The Baroque Concerto in Theory and Practice
Only the Germans were genuinely sympathetic to his music (p. 15). [...]Heinichen, Mattheson, Walther, Scheibe, Quantz, and Riepel all mention Vivaldi in writings published between the 1710s and 50s; Gerber and Forkel extol him around the turn of the nineteenth century; and a continuous Vivaldi tradi...
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Veröffentlicht in: | The Journal of musicology (St. Joseph, Mich.) Mich.), 2009-10, Vol.26 (4), p.566-594 |
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Zusammenfassung: | Only the Germans were genuinely sympathetic to his music (p. 15). [...]Heinichen, Mattheson, Walther, Scheibe, Quantz, and Riepel all mention Vivaldi in writings published between the 1710s and 50s; Gerber and Forkel extol him around the turn of the nineteenth century; and a continuous Vivaldi tradition (p. 18) in Germany is evidenced by the Dresden court music collection, the Breitkopf thematic catalog, and Aloys Fuchs nineteenth-century thematic catalog of over eighty 8 Later in the book, McVeigh and Hirshberg stress that the Vivaldian model did not preclude originality on the parts of those Italian composers who followed him: the concept of a unied Venetian school of concerto composers following in the wake of Vivaldi is something of a chimera. Perhaps, as Brover-Lubovsky points to movements in which Vivaldi goes to great lengths to avoid a (root-position) tonic triad altogether. [...]Vivaldi, in contrast to many of his contemporaries, demonstrates a distinct preference for goal-directed, through-composed tonal organization, favoring a progressive attenuation of the intermediate tonics appearance, up to and including its complete avoidance (p. 147). Rather than indulging in futile attempts to force musical analysis into a rigid rhetorical framework, we will instead work the other way around, resorting to rhetorical concepts whenever they seem to contribute to our understanding of the unfolding of the ritornello movement (pp. 26 and 28). [...]ritornello-form movements are frequently described by the authors as continuous musical arguments, just as any musical structure might be likened to a speech through a description of its Dispositio, 14 In my own listening to the Violin Concerto in E major, RV 254, analyzed by McVeigh and Hirshberg as exemplifying a signicant alternative strategy that completely avoids the dominant (11819), I had no difculty in hearing C minor (vi) as the secondary key. [...]the importance of McVeigh and Hirshbergs contribution to the study of the baroque concerto repertory is perhaps epitomized by a featured surprise in their summary remarksor at least what would have been a surprise to me before reading their booknamely that the two models of Vivaldian ritornello form put forward in an inuential study by Walter Kolneder do not correspond to a single rst movement in a repertory of 800 concertos.29 Even when isolated from their accompanying tutti-solo textural shifts, Kolneders archetypal tonal schemes (IVviI in major and iIIIvi in m |
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ISSN: | 0277-9269 1533-8347 |
DOI: | 10.1525/jm.2009.26.4.566 |