VIVALDI | Concerto per due Violini | RV 516 in G major | Original manuscript

[@liliaesperanza4436]

Es bellísimo este concierto gracias 😊👍

[@will8026]

I just subscribed yesterday. I'm a musician and have a special affection for Vivaldi's music going for 43 years now. Amazing that you posted today what it probably my favorite concerto, RV 516. Thank you so much. I never thought I'd see the manuscript. Also thrilled to see the manuscript of the famous "Credo" with its'extraordinary middle movements.

[@DelVivaldi]

Fantastic. Thank you for watching!

[@fuadjada4155]

Viva Vivaldi!

[@jaydenfung1]

I’m revisiting Vivaldi’s doubles constantly, and this one intrigues me quite a bit with the harmony in the second movement at 4:16.

[@marcosPRATA918]

Incredible writing! Vivaldi uses long jumps (intervals) and makes games of texture and interruption of the rhythmic flow using the half note! (Ref. to 1st.mov). In the "andante", the intervals make an intense (languid) effect and descending scales; In III.mov. he uses basses for a vigorous percussive effect among ecstatic solos. Vivaldi certainly danced, pulsed with life, like life.

[@Abaris2France]

Quel plaisir de pouvoir écouter et lire en même temps la magnifique musique de Vivaldi. Un grand merci de mettre tout cela en ligne !

[@ConanNugga]

Very occasionally, Vivaldi did large cross-borrowing between concerti and sonatas. The situation between RV 516 and 71 could be described as 'a sonata and a concerto version of the same piece.' 71 comes from a set of 'Trio sonatas' which are really duo sonatas for 2 violins and optional bass. The sonatas are in 3 mvts and like some of the chamber concerti are a sonata/concerto hybrid. I think this makes turning 571 into a sonata fairly effective and easy, because it's end goal is a 'concerto-like sonata'. The other sonatas in the 'duo' grouping seem to not be borrowed from a known source, and also lack obvious concordances with other works (this may change). The violin writing is highly idiomatic and quite difficult, also making the conversion of a concerto into the set simple. A notable feature of both versions (7:25) is the cantabile melody in one violin with rapid arpeggios in the other, a famous Vivaldi device (though rarely employed super clearly). This extremely striking and modern device first appears in the 3rd mvt of op 3 #8. It also occurs in Vivaldi's famous concerto for 3 violins in F. Bach arranged op 3 #8 for organ. He copied this device with some loyalty (while most composers, including those aping Vivaldi more intensely, seemed to have missed it). It can be heard in the 3rd mvt of the D minor concerto for Two violins and the last mvt of Brandenburg #5 (probably not a coincidence that Bach uses it in these 3rd mvts). A less 'pure' example of the device, with more weaving of the cantabile lines occurs in the Sinfonia of BWV 42. It's wonderful to hear Bach working with this musical concept, and is a testament to the level of influence he absorbed from Vivaldi. Personally, I've not heard a single scholar pick up on this to date. But it is such an obscure device, I only hear very pure versions of it from 1700-1750 that stand out in strong relief from the surrounding textures in Vivaldi and Bach. And Bach seems like a fairly unlikely champion of it, at first glance. This makes it all the more likely he picked it up from someone as far from his style, yet as strongly admired by Bach himself as Vivaldi was.

[@tatianagelfeld]

Magnifiqui musiqui

[@christianwouters6764]

Had Vivaldi just added one bar of 2/4 he could have avoided all that crossing out of bar lines. This change of measure was evidently strictly not done in those days where for nowadays composers it is a strict must-have to change the measure every 2 or 3 bars.

[@paulmusyk4lyfe51]

Like at 6:49 or something else?

[@paulmusyk4lyfe51]

1:32, 7:00

[@TheKimkidong]

That insect brought me here