto
(After, Bach Double Concerto starts with continuo)

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11
Q

Contrapuntal textures

A

2nd mv, Allegro, B, vla, vln, vin with perfect answer
Fugal texture at beginning of 2nd mv,
Characteristic of Baroque music
(After, Bach, Great Fugue, has perfect answer)

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12
Q

Mel dom hom

A

3rd mv, vln solo with vla on bass
Same texture, puts EP on fragile melody, moves towards solo concerto
(After, Sicilienne, Christmas Concerto, Corelli)

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13
Q

Homophony, homorhythmic

A

2nd mv Adagio

Sense of unity

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14
Q

Harmony

A

Functional harmony shaped by cadences
Figured bass
Interesting progressions

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15
Q

Functional harmony shaped by cadences

A

Move to related chords, V I (After, Brandenburg No 2)
1st mv, predominantly based on D minor chords
Harmonic economy, characteristic of Vivaldi

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16
Q

Figured bass

A

Harmony had to be realized by bassist, improvised upon, characteristic
(After, Bach E major concerto has one)
3rd mv lacks basso continuo, tasto solo, bass in viola
Basso continuo gives structure, makes it sound more fragile

17
Q

Interesting progressions

A

2nd mv, N6 precedes false relation, 3rd mv, N6 precedes dim 7,
Normally precedes cadence point
Shows his flair, adds interest to otherwise repetitive progressions
(After, Vivaldi, Summer 1st mv)
2nd mv, secondary dominant start, all 7ths with false relation
More juxtaposition of very contrasting harmonic features
4th mv, 4, 3 chain of suspensions,
(Before, Sonata da chiesa No 2, Corelli)
Creates expressive dissonance, harmonic economy, extends melodic material

18
Q

Tonality

A

Functional tonality, structured by V I
All start in D min
Dominant pedals
Tierce de Picardie

19
Q

Functional tonality, structured by V I

A

Moves to related keys such as dominant Fmin, structured by V I
Establishes key
(After, Bach E major concerto, dominant, relative minor)
More foreign keys like the mediant minor approached through related keys
Characteristic Baroque feature

20
Q

All start in Dmin

A

Use of D was very Baroque, all D minor mv, characteristic of Vivaldi
Italian music, v string dominated, D suits the violin well, open strings resonate with D, produce a bright and brilliant sound
(Before, Corelli, Italian composer, Violin Sonata in D minor)

21
Q

Dominant pedals

A

2nd mv, EP by BC tasto solo
Creates unresolved tension that demands to be resolved
Also EP by rare p dynamic

22
Q

Tierce de Picardie

A

Normally ends minor piece major, here stays minor
(After, Jesu bleibit meine freude)
4th mv, one uses TDP, last one is deliberately minor
Displays Vivaldi’s playful nature

23
Q

Rhythm, tempo, metre

A 
Mixture of metres, does not change within movements
Tempo changes are rare
Moto perpetuo
Syncopation
Siciliano rhythms
24
Q

Mixture of metres, does not change within movements

A 
1st mv, 3/4
2nd mv, C
3rd mv, 12/8
4th mv, C with upbeat
Characteristic of Baroque music, juxtaposition of different meters for contrast
25
Q

Tempo

A

3 out of 4 do not have a change in tempo within mv
Characteristic of Baroque music (After, Vivaldi, Spring, 4 Seasons)
2nd mv, creates a stark contrast between Adagio e spiccato to Allegro
Characteristic of Vivaldi, shows his flair

26
Q

Moto perpetuo

A

1st mv, cello solo
Drive and energy towards cadence point, characteristic of Baroque music
(After, Bach E major concerto, predominantly made up of semiquavers)

27
Q

Syncopation

A

Drive towards cadence points

28
Q

Siciliano rhythms

A

3rd mv, prevalent, pastoral association
(After, Sicilienne in Christmas Concerto, Corelli)
Typical of 3rd mv, characteristic of Italian Baroque music

29
Q

Structure

A 
Mixture of structures
Made up of many smaller sections
Fugal, alternate between tutti and episode
Ternary siciliano
Loose ritornello form
30
Q

Made up of many smaller sections

A

Characteristic of Italian Baroque music (After, Christmas concerto, Corelli)
(After, Bach, Brandenburg concertos, were more lyrical and the sections tend to be longer)

31
Q

Fugal, alternate between tutti and episode

A

2nd mv, fugue, perfect answer retains intervals
(After, No 1 Well Tempered Clavier)
Melodic economy, makes the most of short melodic fragments

32
Q

Ternary siciliano

A

3rd mv, pastoral and italian associations (After, Bach Siciliano)

33
Q

Loose ritornello form

A

4th mv, developed by Vivaldi
Sections include sections from other movements, S1, sim to 1st mv with 2 solo violin imitation
Creates unity between movements, brings the concerto together

34
Q

Sonority

A 
Standard trio sonata
Continuo improvises on figured bass
Tasto solo
Spiccato
Resonance of strings
35
Q

Standard trio sonata

A

With string orchestra and basso continuo
(Before, Corelli, trio sonata)
V string focused, characteristic of Italian Baroque music, German Baroque music, more vocal and wind based
Vivaldi’s harpsichord part was more ornamented, Bach’s was more chordal (After, Branadenburg No1)
Made up of more virtuosic concertino and ripieno
Characteristic of Baroque concerto grossi

36
Q

Continuo improvises on figured bass

A

1st mv, cello normally plays with the basso continuo
(After, Bach A major concerto)
Breaks away, virtuosic cello line
Moves towards the form of the solo concerto
No basso continuo in 3rd mv, vla plays bass, fragility, puts more EP on the melody

37
Q

Tasto solo

A

2nd mv, vc V pedal
(After, 4 Seasons, Autumn, 3rd mv))
Demands to be resolved, drive towards end of phrase

38
Q

Spiccato

A

2nd mv, bounce the bow

Creates contrast by juxtaposing staccato against the end of the 1st mv, more legato

39
Q

String resonance

A

1st mv, canon revolves around D
Creates resonance, would be easy for the girls to learn the piece, tonic is always resonating (After, Allemande, Partita No 2)

A Level Music (13 decks)

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