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Concerto in D major for violin RV 212 ‘Concerto fatto per la solennita della santa lingua di S. Antonio in Padua 1712’

Antonio Vivaldi (b. 1678 - d. 1741)

Concerto Copenhagen (photo credit: Thomas Nielsen)

Concerto Copenhagen (photo credit: Thomas Nielsen)

Composer
Antonio Vivaldi (b. 1678 - d. 1741)
Composition Year
1712
Work Movements
1. Allegro
2. Grave
3. Allegro
Artists
Concerto Copenhagen (Peter Spissky, Fredrik From, Antina Hugosson [violins], Torbjörn Köhl [viola], Kate Hearne [cello], Mattias Frostenson [bass], Fredrik Bock [archlute, guitar], Lars-Ulrik Mortensen [harpsichord, director]) [baroque ensemble]

Programme Note Writer:
© Francis Humphrys

Some four years after this concerto was written, the Electoral Prince of Saxony enjoyed a prolonged stay in Venice. He brought with him from Dresden an elite group of musicians that included the violinist Johann Georg Pisendel, organist Christian Petzoid, oboist Johann Richter and violone player (and composer) Jan Zelenka. The extended stay of the Prince and his musicians laid the foundations for the diffusion of Italian music in Germany over the following decades and made Dresden the centre of the Vivaldian cult in German-speaking countries.

Pisendel was a brilliant violinist and he quickly struck up a friendship with Vivaldi, who gave him autograph scores of a number of concertos and sonatas that he dedicated to him. Also Pisendel copied out a large number of Vivaldi’s scores in his own hand, sometimes revising them to accord to the tastes and performance practice of the Dresden orchestra, well known for its prominent use of wind instruments. This morning’s concerto exists in two versions, one in Turin and one in Dresden that had been copied by Pisendel, but with many of his typical changes. Both versions are damaged and to complicate things there is a later version of RV 212 from around 1718 that  may have been revised for Pisendel. In Baroque and early repertoire it is sometimes almost impossible to get back to the original score and parts unless Providence intervenes as with the extraordinary discovery of what is now known as the Turin Collection.

The concerto itself is a spectacular work, festive in character and demanding from the soloist strength, agility and precise intonation in the double stops and in the top register. There are also some hair-raising cadenzas.

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Concerto in D major for violin RV 212 ‘Concerto fatto per la solennita della santa lingua di S. Antonio in Padua 1712’

Composer: Antonio Vivaldi (b. 1678 - d. 1741)
Performance date: Thursday 3rd July 2014
Venue: St. Brendan's Church, Bantry, Co Cork, Ireland

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Composer Antonio Vivaldi (b. 1678 - d. 1741)
Work Title Concerto in D major for violin RV 212 ‘Concerto fatto per la solennita della santa lingua di S. Antonio in Padua 1712’
Composition Year 1712
Work Movements 1. Allegro
2. Grave
3. Allegro
Artist(s) Concerto Copenhagen (Peter Spissky, Fredrik From, Antina Hugosson [violins], Torbjörn Köhl [viola], Kate Hearne [cello], Mattias Frostenson [bass], Fredrik Bock [archlute, guitar], Lars-Ulrik Mortensen [harpsichord, director]) [baroque ensemble]
Performance Date Thursday 3rd July 2014
Performance Venue St. Brendan's Church, Bantry, Co Cork, Ireland
Event Coffee Concert
Duration 00:16:16
Recording Engineer Richard McCullough, RTE
Instrumentation Category Small Mixed Ensemble
Instrumentation 3vn, va, vc, db, lu, hpd
Programme Note Writer © Francis Humphrys

Some four years after this concerto was written, the Electoral Prince of Saxony enjoyed a prolonged stay in Venice. He brought with him from Dresden an elite group of musicians that included the violinist Johann Georg Pisendel, organist Christian Petzoid, oboist Johann Richter and violone player (and composer) Jan Zelenka. The extended stay of the Prince and his musicians laid the foundations for the diffusion of Italian music in Germany over the following decades and made Dresden the centre of the Vivaldian cult in German-speaking countries.

Pisendel was a brilliant violinist and he quickly struck up a friendship with Vivaldi, who gave him autograph scores of a number of concertos and sonatas that he dedicated to him. Also Pisendel copied out a large number of Vivaldi’s scores in his own hand, sometimes revising them to accord to the tastes and performance practice of the Dresden orchestra, well known for its prominent use of wind instruments. This morning’s concerto exists in two versions, one in Turin and one in Dresden that had been copied by Pisendel, but with many of his typical changes. Both versions are damaged and to complicate things there is a later version of RV 212 from around 1718 that  may have been revised for Pisendel. In Baroque and early repertoire it is sometimes almost impossible to get back to the original score and parts unless Providence intervenes as with the extraordinary discovery of what is now known as the Turin Collection.

The concerto itself is a spectacular work, festive in character and demanding from the soloist strength, agility and precise intonation in the double stops and in the top register. There are also some hair-raising cadenzas.