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Violin Concerto in G major RV 314

Antonio Vivaldi (b. 1678 - d. 1741)

Concerto Copenhagen (photo credit: Keith Saunders)

Concerto Copenhagen (photo credit: Keith Saunders)

Composer
Antonio Vivaldi (b. 1678 - d. 1741)
Composition Year
after 1716
Work Movements
1. Allegro
2. Adagio
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])

Programme Note Writer:
© Francis Humphrys

The German violinist Georg Pisendel was 29 when he visited Venice in April 1716 in the entourage of the Electoral Prince of Saxony Friedrich August. At this time he was a brilliant violinist in the Dresden orchestra, but would not be Concertmaster for another dozen years. So it must have been inspirational for him to meet Vivaldi, nine years his senior and internationally famous since the publication of L’estro armonico in 1711. Pisendel and Vivaldi became good friends and Pisendel was able to copy out a large number of Vivaldi’s works and was even given several autograph manuscripts. At least six of Vivaldi’s violin concertos including this G major Concerto as well as several sonatas were dedicated to the Saxon violinist.

Pisendel became the most influential German violinist of his time and the dedicatee of works by Albinoni and Telemann. It is even thought by some that the great Bach may have written his Sonatas and Partitas for unaccompanied violin for Pisendel; they had known each other since 1709. Pisendel’s leading role in the Dresden orchestra ensured the success of Vivaldi’s music in Saxony. The violinist and composer continued to remain in touch with each other after Pisendel returned home. The result is that many Vivaldi concertos and sonatas survive in manuscript in the Dresden Saxony Landesbibliothek. Today’s G major Concerto survives in both the Dresden and Turin manuscripts, which may explain the confusing existence of two different slow movements as Pisendel was not above revising the originals. 

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Violin Concerto in G major RV 314

Composer: Antonio Vivaldi (b. 1678 - d. 1741)
Performance date: Saturday 9th July 2016
Venue: St. Brendan's Church, Bantry, Co Cork, Ireland

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Composer Antonio Vivaldi (b. 1678 - d. 1741)
Work Title Violin Concerto in G major RV 314
Composition Year after 1716
Work Movements 1. Allegro
2. Adagio
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])
Performance Date Saturday 9th July 2016
Performance Venue St. Brendan's Church, Bantry, Co Cork, Ireland
Event Coffee Concert
Duration 00:10:59
Recording Engineer Richard McCullough, RTÉ lyric fm
Instrumentation Category Large Mixed Ensemble
Instrumentation 3vn, va, vc, rec, db, lute, hpd
Programme Note Writer © Francis Humphrys

The German violinist Georg Pisendel was 29 when he visited Venice in April 1716 in the entourage of the Electoral Prince of Saxony Friedrich August. At this time he was a brilliant violinist in the Dresden orchestra, but would not be Concertmaster for another dozen years. So it must have been inspirational for him to meet Vivaldi, nine years his senior and internationally famous since the publication of L’estro armonico in 1711. Pisendel and Vivaldi became good friends and Pisendel was able to copy out a large number of Vivaldi’s works and was even given several autograph manuscripts. At least six of Vivaldi’s violin concertos including this G major Concerto as well as several sonatas were dedicated to the Saxon violinist.

Pisendel became the most influential German violinist of his time and the dedicatee of works by Albinoni and Telemann. It is even thought by some that the great Bach may have written his Sonatas and Partitas for unaccompanied violin for Pisendel; they had known each other since 1709. Pisendel’s leading role in the Dresden orchestra ensured the success of Vivaldi’s music in Saxony. The violinist and composer continued to remain in touch with each other after Pisendel returned home. The result is that many Vivaldi concertos and sonatas survive in manuscript in the Dresden Saxony Landesbibliothek. Today’s G major Concerto survives in both the Dresden and Turin manuscripts, which may explain the confusing existence of two different slow movements as Pisendel was not above revising the originals.