The Frobozz Magic Sheet Music CompanyAragain • Los Angeles

Edition FrobozzEF-S16A

LA STRAVAGANZACONCERTI

CONSACRATI A SUA ECCELLENZAIL SIG. VETTOR DELFINO

NOBILE VENETO

DA

D. ANTONIO VIVALDIMusico di Violino, e Maestro de Concerti

del Pio Ospitale della Pietà di Venetia

OPERA QUARTACONCERTO I

Full ScoreDavid Rothschild, Editor

The Frobozz Magic Sheet Music CompanyAragain • Los Angeles

LA STRAVAGANZACONCERTI

CONSACRATI A SUA ECCELLENZAIL SIG. VETTOR DELFINO

NOBILE VENETO

DA

D. ANTONIO VIVALDIMusico di Violino, e Maestro de Concerti

del Pio Ospitale della Pietà di Venetia

OPERA QUARTACONCERTO I

Full ScoreDavid Rothschild, Editor

Preface

A brief history of La Stravaganza, Op.4

Although Antonio Vivaldi (1678-1741) had already accomplished himself as a composer of violin sonatasand of sacred music, nothing propelled his career more than his first set of concertos -- L'estro armonico (Op.3) --which first appeared in 1711. Besides being widely popular with both musicians and audiences of the day, L'estroarmonico had a significant impact on the development of the relatively new solo-concerto. The set's influence wasfelt all across Europe -- no less a figure than J.S. Bach transcribed six of the Op.3 concertos for keyboard.

La Stravaganza (Op. 4) appeared shortly after, in around 1713, and was dedicated to Vettor Dolfin (thesurname given in its Tuscan form, Delfino), a young Venetian noble to whom Vivaldi had taught the violin. Whileenormously successful in it's own right, this set of twelve concertos was a complete departure from Op.3. Whilethe influence of the Corellian concerto grosso had been significant in L'estro armonico, in La Stravaganza Vivaldisevered himself completely from past traditions. The Op.4 set is characterized by harmonic daring, passageworkbordering on the bizarre, and a new, uniquely flexible, solo-concerto "form" that would become so typical ofVivaldi. The originality and variety of material is also noteworthy; each work seems to systematically refute adifferent aspect of the traditional concerto, and even some standards of composition at the time. All this is notwithout its own sense of musical humor. However, the set also demonstrates the care the composer took over theselection and grouping of works destined for publication; i.e. grouping the concertos into pairs -- one major, oneminor -- with an adjustment made to ensure that the whole set ends in major.

The Op.4 concertos are the earliest examples of a theatrical conception of the solo concerto to be offeredto international audiences of music lovers. This, even more than Vivaldi's daring writing for the solo violin, is thetrue significance of the word stravaganza in the title. Indeed, among Vivaldi's printed works, the road to the futureis marked by the Stravaganza concerti rather than those of L'estro armonico. Vivaldi would never retrace his stepsin the direction of Op.3, and the collections which followed Op.4 further develop the concept of the instrumentalsolo as outlined in Op.4.

About this Edition

This edition is based on the authoritative 1712/13 first printed edition by the Amsterdam firm of EstienneRoger. Every effort has been made to adhere to the source as much as possible, with two exceptions: first, pianoand forte markings have been abbreviated as p and f, respectively, to save space. Second, this edition follows themodern practice of having accidentals valid for the entire measure in which they occur -- when necessary extraaccidentals have been added (in parentheses in the score), other times redundant ones have been deleted withoutcomment. All other editorial additions are contained in brackets "[ ]".

One point that deserves special mention is the bass line, which is indicated simply as "Organo eVioloncello". In my opinion, a harpsichord (cembalo) would also be present, as well as the usual bass-doublinginstruments (contrabass [violone] and/or bassoon). I believe it likely that these instruments were always presentregardless of the score, so Vivaldi's indication may be meant to read something like "Organo ...in addition to theusual basso continuo... and violoncello." The continuo realizations included in the accompanying set of parts tothis edition are based upon this premise.

About this Concerto

This Concerto in B-flat for violin, 4-part strings and continuo, RV 383a, is first in the Op.4 set. As Op.4

goes, this concerto begins relatively straight-forwardly. The first movement, Allegro, serves admirably to give LaStravaganza a lively start, but stays well within the norms established later on in the set. The second movement,Largo, displays some extraordinarily beautiful writing for the violin during an extended solo, which in itself isnoteworthy as it was not uncommon for "slow" movements of the period to consist of little more than a fewpunctuating chords.

The final Allegro is, it seems, a joke on form... the "opening" tutti, though wonderfully written, is so longthat it takes up a full two-thirds of the movement! By the time the violin solo finally arrives, it is as if the composerran out of ideas -- the violin solo goes on quite a while simply playing chord progressions, never really introducingany melodic material. After an extended opening tutti and an extended violin solo, one might get the feeling as thesecond tutti passage arrives that this movement is going to go on for several more minutes, but here Vivaldi takesa proverbial left-turn. To extend the metaphor, he slams on the brakes with some skillfully placed diminished-seventh chords, and brings the entire concerto to a sudden, but efficient, end.

David Rothschild, editor August 2003

Concerto Op.4 No.1Antonio Vivaldi

Copyright © 2003 by the Frobozz Magic Sheet Music Co. All rights reserved.Printed by the Frigid River Printing Press. EF-S16A

Violino di Concertino

Violino Primo

Violino Secondo

Alto Viola

Organo e Violoncello

a ff

Allegro

D[f]

ks k k k k k k k k

I

k k k k k k k k k k k k k k k k

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ks k k k k k k k k k k k k k k k k k k k k k k k k

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tk k k k k k k k k k k k k k k k k k k k k k k k

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tk k k k k k k k k k k k k k k k k k e k k k k k k k e k k k k k k k

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tk k k k k k k k k k k k k k k k k k e k k k k k k k e k k k k k k k

a ff k k k k k k e k k k k k k k k k o k

tk k o kt

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a ff k e k d k k k k k k k k k k k k k k k k k k k k k k e k k k k

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