Known as an excellent virtuoso, a talented teacher and a prolific composer of instrumental music, Vivaldi approached the world of theatre only in his mid-thirties, seeking not only greater financial rewards but also to reach new artistic goals that could qualify him as a “universal” composer. However, it was above all thanks to his concerts that he managed to achieve universal fame; an emblematic example is represented by the Four Seasons, a series of three-part concertos for solo violin and orchestra among the most famous in the world and one of the iconic masterpieces of the Baroque. They are part of a larger collection, Il cimento dell’armonia e dell’invenzione op. VIII, which Vivaldi published in Amsterdam in 1725 by Michel-Charles Le Cène, even though he had written them a few years earlier. In the dedicatory letter addressed to the Bohemian Count Wenzel von Morzin, the Author defined these masterpieces as “weak Concertos”, far from imagining the great success they would have over time. The compositions stand out for their unusual color blends determined by the use of new techniques for the strings: mutes, plucked strings, unisons, all proposed to obtain original timbres and contrasts aimed at outlining sound images. The Red Priest, with his concerts that renewed the genre, had a notable impact in every part of Europe, so much so that even Johann Sebastian Bach transcribed many of his compositions.
As was customary, the pieces were released in separate parts, curiously accompanied by anonymous explanatory sonnets, perhaps written by Vivaldi himself, given their poor poetic quality. On the contrary, some maintain that they were added later to help the listener understand the various movements. In any case, we are faced with one of the first examples of program music, or compositions of a descriptive nature that ensured and still confer great notoriety on Vivaldi.
Spring
Spring has come and the little birds / greet it with joyful song, / and the fountains, at the blowing of the breezes / flow in the meantime with a sweet murmur: / they come covering the air with a black mantle / and lightning and thunder chosen to announce it / then, these falling silent, the little birds / return again to their singing enchantment: / and then on the pleasant flowery meadow / to the dear murmur of leaves and plants / the goat-herd sleeps with his faithful dog at his side. / to the joyful sound of the pastoral bagpipe / the nymphs and shepherds dance on the beloved roof / at the brilliant appearance of spring.
Summer
Under a harsh season lit by the sun / Man languishes, the flock languishes, and the pine tree burns / The cuckoo releases his voice, and soon heard / The turtle dove and the gardelin sing. / A sweet Zephyr blows, but a sudden Boreas moves in conflict / With his neighbor / And the shepherd weeps, because in suspense / He fears a fierce storm, and his fate / Takes from his tired limbs his rest / The fear of lightning, and fierce thunder / And of flies and gnats the furious crowd. / Ah, unfortunately his fears are true! The sky thunders and fulminates: / It cuts off the heads of the ears of corn and of the haughty grains.
Fall
Celebrate the village with dances and songs / The beautiful pleasure of a happy harvest / And many, inflamed by the liquor of Bacchus / End their enjoyment with sleep / Make everyone leave aside the dances and songs / The air that when temperate gives pleasure, / And the season that invites so many / Of a sweetest sleep to the beautiful enjoyment. / The hunters at the new dawn to hunt / With horns, guns, and reeds come out / The beast flees, and / They follow the trail / Already startled, and tired by the great noise / Of guns and dogs, wounded, she threatens / Languid to flee, but oppressed she dies.
Winter
Chilled, trembling among the freezing snows / At the Severe Blow of a horrid Wind, / Running, stamping my feet every moment / And chattering my teeth because of the excessive frost / Spending the quiet and contented days by the fire, while the rain outside soaks a hundred / Walking on the ice, and with a slow pace / For fear of falling, remaining intent / Turning hard, slipping, falling to the ground / Going again on the ice and running hard / Until the ice breaks, and opens / Hearing the Sirocco Boreas coming out of the iron gates, and all the Winds at war / This is the winter, but one that brings joy
The Program
Antonio Vivaldi (Venice, 1678 – 1741)
- Symphony from Hercules on the Thermodon (RV 710)
- Symphony from Griselda (RV 718)
- Sinfonia Dorilla in tempe (RV 709)
- Symphony The Four Seasons
Violin Concerto in E major (RV 269)
Spring
I. Allegro
II. Largo e pianissimo sempre
III. Allegro pastorale
Violin Concerto in G minor (RV 315)
Summer
I. Allegro non molto
II. Adagio and piano. Presto and forte
III. Presto
Violin Concerto in F major (RV 293)
Autumn
I. Allegro
II. Adagio molto
III. Allegro
Violin Concerto in F minor (RV 297)
Winter
I. Allegro non molto
II. Largo
III. Allegro
Europe Galante Orchestra
Fabio Biondi, first violin and director
Violins I
Beatrice Scaldini
Barbara Altobello
Rafael Negri
Violins II
Andrea Rognoni
Silvia Falavigna
Rossella Borsoni
Violas
Pablo de Pedro
Armando Barilli
Cellos
Alessandro Andriani
Perikli Pite
Double bass
Patxi Montero
Theorbo
Giangiacomo Pinardi
Harpsichord
Paola Poncet
Europa Galante was born in 1989 from the desire of its artistic director, Fabio Biondi, to found an Italian instrumental group for the interpretations on period instruments of the great baroque and classical repertoire. The discovery of ancient music was then the exclusive prerogative of musicians from Northern Europe and the need for an Italian re-reading of this repertoire was the basis for the creation of Europa Galante.