Wenecki koncert instrumentalny w epoce Vivaldiego

Wenecki koncert instrumentalny w epoce Vivaldiego

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Wenecki koncert instrumentalny w epoce Vivaldiego

Bibliographic description

title:	Wenecki koncert instrumentalny w epoce Vivaldiego
alternative title:	The Venetian instrumental concerto suring Vivaldi's time
author:	Wilk Piotr
date of publication :	2014
place of publication : name of publisher:	Kraków : Musica Iagellonica
pages:	664
ISBN:	978-83-7099-199-9
series:	Acta Musicologica Universitatis Cracoviensis; 27
notes:	Bibliogr. s. 523-565. Indeks. Streszcz. ang.
language:	Polish
abstract in English:	The book attempts to provide a comprehensive outline of the concerto music written in a region that was the most fertile center credited with the most impressive and outstanding results in this regard. The Venetian instrumental concerto from Vivaldi’s time is portrayed here through an extensive and thorough survey of the most complete and representative musical material that allowed for the making of conclusions as to its typology, form, style and technique. Such an approach not only gives an exhaustive, but also more objective view on the history of the Baroque concerto in its Venetian variant. It provides enough details to identify composers of lesser and greater stature, as well as pinpoint relationships, similarities and stylistic differences between various authors and localities. In musicological literature, this book is the first monograph tackling this issue in such a way. The concertos discussed here include not only those written in the city of Venice, but also in other centers of the Republic of Venice. Every composer from the Serenissima whose works have survived to our day is examined. The material investigated includes also the concertos of Florence-born F. M. Veracini, who started writing them during his several- year-long stay in Venice. Likewise, Locatelli’s L’Arte del Violino, Op. 3 that he wrote in Venice where he spent few years is among the works that have been thoroughly explored. Given the indisputable Venetian traits revealed not only in the collection’s title, Pensieri Adriarmonici, Op. 1, by Facco, a Padua-born composer in the service of the Spanish Crown, has also been closely looked at. The book covers the period spanning the years 1695 to 1740. The first date, 1695, marks the beginnings of the concerto as a genre in the Republic of Venice, with Albinoni’s early concerto Co1 being dated for that year. The following year, by entering the Arte dei Sonadori and participating in the traditional Christmas concert at the San Marco Basilica, Vivaldi began the documented part of his musical career. March 1740 saw the last performances of his concertos during an academy presented in honor of the Polish Crown Prince Frederick Christian. That same year, in May, Vivaldi sold over 20 of his most recent concertos, and there is no evidence to suggest that he composed any new ones prior to his death. The fourth decade of the eighteenth century brings also an end to the golden age of printing the concertos of Venetian masters, with the works by Albinoni, A. Marcello and Tartini as the last representatives of the genre to leave the printing presses. Between the years 1695–1740 the most prominent musical centers of the Republic of Venice where instrumental concerto was cultivated were the cities of Venice, Padua, Brescia and Bergamo. This order is a reflection of each location’s quantitative share of all preserved concertos from the Serenissima that comprises 974 works by 15 composers: G. and L. Taglietti, G. Gentili, A. and B. Marcello, F. J. de Castro, C. A. Marino, T. Albinoni, G. Facco, A. Vivaldi, P. Gnocchi, C. Tessarini, F. M. Veracini, G. Tartini, P. Locatelli. While taking up such a broad and complex issue that involved surveying such a large number of mostly unpublished music, it was necessary to limit the scope of the subjects covered. Therefore, the issues concerning the biographical data of the composers, the purpose of the works discussed, their reception and the area of influence, as well as the intricacies of authorship, variants, pasticcios, hybrids, sketches and transcriptions are not central to this publication and have only been briefly touched upon in the Introduction and the Appendices.
keywords in Polish:	koncert instrumentalny, Republika Wenecka, muzyka baroku, Vivaldi
keywords in English:	instrumental concerto, Republic of Venice, baroque music, Vivaldi
number of pulisher's sheets:	47
affiliation:	Wydział Historyczny : Instytut Muzykologii
type:	book
subtype:	monography

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