Antonio Vivaldi was an Italian Baroque composer, virtuoso violinist, and teacher born on March 4, 1678, in Venice. He is best known for his contributions to the development of the concerto form and for his numerous concertos for violin and other instruments. Vivaldi’s most famous work is “The Four Seasons,” a series of violin concertos that depict scenes appropriate for each season of the year.
Vivaldi’s early life was marked by his musical talent, which was evident from a young age. He began studying for the priesthood at the age of 15 and was ordained at 25. However, due to a health problem, he was given dispensation to no longer say public Masses.
Throughout his career, Vivaldi composed over 500 concertos, more than 40 operas, and numerous sacred choral works. Many of his compositions were written for the all-female music ensemble of the Ospedale della Pietà, a home for abandoned children in Venice.
Vivaldi’s influence during his lifetime was widespread across Europe, giving origin to many imitators and admirers. He pioneered developments in orchestration, violin technique, and programmatic music. Despite his success during his lifetime, Vivaldi died in poverty in Vienna on July 28, 1741.
After almost two centuries of decline, Vivaldi’s musical reputation underwent a revival in the early 20th century. Many of his compositions, once thought lost, have been rediscovered and continue to be performed and celebrated today.
It is generally quite easy to adapt sonatas for Baroque oboe (and continuo) to the soprano recorder since both instruments have an identical range. Yet…
It is generally quite easy to adapt sonatas for Baroque oboe (and continuo) to the soprano recorder since both instruments have an identical range. Yet considering the great popularity of the previously published works, it is strange that Antonio Vivaldi’s only sonata for this instrument has received little attention to date.
This edition is based on a manuscript preserved in the Sächsische Landesbibliothek Dresden under the class. no. Mus. 2389-S-1. The preparation of the edition entailed the adjustment of the accidentals to present-day practice, and the realization of the (unfigured) thoroughbass part. No slurs were added to those already contained in the manuscript so as to allow the performer to find his own solutions. Otherwise the virtually error-free manuscript was reproduced without change.
We wish to thank the directors of the Sächsische Landesbibliothek Dresden for their authorization to publish the work.
(Hamburg, Fall 1995 – Martin Nitz)
R.R.P 15
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