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Vivaldi, Antonio (Lucio)free

  • Michael Talbot

(b Venice, March 4, 1678; d Vienna, 27/July 8, 1741). Italian composer. The most original and influential Italian composer of his generation, he laid the foundations for the mature Baroque concerto. His contributions to musical style, violin technique and the practice of orchestration were substantial, and he was a pioneer of orchestral programme music.

1. Early years.

Vivaldi's father Giovanni Battista (1655–1736), a tailor's son, was born in Brescia. He moved with his widowed mother in 1666 to Venice, where he practised as a barber before becoming a professional violinist in early adulthood. Nine children, of whom Antonio was the eldest, are known to have been born to his union with Camilla Calicchio, a tailor's daughter, whom he married in June 1676. None of Antonio's brothers and sisters became musicians, although Francesco (1690–1752) emulated his elder brother's entrepreneurial spirit by adding to his main calling of barber those of paving contractor and publisher. On 23 April 1685 Giovanni Battista was engaged as a violinist at S Marco under the surname of Rossi. This suggests that red hair, which was to earn Antonio the sobriquet of ‘il prete rosso’ (‘the red priest’), was a family characteristic. In the same year Giovanni Battista became a founder-member of the Sovvegno di S Cecilia. He became sufficiently esteemed as a violinist to be listed alongside his celebrated son in Coronelli's Guida de' forestieri. There are signs that he was from time to time involved in operatic management. He certainly travelled widely, often with Antonio, to play the violin at church festivals. He may even have been a composer: La fedeltà sfortunata, an opera attributed to one G.B. Rossi, was performed at an unidentified Venetian theatre in 1688–9. On 30 September 1729, he was granted a year's leave from S Marco to accompany a son (presumably Antonio) to Germany. Father and son worked in the closest collaboration: the hand of Antonio's principal copyist, from the mid-1710s to the mid-1730s, is believed to be that of Giovanni Battista, with whom he shared a succession of apartments in Venice.

Antonio was baptized officially on 6 May 1678. Because the life of the newborn infant was thought to be in danger the midwife had performed a provisional baptism on the day of his birth; a possible cause was the earthquake which shook Venice on 4 March, but it is more likely that the ailment which the composer claimed to have afflicted him from birth was already manifesting itself. This condition (‘strettezza di petto’ was how Vivaldi described it) is generally identified with bronchial asthma. Although Vivaldi as an adult was evidently determined not to let it prevent him from undertaking frequent and arduous journeys, even if that meant maintaining a large and expensive entourage, its physical and particularly its psychological effect on him should not be underestimated.

Between 18 September 1693 (the date of his tonsure) and 23 March 1703 (the date of his ordination) Vivaldi was trained for the priesthood at the local churches of S Geminiano and S Giovanni in Oleo while continuing to live with his family in the parish of S Martino. He probably learnt the violin from his father, for whom he is said to have occasionally deputized at S Marco; his participation as a ‘supernumerary’ violinist in Christmas services at the basilica in 1696 is his earliest known public appearance. A few years after his ordination (probably in late 1706) he ceased for good to say Mass, thereby sacrificing a useful income as a house priest (mansionario) at the Pietà. In 1737, while under censure for conduct unbecoming a priest, he blamed this failure on his ailment, but it is not hard also to suspect an opportunist motive in view of his immersion in musical activities. Perhaps his defence is slightly strengthened by a fanciful early 19th-century report of his temporary retirement to the sacristy during celebration of Mass (if one chooses to discount the explanation that his purpose was to write down a fugue). Outwardly Vivaldi remained pious, and even traded on his status as a priest. The religious motto ‘Laus Deo’ (abbreviated as L.D.) and an expanded version ‘LDBMDA’, usually found in monogram form and possibly standing for ‘Laus Deo Beataeque Mariae Deiparae Amen’, occur with great frequency at the head of his scores – strange to say, particularly those of operas. From Goldoni's account of a meeting with Vivaldi in 1735 we glimpse the composer taking refuge from a rather unwelcome confrontation in mechanical recitation from his breviary.

2. Appointment at the Pietà.

In September 1703 Vivaldi obtained his first official post, becoming maestro di violino at the comfortable but unremarkable annual salary of 60 ducats at the Pio Ospedale della Pietà, one of four Venetian institutions devoted to the care of orphaned, abandoned and indigent children and specializing in the musical training of those among the girls who showed aptitude. Services with music – one might almost call them concerts – at the Pietà were a focal point in the social calendar of the Venetian nobility and foreign visitors, and it was essential to ensure both the competent instruction and rehearsal of the young musicians and the regular supply of new works for them. Vivaldi owed his appointment to a request made earlier that year by the Pietà's maestro di coro (musical director) Francesco Gasparini that violin and oboe masters be engaged. In August 1704, 40 ducats were added to his salary in consideration of his teaching of the viole all'inglese – a family of variously sized instruments resembling viole d'amore in having sympathetic strings. To Vivaldi fell in addition the task of acquiring new string instruments for the orchestra and maintaining those already in use. The governors renewed his post annually until February 1709, when a majority voted on a second ballot against retaining him. It seems less probable that Vivaldi was dismissed from his post on grounds of incapacity or misconduct, or through personal animosity, than that the post itself was temporarily discontinued, perhaps in the interests of economy. The orchestra would certainly be left in capable hands, for the Pietà's teachers had deputies (maestre di coro) assigned to them; these were the foremost performers among the girls and women, and some of them (for example, the Anna Maria commemorated in the title of several of Vivaldi's violin and viola d'amore concertos) attained fame beyond the Pietà's walls. In addition, an élite group of a dozen women, the figlie privilegiate di coro, were responsible for teaching their younger fellow inmates and were even allowed to take pupils from outside. Ironically, Vivaldi's very success in building up a cadre of seasoned performers may have contributed to his redundancy. This explanation gains support from the fact that the comparable post of teacher of wind instruments was left unfilled for long periods, and that during his lifetime no other violin teacher was ever appointed, although teachers of the cello, beginning with Antonio Vandini (sometimes confused in the Pietà's records with Vivaldi – whose name did, however, appear anagramatically as Lotavio Vandini in the libretto of Aristide), were employed between 1720 and 1731.

Meanwhile, Vivaldi was seeking recognition as a composer. The earliest extant edition of his op.1, a set of 12 chamber sonatas in the trio medium, is that by Sala dated 1705 and dedicated to Count Annibale Gambara, a Brescian nobleman. That edition describes Vivaldi on the title-page as ‘Musico di violino, professore veneto’, making no mention of his appointment at the Pietà but acknowledging his status as a priest by use of the title ‘Don’; it could be a reprint of a lost original edition dating from 1703, though the inclusion of a letter of dedication implies otherwise. His op.2, consisting of violin sonatas, was hurriedly dedicated in 1709 to Frederik IV of Denmark during the king's brief visit to Venice. By then Vivaldi was also writing concertos, which circulated in manuscript; copies of some of his cello concertos made by the musician Franz Horneck while staying in Venice during the carnival season of 1708–9 have survived in the library of the Counts of Schönborn.

Vivaldi was voted back into his former post at the Pietà in September 1711 and was reappointed against steadily mounting opposition every year until March 1716, when the required majority of two-thirds was not obtained. Surprisingly, in May 1716 he was appointed to a position of nominally greater responsibility, maestro de’ concerti. The departure, in April 1713, of Gasparini on a sick leave from which he never returned gave Vivaldi an opportunity to write sacred music, for Pietro Scarpari, the singing master, was only a modest composer. The governors were so pleased with Vivaldi's efforts that in June 1715 they awarded him the choirmaster's customary annual bonus of 50 ducats in respect of ‘an entire mass, a vespers, an oratorio, over 30 motets and other labours’. In late 1716 Vivaldi followed his earlier Moyses Deus Pharaonis with a new oratorio, Juditha triumphans, which contained patriotic references to Venice's war against the Turks. This was probably the most elaborate work he ever wrote for the Pietà.

In 1711 Etienne Roger, the Amsterdam publisher, brought out what was to become the most influential music publication of the first half of the 18th century: Vivaldi's L'estro armonico op.3, dedicated to Grand Prince Ferdinando of Tuscany; it comprised 12 concertos divided equally into works for one, two and four solo violins. The change to Roger from local publishers, which several other eminent Italian composers made about the same time, reflected not only the superiority of the engraving process over the printing from type still normally used in Italy (a superiority acknowledged in Vivaldi's preface to L'estro armonico) but also the enormous growth in demand for the latest Italian music in northern Europe. Nowhere was the enthusiasm for Vivaldi's concertos stronger than in Germany. Bach transcribed several of them (including five from op.3) for keyboard, and his noble patron Prince Johann Ernst of Saxe-Weimar wrote concertos in Vivaldi's style. German musicians visiting Venice such as Stölzel (1713–14), Heinichen (1713–16) and Pisendel (1716–17) sought him out. Pisendel, who is supposed to have taken lessons from him, copied out several of his sonatas and concertos and also received autograph scores of many works directly from the master, who continued to have close relations with the Saxon court. Quantz, who first heard Vivaldi's concertos at Pirna in 1714, gave him credit in his Anweisung for having reformed the concerto (together with Albinoni); the formula for composing a concerto set out by Quantz conforms in every particular to Vivaldi's normal practice.

La stravaganza op.4, a set of 12 violin concertos, was dedicated in about 1716 to Vettor Delfino (Dolfin), a young pupil of Vivaldi from the Venetian nobility. The next three publications (opp.5–7, comprising six sonatas and 18 concertos), belonging to the years 1716–20, were left undedicated: apparently Roger ordered them from the composer and had them engraved at his own expense, which shows Vivaldi's exceptional popularity – this procedure, later in the century to become normal, was still rather rare.

During the 1710s, if not earlier, Vivaldi followed his father into the turbulent world of opera. Although his earliest known stage work, Ottone in villa, was performed at the summer resort of Vicenza in May 1713, he first established himself, as both a composer and an impresario, at the small, somewhat unfashionable Venetian theatre of S Angelo. In the carnival of 1713–14 Vivaldi wrote the dedication of the libretto by Grazio Braccioli for M.A. Gasparini's Rodomonte sdegnato, as he did again a year later for Luca Papirio, set to music by Predieri. It was possibly Predieri's opera that the Frankfurt lawyer J.F.A. von Uffenbach heard on 4 February 1715, when he noted in his diary that Vivaldi was the ‘entrepreneur’ (mistakenly believing him also to be the composer). Vivaldi's own Orlando finto pazzo opened the 1714–15 season, and a pasticcio (Nerone fatto Cesare) and two new operas followed up to 1717. Between 1716 and 1718 he also wrote three operas for the S Moisè theatre; in addition, there were some revivals.

3. Years of travel.

In April 1718 Vivaldi took his recently composed opera Armida al campo d'Egitto to Mantua, where he stayed until 1720. During that time he wrote three operas for performance in the 1719 and 1720 carnival seasons. The Governor of Mantua (for the Habsburgs) was Prince Philip of Hesse-Darmstadt, a noted music lover. Vivaldi became his maestro di cappella da camera, a curiously worded title (probably meaning ‘director of secular music’) that he retained after leaving Mantua. He wrote several cantatas and serenatas for the Mantuan court.

Having briefly returned to Venice, Vivaldi was soon off to Rome, where, according to two letters of 1737 to Guido Bentivoglio d'Aragona, he spent three carnival seasons and was invited twice to play before the pope. Three operas performed in Rome during the 1723 and 1724 carnival seasons are known, and it is possible that the other season for which Vivaldi wrote was that of 1720, when he contributed an act to a pasticcio, Tito Manlio, performed at the Teatro Pace. Pier Leone Ghezzi's famous caricature of Vivaldi was drawn during Carnival 1723 when Ercole su 'l Termodonte was being staged. While in Rome, Vivaldi came into contact with Cardinal Pietro Ottoboni, Corelli's former patron; numerous concertos and a handsome volume of violin sonatas in Manchester can be traced back to Ottoboni's library. In July 1723 the Pietà governors agreed to ask Vivaldi to supply the orchestra with two concertos every month (at one sequin each), sending them by post if necessary, and to direct three or four rehearsals of them when in Venice. The institution's accounts confirm payment to him for over 140 concertos between 1723 and 1729. As a composer Vivaldi was evidently a major asset to the Pietà, notwithstanding his frequent travels, which ruled out a teaching post.

It was around this time that Vivaldi's association with the contralto Anna Girò must have begun. She was the daughter of a Mantuan wigmaker of French origin and became his singing pupil. Between 1723 and 1748 she appeared regularly on the operatic stage, especially in Venice. Goldoni thought her voice weak but conceded that she was a good actress and had an attractive appearance. The alterations made by Goldoni at Vivaldi's insistence to Zeno's original libretto for Griselda show that Vivaldi was aware of his pupil's limitations. Both Anna and her half-sister Paolina (who acted as her chaperone) were loyal members of his entourage. Tongues inevitably wagged, and it was widely believed that Anna Girò was Vivaldi's mistress, despite his plausible denials.

From 1726 to 1728 Vivaldi was again active as a composer and impresario at S Angelo. At the same time his instrumental works were continuing to spread his reputation. Il cimento dell'armonia e dell'inventione op.8 (opening with the four concertos portraying the seasons) appeared by 1725 and was dedicated to his Bohemian patron Count Wenzel von Morzin (a distant relative of the Morzin who employed Haydn). La cetra op.9 was dedicated to Emperor Charles VI, whom Vivaldi met in September 1728 at or near Trieste, and from whom he reportedly received much money and a golden chain with a medallion. (The 12 different concertos also entitled La cetra and dated 1728 in a manuscript in Vienna may commemorate that meeting; the published La cetra appeared earlier, in 1727.) The pioneering flute concertos of op.10 and the string concertos of opp.11 and 12 were issued by Le Cène in 1729. Although the publisher bore the costs of all five collections, Vivaldi was evidently dissatisfied with the financial returns, for in 1733 he told the English traveller Edward Holdsworth of his decision not to have any more concertos published as this inhibited his more profitable trade in manuscripts, for which the current price was a guinea per concerto; and indeed no work of his published after op.12 appeared with his proven consent (op.13, Il pastor fido, is a clever pastiche by the French musette player Nicolas Chédeville, while a presumably equally spurious op.14 was announced in Paris but never appeared).

Between late 1729 and early 1733 Vivaldi travelled widely. Perhaps the invitation to Vienna cited in a letter of 1737 relates to this period. He may well have visited Prague (where since 1724 an opera company headed by the Venetian singer Antonio Denzio had been active at the court of Count Sporck), as two new operas were given there in autumn 1730 (Argippo) and spring 1731 (Alvilda). By his own account, Vivaldi liked to oversee productions of his new operas, so the dates and places of their premières provide valuable clues to his movements.

During the period 1733–5 he wrote several operas for S Angelo and the Grimani theatre of S Samuele to which Goldoni was attached. His entrepreneurial activities in Venice seem mainly to have petered out; instead, he increasingly promoted opera in smaller mainland centres like Verona, Ancona, Reggio nell'Emilia and Ferrara. From L'Adelaide (1735, Verona) onwards Vivaldi styled himself maestro di cappella of François III, Duke of Lorraine and (from 1737) Grand Duke of Tuscany, the future Emperor Francis I. This title was doubtless little more than honorific. Meanwhile, he was reinstated at the Pietà as maestro di cappella in August 1735. The governors now wished to take a firmer line on his travelling, and his renewed absences probably contributed to his failure to gain reappointment in March 1738. His links were not severed, however: when Friedrich Christian, Crown Prince of Saxony-Poland, visited the Pietà on 21 March 1740 Vivaldi was asked to supply and direct the performance of three concertos (rv540, 552, 558) and one sinfonia (rv149); the scores, mostly autograph, were taken back to Dresden. During the interregnum between maestri di coro Giovanni Porta (1726–37) and Gennaro d'Alessandro (1739–40) he also sold the Pietà numerous sacred vocal works.

Vivaldi was on close terms with Guido Bentivoglio d'Aragona, a marquis from Ferrara. He enlisted Bentivoglio's support to stage operas at Ferrara during the carnival seasons of 1737, 1738 and 1739; 13 letters by Vivaldi to Bentivoglio and copies of several replies by the marquis, most of which are in the Bentivoglio archives, provide, among other things, an illuminating record of these three essays (all of them less than successful in their different ways) in opera promotion. In 1737 there were wrangles over a singer's contract and the choice of operas, and an unseemly attempt by Vivaldi to exact the maximum payment. In 1738 Cardinal Tomaso Ruffo, Archbishop of Ferrara (a papal domain), forbade Vivaldi to enter Ferrara, ostensibly on account of his relationship with Anna Girò and his refusal to say Mass, so that he was compelled to put the enterprise in the hands of local impresarios in whom he had little confidence. In 1739 Vivaldi, who was in Venice supervising the performances of Feraspe, paid dearly for his absence from Ferrara. The first opera, Siroe, was criticized for faults in its recitatives (because, Vivaldi bitterly claimed, of alterations arbitrarily introduced by the harpsichordist, Pietro Antonio Berretta) with the result that the theatre's patrons refused to mount Farnace, the second opera. Bentivoglio was sympathetic but too diplomatic to intervene.

De Brosses, who met Vivaldi in autumn 1739, found his stock low with the Venetian public. That may be one reason why Vivaldi was persuaded to undertake his last journey in 1740 (the ground for which may have been prepared by Anna Girò's visits to Graz in 1739 and 1740 to sing in operas presented by Angelo Mingotti's company). On 29 April (not August) 1740 the Pietà governors, having got wind of his imminent departure, rejected a motion to buy ‘a certain portion of concertos’ from him; they must have relented, however, as on 12 May he was paid for 20 concertos. It appears that Vivaldi's departure was connected with the intended production of one or more operas at the Kärntnertortheater in Vienna. The death of Charles VI in October 1740 and the ensuing closure of all Viennese theatres for the duration of the following carnival must have frustrated this plan, but Vivaldi, perhaps too ill or too poor to return to Venice, lingered on in the city. On 28 June 1741 he signed a receipt for the sale of several concertos to Count Antonio Vinciguerra di Collalto. On 27 or 28 July he died in a house owned by the widow of a Viennese saddler named Waller and was given a pauper's burial on the latter day at the Hospital Burial Ground (Spettaler Gottesacker), confirming a statement in a contemporary Venetian commonplace book (Commemoriali Gradenigo) which notes that Vivaldi, who had once earned 50,000 ducats (presumably annually), died in poverty through his prodigality. Anna Girò, who had accompanied him, returned to Venice and continued her career; his opera L'oracolo in Messenia was produced posthumously at the Kärntnertortheater in 1742.

4. Reputation.

Vivaldi was so unconventional a man and musician that he was bound to elicit much adverse comment in his lifetime. His vanity was notorious: he boasted of his fame and illustrious patrons, and of his fluency in composition, asserting before De Brosses that he could compose a concerto in all its parts more quickly than it could be copied. In many cases these claims were clearly exaggerated. He told Holdsworth, for example, that 17 (not 12) collections by him had been published, rather deceitfully counting double each opus divided into two volumes. His claim to Bentivoglio in 1739 that he had composed 94 operas (fewer than 50 are known) needs to be interpreted in this light. Along with his vanity went an extreme sensitivity to criticism, which comes out even in the dedications of his opp.1 and 4, where one sees a phrase such as ‘i miei sudori forse malignati dalla critica’ (‘my efforts, which are perhaps spoken ill of by the critics’). His preoccupation with money was excessive by most standards: it is a subject that surfaces continually in his letters to Bentivoglio. Holdsworth and De Brosses found that Vivaldi drove a hard bargain with foreign visitors. Yet the sheer zest of the man compelled admiration. De Brosses wrote of his ‘furie de composition’, and Goldoni painted a charming picture of the old man's enthusiasm on seeing the aria text his visitor had penned before his very eyes. His egotism must have been redeemed by higher qualities for him to have retained the loyalty of the Girò sisters and several patrons. If the well-known engraving of him by François Morellon La Cave (and its imitation by James Caldwall) conveys all too successfully his self-satisfaction, the anonymous painting in Bologna of an unnamed violinist believed to be Vivaldi shows a more sympathetic, pensive side.

Vivaldi was praised more readily by his contemporaries as a violinist than as a composer, though few went as far as Goldoni, who categorized him as ‘excellent joueur de violon et compositeur médiocre’. Uffenbach's report of his ending the accompaniment to an operatic aria with ‘a fantasy [i.e. cadenza, or ‘capriccio’] which really terrified me, for such has not been nor can ever be played; he came with his fingers within a mere grass-stalk's breadth of the bridge, so that the bow had no room – and this on all four strings with imitations and at incredible speed’ vividly captures his predilection for extremely high positions, cadenza-like passages and multiple stopping. Such pyrotechnics undoubtedly hindered his acceptance as a serious composer. Avison found his compositions ‘equally defective in various harmony and true invention’, an opinion found too sweeping by William Hayes, who, attributing the composer's faults ‘to his having a great command of his instrument, being of a volatile disposition (having too much mercury in his constitution) and to misapplication of good parts and abilities’, nonetheless thought that the 11th concerto in L'estro armonico (rv565) gave evidence of his ‘capacity in solid composition’. Hawkins admitted the ‘peculiar force and energy’ of his concertos, though he found them ‘wild and irregular’ and disparaged their part-writing.

Quantz had turned against Vivaldi by the time his Anweisung appeared in 1752, reproaching him for too much routine composing and for falling under the bad influence of opera. Further, many of Quantz's criticisms directed towards particular features of the contemporary Italian style, such as its fondness for simple, functional bass parts thematically unrelated to the upper parts, apply a fortiori to Vivaldi, their originator or popularizer. C.P.E. Bach taxed ‘a certain master in Italy’ (obviously Vivaldi) with initiating the custom of writing the bass in a high register and assigning it to violins, a usage already deplored by Benedetto Marcello in his satire Il teatro alla moda (1720), which targets Vivaldi in particular. Vivaldi's kindest German critic was the italophile Johann Mattheson, who commended him for his observation of the distinction between apt vocal and instrumental writing (the first avoiding the leaps of the second). Ironically, Tartini was reported by De Brosses to have instanced Vivaldi as one of those men gifted in instrumental composition who met with failure when they essayed opera – perhaps a case of sour grapes, for Goldoni wrote that most of Vivaldi's operas were successful.

A few decades passed, and Vivaldi fell into virtual oblivion, except among a few music historians and lexicographers – to be rescued, like so many of his contemporaries, via Bach scholarship. The influence of Vivaldi on Bach had been acknowledged by Forkel; now Rühlmann and Waldersee unearthed the Vivaldi originals of the Bach transcriptions and made their comparisons – always, at that time, to the Italian's disadvantage. His unequivocal importance to the history of the concerto was first demonstrated by Arnold Schering in 1905. The steady growth of interest in him received a tremendous spur from the discovery by Alberto Gentili in the 1920s of Vivaldi's personal archive of scores (the great variety of genres, both sacred and secular, and the preponderance of autograph scores make it impossible that the collection originally belonged to the Pietà, as some have suggested): the Foà and Giordano collections, now in the Biblioteca Nazionale, Turin. These were once, before their arbitrary division as a legacy into two collections, the property of the Venetian bibliophile Jacopo Soranzo, and later of Gluck's patron Count Giacomo Durazzo. The seal was set on Vivaldi's rehabilitation by the inauguration in 1947 of a collected edition of his instrumental works published by Ricordi in association with the Istituto Italiano Antonio Vivaldi and the appearance of Marc Pincherle's famous study in the following year.

The cataloguing of Vivaldi’s large and diverse output has proved a difficult task, especially as works having thematic incipits in common often prove on closer examination to be different (conversely, works with different incipits often share secondary material). With the rapid progress of Vivaldi research in recent years the two principal older catalogues, by Pincherle and Mario Rinaldi, have largely fallen into disuse, while the catalogue by Antonio Fanna, though still used, functions mainly as a finding list for the instrumental works published by Ricordi. The most recent and currently preferred catalogue by Peter Ryom, which exists in several versions published from 1973 onwards, is the only one that can claim to be complete. Although much more rationally organized than its predecessors, it has begun to show signs of its age, not least in the mass of recently discovered works untidily occupying the numbers from rv754 onwards and the confusing transfers of works (in both directions) between the main series (rv) and the one containing works of disputed or uncertain authorship (rv Anh).

5. Instrumental music.

No brief description can do justice to the variety of form, scoring and imaginative conception in Vivaldi's 500-odd concertos. If he did not invent ritornello form – the form in which varied restatements in different keys of a ritornello (refrain), usually scored for the full ensemble, alternate with modulating episodes of free thematic character, where a soloist predominates – he was at least the first composer to use it regularly in the fast movements of concertos, so providing his contemporaries with the models they were seeking. The same is true of the standard three-movement plan. Several occasional features of Vivaldi concertos were taken further and made normative by his successors: the northern Italians, including Tartini and Locatelli, copied his reference to the ritornello opening at the start of the first solo episode, the infiltration of solo writing into the ritornello, and the provision of a cadenza; the Germans, notably Bach, developed his techniques of thematic integration – the reprise of the first solo idea in the final episode and the use of ritornello fragments to accompany the soloist. Very often, Vivaldi has a double statement of the ritornello in the tonic at the end of the movement (which facilitates the matching of the openings of the first and last episodes) or a single statement of the ritornello interrupted by one or more solo excursions generally either reminiscent of earlier solo material or in the nature of a cadenza. G.M. Alberti and Telemann were among the composers who often copied this feature. One Vivaldian idiosyncrasy – the tendency to make ritornello restatements progressively shorter and less complete, while the length of episodes increases – was not taken over by his imitators, who preferred more symmetrical proportions. This peculiarity was accentuated by Vivaldi's impulsive way of composing: certain ideas in the opening ritornello, it seems, captured his imagination and recur almost automatically, while others, equally fertile in possibilities, are passed over, allowing the ritornello to become whittled down by a process akin to natural selection. It also happens that spontaneous modifications devoid of specific purpose are made to the ritornello in the act of writing it out again, as if the composer disdained to refresh his memory by consulting earlier pages. A simplified version of ritornello form is often used in slow movements, though binary form or through-composed form (sometimes employing a ground bass) also occur. Binary and variation form are occasionally found in finales.

Roughly 350 concertos are for one solo instrument and strings, over 230 of them for violin. Other solo instruments are (in descending order of frequency) bassoon, cello, oboe, flute, viola d'amore, a violin adapted to sound like a trumpet marine, recorder (including the so-called ‘flautino’) and mandolin. There are 40-odd double concertos, mostly for two similar instruments but including such rare combinations as viola d'amore and lute (rv540). Multiple concertos, in which three or more soloists participate, number over 30 and introduce, among other instruments, clarinets (making one of their earliest orchestral appearances), chalumeaux, theorbos, horns and timpani. A very important group of works is constituted by nearly 60 ripieno concertos (or string concertos without soloist), stylistically often very close to operatic sinfonias, with which they can be virtually interchangeable; some of them demonstrate an impressive sense of thematic economy and a flair for fugal writing that should give pause to those who consider Vivaldi an arch-instigator of the ‘flight from counterpoint’. Over 20 concertos are for a small group of solo instruments without string ripieno; the tutti is formed by the united soloists, as in Bach's Brandenburg Concerto no.3. Finally, there are a small number of works for double string orchestra with soloists, continuing an old Venetian and Italian tradition.

Many of the concertos received descriptive titles of various kinds. Some refer to the original performer or performers (e.g. Il Carbonelli rv366), while others recall the particular feast on which the work was performed (as in the concertos ‘per la Solennità di S Lorenzo’). Some allude to an unusual technical feature; in L'ottavina (rv763), for instance, all the solos are directed to be played an octave higher than written. Other titles (e.g. L'inquietudine rv234) characterize the pervading mood of the work. Lastly, some programmatic or onomatopoeic concertos have appropriate titles (e.g. Il Gardellino rv90, 428; La tempesta di mare rv98, 433, 570). In these, the elements in the ‘programme’ that remain constant (e.g. the huntsmen in the finale of the ‘Autumn’ concerto from the ‘Four Seasons’) are, quite logically, incorporated in the ritornello, while transitory events (e.g. the death of their quarry) are depicted in individual episodes. The slow movements are mostly static tableaux in which instrumentation is sometimes skilfully used to differentiate parts of the scene: in the central movement of the ‘Spring’ concerto, for instance, we hear simultaneously a sleeping shepherd (solo violin), a rippling brook (orchestral violins) and a vigilant sheepdog (viola).

Vivaldi was a deft and enterprising orchestrator. In general, the number of real parts is reduced and the texture lightened in solo passages, but the ways in which that is achieved are so varied as to defy enumeration. Single-line accompaniments on continuo or ripieno violins are the most common. He employed many special colouristic effects, such as muting and pizzicato, and paid exceptional attention for his time to the nuances of string articulation and bowing. The well-known passage in op.3 no.10 (rv580) where each of the four solo violins arpeggiates in a different manner is a representative instance. In particular, Vivaldi was fond of syncopated bowing in which the change of bow occurs on a note off the beat. Occasionally he seems to call for a true crescendo or diminuendo, anticipating early Classical style.

His approximately 90 sonatas are by comparison conservative in form and style, reflecting the special role of the genre in Italy as the repository of traditional technique. The trio sonatas of opp.1 and 5 are firmly in the chamber style, paying due homage to Corelli, while the solo sonatas, variously for violin, cello and wind instruments, are mostly in a composite church–chamber style where da camera elements have the upper hand, as shown by the supremacy of binary form, even in slow movements. The most interesting sonatas are perhaps a group of four for two violins performable without bass support (rv68, 70, 71, 77), which probably antedate Leclair's op.3 duets.

In his instrumental music Vivaldi was an uninhibited self-borrower. The extent to which material, including whole movements, was not merely re-used in works of the same genre but even transferred from one genre to another is remarkable. The slow movement of a solo sonata (rv12) can reappear in a solo concerto (rv582). A binary sonata finale (rv755) can be converted into ritornello form and used in a concerto (rv229). More subtly, the opening of the Allemanda finale of rv3 supplies the material of the episodes in the first movement of rv101 and its later version rv437. In those cases the sequence of borrowing is fairly clear, but in many others guesses are hazardous on present evidence. Vivaldi was also prone to modify existing works when they were required for new purposes; it is unlikely that he would ever have considered any version definitive. In recent years it has become evident that many of Vivaldi's movements in the stile antico are borrowed, usually with only slight adaptation, from older composers, including Giovanni Maria Ruggieri and Antonio Lotti.

6. Vocal music.

Vivaldi's sacred music, less well known outside Italy, was subject to the operatic influences of his age, although many individual movements remain close to the stile osservato. His numerous solo motets, well described by Denis Arnold as ‘concertos for voice’, have frankly exhibitionistic vocal parts. Vivaldi left eight ‘introductory’ motets (introduzioni) designed to preface a large-scale setting of a liturgical text (Gloria, Dixit Dominus, Miserere). Few examples of this subgenre are known from other composers. It is noteworthy how frequently the principal melodic interest in choral movements is allotted to the violins, leaving the choir to declaim homophonically in the background (as in the outer movements of the Credo rv591), thus anticipating the symphonic mass of Haydn's generation. Alongside operatic influence, that of the concerto is rarely absent. An extreme case is the Beatus vir rv598, conceived as a vast span of 420 bars in ritornello form; here the vocal soloists are heard in the episodes and the choir fulfils tutti and solo functions by turns. In his church music Vivaldi succeeded admirably in conveying the general sense of the text, but his word-setting can be cavalier (as, indeed, in his secular vocal music) and his attentiveness to the individual word or phrase disappointingly slight. It is the factor of a strong musical personality rather than artistic refinement that has brought deserved popularity in recent times to the Gloria rv589, the Magnificat rv610 and 611, and the oratorio Juditha triumphans.

His cantatas and serenatas are written in the style often misleadingly termed ‘Neapolitan’ after Alessandro Scarlatti. Their backbone is a series of two or more da capo arias, with which recitatives alternate. Over three-quarters of his cantatas are for solo voice (soprano or alto) and continuo alone, the favoured combination of the time. They constitute the least innovatory portion of his output, but by no means the least expertly written. There is a hint in one cantata (Nel partir da te mio caro rv661) that Vivaldi sometimes wrote the poetic text himself, for whereas three rejected openings of one recitative there have one text, the successful fourth version has a similar but not identical text. (Vivaldi is also suspected of having penned the sonetti dimostrativi explicating the ‘Four Seasons’.) The serenatas are more extended works, intermediate in style between cantata and opera and commissioned to celebrate an event or eulogize some person. Lacking the length and bombast of the operas, while furnishing more interesting sonorities than the cantatas, they fully deserve revival.

The scores of 21 operas, some lacking one or more acts, have survived. They include his first opera (Ottone in villa) and one of his last (Rosmira). Viewed dramatically, the operas merely supply what was expected of a composer working within narrow and at the time universal conventions; that apart, the music is as vital and imaginative as any he wrote. Obbligato instruments are introduced from time to time: for example, Armida calls for a solo violin, Giustino a psaltery and L'olimpiade a horn. It is interesting that some of the later scores include a few arias by Leo, Hasse, Handel, Pergolesi and other composers of the moment. Vivaldi may have wished to lend a veneer of fashion to the operas, no longer confident of his ability to satisfy public taste; or perhaps he borrowed simply for convenience or at a singer's behest.

7. Points of style.

Vivaldi's musical language is so distinctive that it is worth mentioning a few of its peculiarities. His melody shows a penchant for Lombardic rhythms (which, according to Quantz, he was the first to introduce) and for syncopation – betraying, perhaps, Venice's connections with Dalmatia and the Slavonic hinterland. His treatment of the variable sixth and seventh degrees of the minor scale was amazingly flexible, admitting the augmented 2nd as a melodic interval even in an ascending line. Compound intervals, including the octave, could assume an expressive melodic value hitherto barely exploited. He transported ideas from the major into the minor mode (and vice versa) with almost Schubertian freedom. He formed melodies from mere cadential fragments (a phenomenon well described by Kolneder as ‘Kadenzmelodik’). His harmony abounds in 7th chords, and he used the higher dominant discords (9th, 11th, 13th) over pedals with near recklessness. He can modulate extremely abruptly, often through a VII–I rather than V–I progression. Juxtapositions of very slow and very fast harmonic rhythms are frequent. His phrasing often includes irregular groups (e.g. of one and a half bars' length). His two violins frequently toss a pair of contrapuntally contrasted motifs back and forth over several bars, either at one pitch (producing a quasi-canonic effect) or at different pitches in a sequential pattern; sequence, incidentally, was a device whose attractiveness to Vivaldi could be dangerous in his more facile moments. Ostinato phrases in one part which contradict the changing harmonies of the other parts are typical.

It is rare that such an individualist attracts many followers. Yet during the period 1710–30 Vivaldi's influence on the concerto was so strong that some established composers older than him like Dall'Abaco and Albinoni felt obliged to modify their style in mid-career. In most of Italy, and in France after about 1725, the Vivaldian model was enthusiastically adopted. Only in conservative Rome and certain other parts of Europe (notably England) where the Corellian style had taken firm root was its hegemony resisted, and even then a Vivaldian spirit informs many concertos whose form is more Corellian than Vivaldian. Because the influence of the concerto permeated all forms of composition Vivaldi can legitimately be regarded as a most important precursor of G.B. Sammartini and the Bach sons in the evolution of the Classical symphony. Equally, he can be seen as a harbinger of musical Romanticism, not just on account of the pictorialism of certain programmatic concertos, but in more general terms because of the higher value he placed on expression than on perfection of detail.

Works

Catalogues

P. Ryom: Table de concordances des oeuvres (RV) (Copenhagen, 1973); Verzeichnis der Werke Antonio Vivaldis (RV): kleine Ausgabe (Leipzig, 1974, 2/1979); Répertoire des oeuvres d’Antonio Vivaldi: les compositions instrumentales (Copenhagen, 1986) [RV]

A. Fanna: Opere strumentali di Antonio Vivaldi (1678–1741): catalogo numerico-tematico secondo la catalogazione Fanna (Milan, 1986) [F]

Editions

Le opere di Antonio Vivaldi, ed. G.F. Malipiero and others (Milan, 1947–72) [M no.]

Nuova edizione critica delle opere di Antonio Vivaldi, ed. Istituto Italiano Antonio Vivaldi (Milan, 1982–) [N (unnumbered)]

Vivaldi: Opere incomplete, edizione critica, ed. Istituto Italiano Antonio Vivaldi (Florence, 2001–) [I no.]

Solo sonatas

with continuo; for violin unless otherwise stated

View large

Sources

Sonate, vn, hpd (Venice, 1709); as op.2 (Amsterdam, 1712)

VI sonate, vn/2 vn, bc, op.5 [continues numbering of op.2] (Amsterdam, 1716) [printed nos. given]

Il pastor fido, musette/vielle/fl/ob/vn, bc, ‘op.13’ (Paris, c1737) [pastiche by Nicolas Chédeville]

VI sonates, vc, bc (Paris, c1739)

RV

Key

F

M, N, I

Sources; remarks

1

C

XIII,34

399

op.2 no.6

2

C

XIII,11

369

D-Dl: facs. in Musik der Dresdener Hofkapelle (Leipzig, 1982); 2nd, 4th movts in rv4

3

C

XIII,8

366, N

Dl, GB-Mp, I-CF

4

C

A-Gd, inc.; 2nd, 4th movts in rv2

5

c

XIII,10

368

D-Dl

6

c

XIII,14

372, N

Dl: facs. in Musik der Dresdener Hofkapelle (Leipzig, 1982), GB-Mp

7

c

A-Gd, inc.

7a

c

XIII,61

N

I-CF, UDa; rv7 with different 3rd movt

8

c

XIII,35

400

op.2 no.7

9

D

XIII,39

404

op.2 no.11

10

D

XIII,6

364

D-Dl

11

D

A-Gd, inc.; also Breitkopf catalogue, see Brook

12

d

XIII,7

365, N

D-Dl, GB-Mp; 1st movt in rv582 (as 2nd movt)

13

d

XIII,50

S-Skma, spurious (? by J.H. Roman)

14

d

XIII,31

396

op.2 no.3

15

d

XIII,9

367

D-Dl

16

e

XIII,37

402

op.2 no.9

17

e

A-Gd, inc.

17a

e

XIII,57

N

GB-Mp: rv17 with different 3rd movt also in rv314 (as 2nd movt)

18

F

XIII,41

430

op.5 no.13

19

F

XIII,47

491

F-Pc: facs. in Musik der Dresdener Hofkapelle (Leipzig, 1982)

20

F

XIII,32

397

op.2 no.4, S-Uu

21

f

XIII,38

403

op.2 no.10

22

G

XIII,56

N

B-Bc, GB-Mp; 3rd movt in rv212a (as 2nd movt); related to rv776

23

G

XIII,36

401

op.2 no.8

24

G

XIII,49

529

D-WD, probably spurious

25

G

XIII,13

371

Dl: facs. in Musik der Dresdener Hofkapelle (Leipzig, 1982)

26

g

XIII,15

373

Dl

27

g

XIII,29

394

op.2 no.1

28

g

XIII,5

356

?ob, Dl

29

A

XIII,12

370

Dl: facs. in Musik der Dresdener Hofkapelle (Leipzig, 1982)

30

A

XIII,42

431

op.5 no.14

31

A

XIII,30

395

op.2 no.2

32

a

XIII,40

405

op.2 no.12

33

B♭

XIII,43

432

op.5 no.15

34

B♭

XIII,16

374

?ob, Dl

35

b

XIII,44

433

op.5 no.16

36

b

XIII,33

398

op.2 no.5

37

b

A-Gd, inc.

38

d

vc, lost; Breitkopf catalogue, see Brook

39

E♭

XIV,8

504

vc, I-Nc

40

e

XIV,5

477

vc, VI sonates, no.5, F-Pn

41

F

XIV,2

474

vc, VI sonates, no.2, Pn

42

g

XIV,9

530

vc, D-WD

43

a

XIV,3

475

vc, VI sonates, no.3, F-Pn

44

a

XIV,7

503

vc, D-WD (attrib. Abate del Cinque), I-Nc

45

B♭

XIV,4

476

vc, VI sonates, no.4, F-Pn

46

B♭

XIV,6

478

vc, VI sonates, no.6, D-WD, F-Pn

47

B♭

XIV,1

473

vc, VI sonates, no.1, Pn, I-Nc

48

C

XV,3

490

fl, GB-Cu

49

d

XV,5

517

fl, S-Uu, probably spurious

50

e

XV,6

fl, Skma, probably spurious

51

g

XV,9

N

fl, D-LEm, adapted from rv27

52

F

XV,4

501

rec, I-Vqs

53

c

XV,2

375

ob, D-Dl

54

C

XVI,5

467

musette/vielle/fl/ob/vn, ‘op.13’ no.1

55

C

XVI,9

471

musette/vielle/fl/ob/vn, ‘op.13’ no.5

56

C

XVI,6

468

musette/vielle/fl/ob/vn, ‘op.13’ no.2

57

G

XVI,7

469

musette/vielle/fl/ob/vn, ‘op.13’ no.3

58

g

XVI,10

472

musette/vielle/fl/ob/vn, ‘op.13’ no.6

59

A

XVI,8

470

musette/vielle/fl/ob/vn, ‘op.13’ no.4

754

C

XIII,60

N

GB-Mp

755

D

XIII,53

N

Mp; 3rd and 4th movts in rv229 (as 2nd and 3rd movts, scoring differs)

756

E♭

XIII,59

N

Mp

757

g

XIII,52

N

Mp

758

A

XIII,55

N

Mp; 1st and 3rd movts formerly numbered rv746 (withdrawn)

759

B♭

XIII,54

N

Mp

760

b

XIII,58

N

Mp

776

G

D-Dl: pastiche opening with 3rd movt of rv22

785

D

I-UDa, inc.

791

B♭

H-Bn [microfilm of privately owned MS], inc., authenticity uncertain

798

D

N

I-BGc

View large

Trio sonatas

with continuo; for 2 violins unless otherwise stated

View large

Sources

Suonate da camera a 3, 2 vn, vle/hpd, op.1 (Venice, 1705)

VI sonate, vn/2 vn, bc, op.5 [continues numbering of op.2] (Amsterdam, 1716) [printed nos. given]

61

C

XIII,19

384

op.1 no.3

62

D

XIII,22

387

op.1 no.6

63

d

XIII,28

393

op.1 no.12, ‘Follia’

64

d

XIII,24

389

op.1 no.8

65

E♭

XIII,23

388

op.1 no.7

66

E

XIII,20

385

op.1 no.4

67

e

XIII,18

383

op.1 no.2

68

F

XIII,3

57

I-Tn, bc optional

69

F

XIII,21

386

op.1 no.5

70

F

XIII,4

58

Tn, bc optional

71

G

XIII,1

17

Tn, bc optional; 2nd movt in rv516

72

g

XIII,46

435

op.5 no.18

73

g

XIII,17

382

op.1 no.1

74

g

XIII,51

N

S-L

75

A

XIII,25

390

op.1 no.9

76

B♭

XIII,45

434

op.5 no.17

77

B♭

XIII,2

24

I-Tn, bc optional

78

B♭

XIII,26

391

op.1 no.10

79

b

XIII,27

392

op.1 no.11

80

G

XV,7

2 fl, S-L, probably spurious

81

c

XV,8

N

2 ob, L

82

C

XVI,3

63

vn, lute, I-Tn

83

c

XVI,1

20

vn, vc, Tn

84

D

XII,43

355

fl, vn, D-Dl

85

g

XVI,4

75

vn, lute, I-Tn

86

a

XV,1

18

rec, bn, Tn

800

A

N

2 fl, D-MG, Hessisches Staatsarchiv

View large

Other sonatas

with continuo

View large

169

b

XI,7

22

2 vn, va, Tn; ‘Sinfonia al Santo Sepolcro’

779

C

XVI,11

N

vn, ob, org (obbl), chalumeau (optional), D-Dl

801

C

fl/ob, ob/vn, bn/vc, D-HRD

View large

Concertos for small ensemble

with continuo

View large

88

C

XII,24

143

fl, ob, vn, bn, Tn

89

D

XII,51

fl, 2 vn, S-Skma, probably spurious

90

D

XII,9

42

fl/rec/vn, ob/vn, vn, bn/vc, GB-Mp, I-Tn; ‘Il gardellino’, see rv428

91

D

XII,27

149

fl, vn, bn, Tn

92

D

XII,7

39

rec, vn, bn/vc, Tn

93

D

XII,15

62

lute, 2 vn, Tn

94

D

XII,25

144

rec, ob, vn, bn, Tn

95

D

XII,29

154

rec/vn, ob/vn, vn, bn, GB-Mp, I-Tn; ‘La pastorella’

96

d

XII,42

354

fl, vn, bn, D-Dl

97

F

XII,32

248

va d’am, 2 hn, 2 ob, bn, I-Tn

98

F

fl, ob, vn, bn, Tn; ‘Tempesta di mare’, see rv433 and 570

99

F

XII,26

147

fl, ob, vn, bn, Tn; see rv571

100

F

XII,21

106

fl, vn, bn, Tn

101

G

XII,13

52

rec, ob, vn, bn, Tn; 2nd movt in rv242, see rv437

102

G

XII,52

fl, 2 vn, S-L, probably spurious

103

g

XII,4

23

rec, ob, bn, I-Tn

104

g

XII,5

33

fl/vn, 2 vn, bn, Tn; ‘La notte’, see rv439

105

g

XII,20

103

rec, ob, vn, bn, Tn

106

g

XII,8

41

fl/vn, vn, bn/vc, Tn

107

g

XII,6

40

fl, ob, vn, bn, D-Dl, I-Tn

108

a

XII,11

44

rec, 2 vn, Tn

751

D

2 fl, 2 vn, 2 bn, lost; Sonsfeld catalogue

View large

Concertos and sinfonias for strings and continuo

View large

Source

6 concerti, solo vn, 2 vn, va, org, vc, op.12 (Amsterdam, 1729)

110

C

XI,25

200

conc., Tn; 2nd movt in rv537

111

C

conc., A-Wgm

111a

C

sinfonia, D-B, Dl; rv111 with different 2nd movt

112

C

XI,47

507

sinfonia, A-Wn, D-Dl (with inauthentic parts for 2 fl)

113

C

XI,48

509

conc., A-Wn

114

C

XI,44

493

conc., F-Pc

115

C

XI,38

309

I-Tn; ‘Concerto ripieno’

116

C

XI,46

506

sinfonia, D-Dl, F-AG

117

C

XI,37

308

conc., I-Tn

118

c

XI,9

32

conc., Tn

119

c

XI,20

177

conc., F-Pc, I-Tn

120

c

XI,8

30

conc., Tn

121

D

XI,30

246

conc., F-Pc, I-Tn

122

D

XII,45

362

sinfonia, D-Dl (with inauthentic parts for 2 ob)

123

D

XI,16

114

conc., I-Tn

124

D

XI,42

464

conc., op.12 no.3, Tn (frag.)

125

D

sinfonia, D-B, inc.

126

D

XI,15

113

conc., I-Tn; 2nd movt in rv153

127

d

XI,19

176

conc., F-Pc, I-Tn

128

d

XI,31

251

conc., Tn

129

d

XI,10

36

Tn; ‘Concerto madrigalesco’

131

E

XI,18

161

sinfonia, Tn

132

E

XI,50

515

sinfonia, D-B, spurious (by J.G. Janitsch)

133

e

XI,43

492

conc., F-Pc

134

e

XI,13

56

conc./sinfonia, I-Tn

135

F

XII,46

363

sinfonia, D-Dl (with inauthentic parts for 2 hn)

136

F

XI,14

59

conc., F-Pc, I-Tn

137

F

XI,51

516

sinfonia, D-B

138

F

XI,34

288

conc., I-Tn

139

F

conc., Tn; see rv543

140

F

XI,29

242

sinfonia/conc., D-Dl (with inauthentic parts for 2 ob and 2 hn), I-Tn

141

F

XI,28

241

conc., Tn

142

F

XI,2

6

conc.,Tn

143

f

XI,35

289

conc., Tn

144

G

XI,49

512

‘introdutione’, A-Wn, probably spurious (? by G. Tartini), renumbered as rv Anh.70

145

G

XI,32

252

conc., I-Tn

146

G

XI,41

361

sinfonia, D-Dl, SWl (‘concerto’), I-Nc (‘concerto’), N-T (‘concerto’)

147

G

XI,53

N

sinfonia, D-Dl (with inauthentic parts for 2 fl and ob), S-L

148

G

XII,49

360

sinfonia, A-Wn, D-Dl, probably spurious (? by D. Gallo); renumbered as rv Anh.68

149

G

XI,40

321

sinfonia, Dl: facs. in Musik der Dresdener Hofkapelle (Leipzig, 1977)

150

G

XI,36

290

conc., F-Pc, I-Tn

151

G

XI,11

49

Tn; ‘Concerto alla rustica’, 2 ob in 3rd movt

152

g

XI,27

226

conc., Tn

153

g

XI,33

287

conc., Tn; 2nd movt in rv126

154

g

XI,39

310

conc., F-Pc, I-Tn

155

g

XI,6

11

conc., Tn; solo vn in 3rd and 4th movts

156

g

XI,17

115

conc., Tn

157

g

XI,21

182

conc., F-Pc, I-Tn

158

A

XI,4

8

Tn; ‘Concerto ripieno’

159

A

XI,1

5

conc., F-Pc, I-Tn; 2 solo vn, solo vc in 3rd movt

160

A

XI,22

184

conc., F-Pc, I-Tn

161

a

XI,26

201

conc., Tn

162

B♭

XII,44

359

sinfonia, D-Dl (with inauthentic parts for 2 fl and 2 ob)

163

B♭

XI,5

9

conc., I-Tn; ‘Conca’

164

B♭

XI,12

50

conc., F-Pc, I-Tn

165

B♭

I,78

172

conc., Tn

166

B♭

XI,3

7

conc., Tn

167

B♭

XI,24

190

conc., Tn

168

b

XI,52

518

sinfonia, S-L, Skma, Uu

786

D

sinfonia, I-Vc, inc.

801

C

sinfonia, I-Pci, ‘Improvisata’

View large

Solo concertos

with strings and continuo; for violin unless otherwise stated

View large

Sources

L’estro armonico (2 bks), op.3 (Amsterdam, 1711)

La stravaganza (2 bks), op.4 (Amsterdam, 1716)

VI concerti a 5 stromenti, op.6 (Amsterdam, 1719)

Concerti a 5 stromenti (2 bks), op.7 (Amsterdam, 1720)

Il cimento dell’armonia e dell’inventione (2 bks), op.8 (1725)

La cetra (2 bks), op.9 (Amsterdam, 1727)

VI concerti, fl, str, op.10 (Amsterdam, 1729)

6 concerti, op.11 (Amsterdam, 1729)

6 concerti, op.12 (Amsterdam, 1729)

171

C

I,93

194

I-Tn

172

C

I,140

322

D-Dl

172a

C

Dl, inc.; pastiche: 1st and 2nd movts of rv172 and 3rd movt of conc. by C. Tessarini (withdrawn)

173

C

I,213

465

op.12 no.4

174

C

Ringmacher catalogue, lost

175

C

I,232

508

A-Wn; authenticity uncertain

176

C

I,226

495

F-Pc

177

C

I,67

160

D-Dl, I-Tn

178

C

I,31

85

op.8 no.12; see rv449

179

C

VI concerti a 5 stromenti (Amsterdam, 1736), no.3, D-Dl; see rv581

179a

C

I-Vc, inc.; different 3rd movt

180

C

I,27

81

op.8 no.6; ‘Il piacere’

181

C

Tn

181a

C

I,47

122

op.9 no.1; 3rd movement identical with that of rv183

182

C

I,94

195

Tn

183

C

I,111

256

A-Wn, I-Tn

184

C

I,146

328

?ob, D-Dl

185

C

I,186

424

op.4 no.7

186

C

I,3

13

I-Tn

187

C

I,135

311

Tn

188

C

I,198

443

op.7/i no.2

189

C

I,169

376

6 concerti a 5 stromenti (Amsterdam, 1735), no.1, A-Wn, D-Dl, F-Pc, GB-Mp, I-Nc (attrib. N. Fiorenza)

190

C

I,46

120

I-Tn

191

C

I,114

259

Tn

192

C

I,68

162

D-Dl, I-Tn (‘sinfonia’); 2 solo vn in 1st movt

192a

C

I,68

162

Tn (‘sinfonia’); different 3rd movement

193

C

Rheda catalogue, lost

194

C

I,73

167

Tn

195

C

I,217

481

VI concerts à 5 & 6 instrumens (Amsterdam, 1736), no.6, D-Dl

196

c

I,189

427

op.4 no.10

197

c

I,79

173

I-Tn

198

c

D-Dl

198a

c

I,58

133

op.9 no.11; different 2nd movt

199

c

I,2

4

Dl, I-Tn; ‘Il sospetto’

200

c

Brtnice (Pirnitz) catalogue, lost

201

c

I,105

230

Tn

202

c

I,210

461

op.11 no.5, A-Wn, D-B, Dl

203

D

A-Wn, inc.

204

D

I,190

428

op.4 no.11 (2 solo vn in 1st movt), I-Nc

205

D

I,149

331

D-Dl

206

D

I,228

497

SWl

207

D

I,89

188

op.11 no.1, Dl, I-Tn, Vc

208

D

I,138

314

D-SWl, I-CF, Tn; ‘Grosso Mogul’, basis for bwv594

208a

D

I,206

452

op.7/ii no.5, N-T; without cadenzas in 1st and 3rd movts, different 2nd movt

209

D

I,120

286

I-Tn

210

D

I,30

84

op.8 no.11

211

D

I,116

261

Tn

212

D

D-Dl, inc. (with inauthentic parts for 2 ob); ‘Concerto fatto per la solennità della santa lingua di S. Antonio in Padoa 1712’

212a

D

I,136

312

I-Tn; different 2nd movt identical with 3rd movt of rv22

213

D

I,162

347

D-Dl (with inauthentic parts for 2 fl, 2 ob)

213a

D

I-Vc, inc.; different 3rd movt

214

D

I,207

453

op.7/ii no.6, D-SWl, N-T, S-L (attrib. ? D. Gallo)

215

D

I,132

305

I-Tn

216

D

I,195

439

op.6 no.4

217

D

I,19

69

Tn

218

D

I,134

307

Tn

219

D

I,153

335

D-Dl

220

D

I,218

482

Concerti a 5 (Amsterdam, 1717), no.6

221

D

I,97

203

‘vn in tromba [marina]’, I-Tn

222

D

I,124

294

Tn, Vc

223

D

I,225

494

see rv762; withdrawn

224

D

I,158

343

D-Dl: facs. in Quattro concerti autografi della Sächsische Landesbibliothek di Dresda (Siena, 1949)

224a

D

Dl; different 2nd movt identical with that of rv772

225

D

I,80

174

Dl, I-Tn

226

D

I,129

302

D-Dl, I-Tn

227

D

I,234

513

A-Wgm

228

D

I,160

345

D-Dl

229

D

I,45

117

Dl, I-Tn, Vc; 2nd and 3rd movts in rv755 (as 3rd and 4th movts, scoring differs)

230

D

I,178

414

op.3 no.9; basis for bwv972

231

D

I,8

31

Tn

232

D

I,18

68

Tn

233

D

I,133

306

Tn

234

D

I,10

37

GB-Mp, I-Gl, Tn; ‘L’inquietudine’

235

d

I,113

258

Tn

236

d

op.8 no.9, Tn; for ob as rv454

237

d

I,143

325

D-Dl

238

d

I,56

131

op.9 no.8

239

d

I,197

441

op.6 no.6, Dl

240

d

I,142

324

Dl: facs. in Quattro concerti autografi della Sächsische Landesbibliothek di Dresda (Siena, 1949)

241

d

I,154

336

Dl

242

d

I,28

82

op.8 no.7, Dl; 2nd movt in rv101

243

d

I,11

45

vn ‘senza cantin’, I-Tn

244

d

I,212

463

op.12 no.2

245

d

I,151

333

D-Dl

246

d

I,119

285

Dl, I-Tn

247

d

I,126

296

Tn

248

d

I,21

74

Tn, Vc

249

d

I,187

425

op.4 no.8

250

E♭

I,102

227

Tn

251

E♭

I,109

254

Tn

252

E♭

I,164

349

Af, Tn

253

E♭

I,26

80

op.8 no.5, D-Dl (with inauthentic parts for 2 ob), GB-Mp; ‘La tempesta di mare’

254

E♭

I,9

38

I-Tn

255

E♭

Brtnice (Pirnitz) catalogue, lost

256

E♭

I,231

502

Nc; ‘Il ritiro’

257

E♭

I,92

193

Tn

258

E♭

I,75

169

Tn

259

E♭

I,193

437

op.6 no.2, D-Dl, WD

260

E♭

I,166

352

Dl: facs. in Quattro concerti autografi della Sächsische Landesbibliothek di Dresda (Siena, 1949), I-Vc

261

E♭

I,131

304

Tn, Vc; 2 solo vn in 1st movt

262

E♭

I,156

340

D-Dl

263

E

I-Tn

263a

E

I,48

123

op.9 no.4; different 3rd movt identical with that of rv762

264

E

I,72

166

Tn

265

E

I,179

417

op.3 no.12; basis for bwv976

266

E

I,84

180

Tn

267

E

I,145

327

D-Dl

267a

E

I-Vc, inc.; different 2nd movt

268

E

I,7

29

F-Pc, I-Tn

269

E

I,22

76, N

op.8 no.1, F-Pc, GB-Mp; ‘La primavera’

270

E

I,4

15

Mp, I-Tn; ‘Il riposo, concerto per il Santissimo Natale’

270a

E

Vc, inc.; different 2nd movt

271

E

I,127

297

A-Wn, I-Tn; ‘L'amoroso’

272

e

D-SWl (attrib. J.A. Hasse), GB-Mp (attrib. A.M. Scaccia); ?inauthentic, renumbered as rv Anh.64 and 64a

273

e

I,70

164

I-Tn

274

e

I,238

S-L, SK; authenticity uncertain

275

e

I,220

484

Concerti a 5 (Amsterdam, 1717), no.12, A-Wn, CH-Zz, S-L

275a

e

D-DS; different 2nd movt, ? by C. Graupner; for fl as rv430

276

e

I,216

480

Concerts à 5, 6 & 7 instrumens (Amsterdam, 1714), no.1, A-Wn

277

e

I,208

459

op.11 no.2, Wn; ‘Il favorito’

278

e

I,37

93

I-Tn

279

e

I,181

419

op.4 no.2, D-Dl

280

e

I,196

440

op.6 no.5

281

e

I,74

168

I-Tn

282

F

I,33

87

Tn

283

F

I,128

301

Tn

284

F

I,188

426

op.4 no.9; 1st movt in rv285

285

F

I,161

346

D-Dl; 1st movt in rv775 and 284

285a

F

I,201

446

op.7/i no.5; different 1st movt

286

F

I,20

70

A-Wn, D-SWl, GB-Mp, I-Nc, Tn (‘Concerto per la solennità di S Lorenzo’), Vc, S-L (attrib. ? J.G. Graun)

287

F

I,88

187

I-Tn

288

F

I,17

66

Tn

289

F

I,71

165

Tn

290

F

Brtnice (Pirnitz) catalogue, lost

291

F

I,215

479

op.4 no.6 in the Walsh edition (1728); 2nd movt in rv357

292

F

I,167

357

A-Wn (attrib. F. Chelleri), D-Dl

293

F

I,24

78, N

op.8 no.3, GB-Mp; ‘L'autunno’

294

F

Mp; ‘Il ritiro’

294a

F

I,205

451

op.7/ii no.4, A-Wn, D-Dl (with inauthentic parts for 2 ob), S-L; ‘Il ritiro’, different 2nd movt

295

F

I,130

303

I-Tn

296

F

I,66

158

Tn

297

f

I,25

79, N

op.8 no.4, GB-Mp; ‘L'inverno’

298

G

I,191

429

op.4 no.12, D-Dl

299

G

I,203

449

op.7/ii no.2, Dl; basis for bwv973

300

G

I,49

124

op.9 no.10

301

G

I,182

420

op.4 no.3, S-L

302

G

I,168

358

D-Dl, F-Pc (attrib. G.B. Somis), GB-Mp

303

G

I,103

228

I-Tn

304

G

Brtnice (Pirnitz) catalogue, lost

305

G

Ringmacher catalogue, lost

306

G

I,87

186

Tn

307

G

I,110

255

Tn

308

G

I,209

460

op.11 no.4, Vc

309

G

Brtnice (Pirnitz) catalogue, lost; ‘Il mare tempestoso’

310

G

I,173

408

op.3 no.3; basis for bwv978

311

G

I,96

202

vn ‘in tromba [marina]’, Tn

312

G

I,107

247

Tn

313

G

I,64

156

vn ‘in tromba [marina]’, Tn

314

G

I,91

192

D-Dl, GB-Lbl, Mp, I-Tn; 2nd movt in rv17a (as 3rd movt)

314a

G

D-Dl; different 2nd movt

315

g

I,23

77, N

op.8 no.2, GB-Mp, I-Gl, S-L; ‘L'estate’

316

g

formerly D-DS, lost; basis for bwv975

316a

g

I,185

423

op.4 no.6, CH-Zz; different 3rd movt

317

g

I,211

462

op.12 no.1

318

g

I,194

438

op.6 no.3

319

g

I,165

351

D-Dl (with inauthentic parts for 2 ob)

320

g

I-Tn, inc.

321

g

I,122

292

Tn

322

g

A-Wn, inc.

323

g

I,147

329

D-Dl

324

g

I,192

436

op.6 no.1

325

g

I,108

253

I-Tn

326

g

I,199

444

op.7/i no.3

327

g

I,112

257

Tn

328

g

I,82

178

D-Dl, I-Tn, US-BEm

329

g

I,152

334

D-Dl

330

g

I,36

92

I-Tn

331

g

I,125

295

Tn

332

g

I,16

65

op.8 no.8, Tn

333

g

I,81

175

Tn

334

g

I,52

127

op.9. no.3, GB-Mp; see rv460

335

A

I,223

487

N-T, S-L, Uu (2 vn), both with different 2nd movt by J.H. Roman; ‘The Cuckow’ (London, 1717)

335a

A

I-AN; different 2nd movt; ‘Il rosignuolo’

336

A

I,90

191

op.11 no.3, Tn

337

A

Brtnice (Pirnitz) catalogue, lost

338

A

I,221

485

probably by J. Meck, renumbered as rv Anh.65

339

A

I,227

496

D-SWl

340

A

I,141

323

Dl

341

A

I,148

330

6 concerti a 5 stromenti (Amsterdam, 1735), no.4, Dl

342

A

I,224

489

GB-Cfm: facs. in Fac-simile di un autografo di Antonio Vivaldi, ed. O. Rudge (Siena, 1947)

343

A

I,39

100

D-Dl, I-Tn, Vc

344

A

I,155

339

D-Dl

345

A

I,51

126

op.9 no.2, Dl

346

A

I,104

229

I-Tn

347

A

I,184

422

op.4 no.5

348

A

I,54

129

op.9 no.6, GB-Mp, I-Nc

349

A

I,123

293

D-Dl, GB-Mp, I-Tn, Vc

350

A

I,106

245

Tn

351

A

Ringmacher catalogue, lost

352

A

I,5

16

Tn

353

A

I,137

313

Tn

354

a

I,200

445

op.7/i no.4, GB-Mp

355

a

I,236

519

S-Uu; authenticity uncertain

356

a

I,176

411

op.3 no.6

357

a

I,183

421

op.4 no.4; 2nd movt in rv291

358

a

I,53

128

op.9 no.5, D-Dl, S-Skma (attrib. Piantanida)

359

B♭

I,55

130

op.9 no.7

360

B♭

A-Wn, inc.

361

B♭

I,214

466

op.12 no.6

362

B♭

I,29

83

op.8 no.10, D-Dl, I-Tn; ‘La caccia’

363

B♭

I,163

348

D-Dl, I-Vc; ‘Il corneto da posta’

364

B♭

I,219

483

Concerti a 5 (Amsterdam, 1717), no.8, D-SWl

364a

B♭

L'élite des concerto [sic] italiens (Paris, 1742–51), no.1, Dl; different 2nd movt

365

B♭

I,69

163

I-Tn

366

B♭

I,150

332

D-Dl, I-Vc; ‘Il Carbonelli’

367

B♭

I,1

1

Tn

368

B♭

I,121

291

Tn

369

B♭

I,65

157

D-Dl, I-Tn

370

B♭

I,95

199

D-Dl, I-Tn

371

B♭

I,117

262

Tn

372

B♭

I,118

284

Tn

373

B♭

I,204

450

op.7/ii no.3, D-Dl; ?spurious

374

B♭

I,202

447

op.7/i no.6

375

B♭

I,32

86

I-Tn

376

B♭

I,76

170

Tn

377

B♭

I,230

499

D-SWl

378

B♭

I-Tn, inc.

379

B♭

I,86

183

op.12 no.5, D-Dl, I-Tn

380

B♭

I,15

64

Tn

381

B♭

I,235

514

D-B; see rv528; basis for bwv980

382

B♭

I,233

511

A-Wn

383

B♭

I,170

377

D-Dl

383a

B♭

I,180

418

op.4 no.1, PL-GD; different first movt almost identical with that of rv381

384

b

I,144

326

D-Dl

385

b

I,229

498

SWl; probably spurious

386

b

I,115

260

I-Tn

387

b

I,83

179

Tn, Vc

388

b

I,171

378

D-Dl

389

b

I,38

96

I-Tn

390

b

I,77

171

Tn

391

b

I,50

125

op.9 no.12, A-Wn, GB-Mp, I-Tn

392

D

II,5

337

va d'amore, D-Dl

393

d

II,4

va d'amore, I-Tn; basis for rv769

394

d

II,2

196

va d'amore, Tn

395

d

va d'amore, Tn

395a

d

II,3

va d'amore, Tn; withdrawn, see rv770

396

A

II,1

189

va d'amore, Tn; basis for rv768

397

a

II,6

341

va d'amore, D-Dl, I-Tn

398

C

III,8

218

vc, Tn

399

C

III,6

211

vc, Tn

400

C

III,3

204

vc, Tn

401

c

III,1

19

vc, Tn

402

c

III,27

527

vc, D-WD

403

D

III,16

235

vc, I-Tn

404

D

III,20

500

vc, D-SWl

405

d

III,24

524

vc, WD

406

d

III,7

212

vc, I-Tn

407

d

III,23

523

vc, D-WD

408

E♭

III,5

206

vc, I-Tn

409

e

XII,22

137

vc, Tn, with solo bn

410

F

III,17

243

vc, Tn

411

F

III,14

233

vc, Tn

412

F

III,11

221

vc, Tn

413

G

III,12

231

vc, Tn

414

G

III,19

317

vc, Tn; see rv438

415

G

III,22

522

vc, D-WD; spurious

416

g

III,26

526

vc, WD

417

g

III,15

234

vc, I-Tn

418

a

III, 18

244

vc, Tn

419

a

III,10

220

vc, Tn

420

a

III,21

521

vc, D-WD

421

a

III,13

232

vc, I-Tn

422

a

III,4

205

vc, D-Dl, WD, I-Tn

423

B♭

III,25

525

vc, D-WD

424

b

III,9

219

vc, I-Tn

425

C

V,1

98

mand, Tn

426

D

fl, S-Skma; probably spurious

427

D

VI,3

102

fl, I-Tn

428

D

VI,14

456

fl, op.10 no.3; ‘Il gardellino’, see rv90

429

D

VI,10

153

fl, D-SWl, I-Tn

430

e

fl, D-DS; for vn as rv275a

431

e

I, 1

fl, I-Tn, inc.

432

e

I, 1

fl, Tn, inc.

433

F

VI,12

454

fl, op.10 no.1; ‘La tempesta di mare’, see rv98 and 570

434

F

fl, op.10 no.5; version of rv442 with 2nd movt transposed

435

G

VI,15

457

fl, op.10 no.4

436

G

VI,8

151

fl, D-B, I-Tn, S-Skma

437

G

VI,16

458

fl, op.10 no.6; see rv101

438

G

VI,6

138

fl, I-Tn; see rv414

439

g

VI,13

455

fl, op.10 no.2; see rv104

440

a

VI,7

148

fl, Tn

441

c

VI,11

159

rec, Tn

442

F

VI,1

46

rec, Tn; basis for rv434

443

C

VI,4

105

flautino, Tn

444

C

VI,5

110

flautino, Tn

445

a

VI,9

152

flautino, Tn

446

C

VII,20

ob, S-L; ?spurious

447

C

VII,6

216

ob, I-Tn; see rv470

448

C

VII,7

217

ob, Tn; adaptation of rv470

449

C

ob, op.8 no.12; for vn as rv178

450

C

VII,11

283

ob, Tn; adaptation of rv471

451

C

VII,4

222

ob, Tn

452

C

VII,17

520

ob, S-Uu

453

D

VII,10

279

ob, I-Tn

454

d

VII,1

2

ob, op.8 no.9; for vn as rv236

455

F

VII,2

14

ob, D-HRD, I-Tn

456

F

VII,16

488

ob, Harmonia mundi (London, 1728), no.5; authenticity uncertain

457

F

VII,12

315

ob, Tn; adaptation of rv485

458

F

VII,18

ob, S-L; probably spurious

459

g

ob, D-WD, inc; spurious

460

g

ob, op.11 no.6; see rv334

461

a

VII,5

215

ob, I-Tn

462

a

VII,19

N

ob, S-L, Uu

463

a

VII,13

316

ob, I-Tn; adaptation of rv500

464

B♭

VII,15

448

ob, op.7/ii no.1; probably spurious

465

B♭

VII,14

442

ob, op.7/i no.1; probably spurious

466

C

VIII,28

274

bn, Tn

467

C

VIII,18

239

bn, Tn

468

C

I, 2

bn, Tn, inc.

469

C

VIII,16

237

bn, Tn

470

C

VIII,33

281

bn, Tn; see rv447; basis for rv448

471

C

VIII,34

282

bn, Tn; basis for rv450

472

C

VIII,17

238

bn, Tn

473

C

VIII,9

118

bn, Tn

474

C

VIII,4

47

bn, Tn

475

C

VIII,21

267

bn, Tn

476

C

VIII,31

277

bn, Tn

477

C

VIII,13

224

bn, Tn

478

C

VIII,3

34

bn, Tn

479

C

VIII,26

272

bn, Tn

480

c

VIII,14

225

bn, Tn

481

d

VIII,5

67

bn, Tn

482

d

I, 2

bn, Tn, inc.

483

E♭

VIII,27

273

bn, Tn

484

e

VIII,6

71

bn, Tn

485

F

VIII,8

109

bn, Tn; basis for rv457

486

F

VIII,22

268

bn, Tn

487

F

VIII,15

236

bn, Tn

488

F

VIII,19

240

bn, Tn; with 2 solo vn in 1st movt

489

F

VIII,20

266

bn, Tn

490

F

VIII,32

278

bn, Tn

491

F

VIII,25

271

bn, Tn

492

G

VIII,29

275

bn, Tn

493

G

VIII,30

276

bn, Tn

494

G

VIII,37

300

bn, Tn

495

g

VIII,23

269

bn, Tn

496

g

VIII,11

214

bn, Tn

497

a

VIII,7

72

bn, Tn

498

a

VIII,2

28

bn, Tn

499

a

VIII,12

223

bn, Tn

500

a

VIII,10

119

bn, Tn; basis for rv463

501

B♭

VIII,1

12

bn, Tn; ‘La notte’

502

B♭

VIII,24

270

bn, Tn

503

B♭

VIII,35

298

bn, Tn

504

B♭

VIII,36

299

bn, Tn

752

D

Sonsfeld catalogue, lost

761

c

I,239

N

GB-Mp; ‘Amato bene’

762

E

F-Pc (D, formerly rv223), GB-Mp; 3rd movt in rv263a

763

A

I,240

N

Mp, I-Vc; ‘L'ottavina’

768

A

Tn, adaptation of rv396; different 2nd movt formerly rv744 (withdrawn)

769

d

198

Tn; adaptation of rv393

770

d

197

Tn; adaptation of rv395; formerly rv395a

771

c

Vc, inc.

772

D

Vc, inc.; 2nd movt in rv224a

773

F

Vc, inc.

780

A

hpd, Tn; putative alternative version of rv546

783

D

VI,17

N

fl, D-SWl

784

G

fl, Esterházy catalogue, lost

787

e

vc, I-Vc, inc.

788

B♭

vc, Vc, inc.

790

B♭

Vc, inc.; rv372 with different 2nd movt

792

A

Vc, inc.

794

F

Vc, inc.

View large

Double concertos

with strings and continuo

View large

Sources

L'estro armonico (2 bks), op.3 (Amsterdam, 1711)

La cetra (2 bks), op.9 (Amsterdam, 1727)

506

C

I,157

342

2 vn, D-Dl

507

C

I,43

112

2 vn, Dl (with inauthentic parts for 2 ob), I-Tn

508

C

I,44

116

2 vn, D-Dl (with inauthentic parts for 2 ob), I-Tn

509

c

I,12

48

2 vn, Tn

510

c

I,14

60

2 vn, GB-Lam, I-Tn; for vn, org as rv766

511

D

I,35

89

2 vn, Tn

512

D

I,41

108

2 vn, Tn

513

D

I,222

486

2 vn, VI concerti a 5 stromenti (Amsterdam, 1736), no.6

514

d

I,100

209

2 vn, Tn

515

E♭

I,101

210

2 vn, Tn

516

G

I,6

27

2 vn, Tn; 2nd movt in rv71

517

g

I,98

207

2 vn, Tn

518

A

v

2 vn; inauthentic version of rv335 in S-Uu (withdrawn)

519

A

I,175

410

2 vn, op.3 no.5; many MS copies

520

A

2 vn, A-Wn, inc.

521

A

I,159

344

2 vn, D-Dl (with inauthentic parts for 2 ob)

522

a

I,177

413

2 vn, op.3 no.8; basis for bwv593

523

a

I,61

140

2 vn, F-Pc, I-Tn

524

B♭

I,40

107

2 vn, Tn

525

B♭

I,63

145

2 vn, Tn

526

B♭

2 vn, A-Wn, inc.

527

B♭

I,99

208

2 vn, I-Tn

528

B♭

2 vn, S-Uu; arrangement of rv381 (?inauthentic)

529

B♭

I,42

111

2 vn, I-Tn

530

B♭

I,57

132

2 vn, op.9 no.9

531

g

III,2

61

2 vc, Tn

532

G

V,2

104

2 mand, Tn

533

C

VI,2

101

2 fl, FZc, Tn

534

C

VII,3

139

2 ob, FZc, Tn

535

d

VII,9

264

2 ob, Tn

536

a

VII,8

263

2 ob, Tn

537

C

IX,1

97

2 tpt, Tn; 2nd movt in rv110

538

F

X,1

91

2 hn, Tn; solo vc in 2nd movt

539

F

X,2

121

2 hn, Tn

540

d

XII,38

320

va d'amore, lute, D-Dl: facs. in Musik der Dresdener Hofkapelle (Leipzig, 1977)

541

d

XII,19

95

vn, org, I-Tn

542

F

XII,41

353

vn, org, D-Dl

543

F

XII,35

265

vn, unison ob, I-Tn; see rv139

544

F

IV,5

135

vn, vc, Tn; ‘Il Proteo, o sia Il mondo al rovescio’, see rv572

545

G

XII,36

280

ob, bn, Tn

546

A

IV,6

146

vn, vc all'inglese, Tn; basis for rv780

547

B♭

IV,2

35

vn, vc, D-WD, I-Tn

548

B♭

XII,16

73

vn, ob, Tn; for 2 vn as rv764

764

B♭

2 vn, GB-Mp; for vn, ob as rv548

765

F

I,241

N

2 vn, Lam; for vn, org as rv767

766

c

vn, org, Lam; for 2 vn as rv510

767

F

vn, org, Lam; for 2 vn as rv765

774

C

vn, org, I-Vc, inc.

775

F

vn, org, Vc, inc.; 1st movt in rv284 and 285

781

D

XII,50

510

2 ob/?tpt, A-Wn; solo vn in 2nd movt; formerly rv563 (withdrawn)

Anh.91

G

vn, vc, I-Vc, inc.; certainly authentic

View large

Multiple concertos

with strings and continuo

View large

Source

L'estro armonico (2 bks), op.3 (Amsterdam, 1711)

550

e

I,174

409

4 vn, op.3 no.4

551

F

I,34

88

3 vn, D-Dl, I-Tn

552

A

I,139

319

vn, ‘echo’ vn, D-Dl (facs. in Due concerti autografi della Sächsische Landesbibliothek di Dresda (Siena, 1950); facs. in Musik der Dresdener Hofkapelle (Leipzig, 1977)); with two solo vn as accompaniment to the ‘echo’ vn

553

B♭

I,59

134

4 vn, I-Tn

554

C

XII,34

250

vn, org/vn, ob, Tn

554a

C

vn, org/vn, vc, Tn; alternative version of rv554

555

C

XII,23

142

3 vn, ob, 2 rec, 2 va all’inglese, chalumeau, 2 vc, 2 hpd, Tn; 2 tpt, vn ‘in tromba marina’, 2 vle/?vc in 3rd movt

556

C

XII,14

54

2 ob, 2 cl, 2 rec, 2 vn, bn [lute in 2nd movt], Tn; ‘Concerto per la solennità di S Lorenzo’, later version without 2 cl, Tn

557

C

XII,17

90

2 vn, 2 ob [2 rec, bn in 2nd movt], Tn

558

C

XII,37

318

2 vn ‘in tromba marina’, 2 rec, 2 mand, 2 chalumeaux, 2 theorbos, vc, D-Dl (facs. in Due concerti autografi della Sächsische Landesbibliothek di Dresda (Siena, 1950); facs. in Musik der Dresdener Hofkapelle (Leipzig, 1977)), Vc (frag. of inauthentic arr. incl. 2 hn)

559

C

XII,2

10

2 ob, 2 cl, Tn

560

C

XII,1

3

2 ob, 2 cl, Tn

561

C

IV,3

53

vn, 2 vc, Tn

562

D

XII,47

380

vn, 2 ob, 2 hn, D-Dl, I-Tn; ‘Concerto per la solennità di S Lorenzo’

562a

D

vn, 2 ob, 2 hn, timp, NL-Au; rv562 with different 2nd movt

563

D

XII,50

510

2 ob/?tpt [solo vn in 2nd movt], A-Wn; reclassified as double conc. rv781

564

D

IV,4

99

2 vn, 2 vc, I-Tn

564a

D

2 vn, 2 ob, bn, D-Dl; different (probably inauthentic) scoring

565

d

IV,11

416

2 vn, vc, op.3 no.11; basis for bwv596

566

d

XII,31

213

2 vn, 2 rec, 2 ob, bn, I-Tn

567

F

IV,9

412

4 vn, vc, op.3 no.7

568

F

XII,39

338

vn, 2 ob, 2 hn, bn, D-Dl

569

F

XII,10

43

vn, 2 ob, 2 hn, bn [solo vc in 3rd movt], Dl, I-Tn

570

F

XII,28

150

fl, ob, bn [solo vn in 1st movt], Tn; ‘Tempesta di mare’, see rv98 and 433

571

F

XII,40

350

vn, 2 ob, 2 hn, bn [solo vc in 1st movt], D-Dl; see rv99

572

F

2 fl, 2 ob, vn, vc, hpd, GB-Mp; ‘Il Proteo, o sia Il mondo al rovescio’, see rv544

573

F

2 ob, 2 hn, 2 bn, lost (formerly D-DS)

574

F

XII,18

94

vn, 2 trbn ‘da caccia’ (? = hn), 2 ob, bn [solo vc in 3rd movt], Dl, I-Tn

575

G

IV,1

26

2 vn, 2 vc, Tn

576

g

XII,33

249

vn, ob, 2 rec, 2 ob, bn, D-Dl, I-Tn

577

g

XII,3

25

vn, 2 ob, 2 rec, bn, Tn; ‘per l'orchestra di Dresda’

578

g

IV,8

407

2 vn, vc, op.3 no.2

579

B♭

XII,12

51

vn, ob, chalumeau, 3 va all’inglese, Tn: facs., ed. O. Rudge (Siena, 1947); ‘Concerto funebre’

580

b

IV,10

415

4 vn, vc, op.3 no.10; basis for bwv1065

View large

Concertos for double orchestra

solo instruments with strings in two ‘cori’ and continuo

View large

582

D

I,62

141

vn, D-Dl, I-Tn, Vc; ‘Per la SS Assontione di Maria Vergine’, 2nd movt in rv12 (as 1st movt)

583

B♭

I,60

136

vn, Tn

584

F

I, 3

vn, org (coro 1); vn, org (coro 2), Tn, inc.

585

A

XII,48

381

2 vn, 2 rec, vc (coro 1); 2 vn, 2 rec, vc, org (coro 2), D-Dl: facs. in Quattro concerti autografi della Sächsische Landesbibliothek di Dresda (Siena, 1949)

793

C

2 org, I-Vc, inc.

View large

Masses, mass sections

RV

Key

586

C

Sacrum (mass), S, A, T, B, 4vv, 2 tpt (ad lib), 2 vn, vc, bc, PL-Wu; spurious

587

g

Kyrie, 2 choirs (S, A, 4vv, str, bc; S, A, 4vv, str, bc), str, bc, I-Tn, M

588

D

Gloria, S, S, A, T, B, 4vv, tpt, 2 ob, 2 vn, 2 va, 2 vc, str, bc, Tn, N; 3 movts adapted from Gloria by G.M. Ruggieri (rv Anh.23)

589

D

Gloria, S, S, A, 4vv, tpt, ob, vn (ad lib), str, bc, Tn, M; 1 movt adapted from Gloria by G.M. Ruggieri (rv Anh.23)

590

D

Gloria, 5vv, Kreuzherren catalogue, lost; ? identical with rv588 or 589

591

e

Credo, 4 vv, str, bc, Tn, M

592

G

Credo, S, A, 4vv, ob (ad lib), str, bc, PL-Wu; spurious (attrib. J.A. Hasse)

Psalms and other vespers music

594

D

Dixit Dominus, 2 choirs (S, A, T, B, 4vv, 2 tpt, 2 ob, str, bc; S, 4vv, str, bc), Tn, M

595

D

Dixit Dominus, S, S, A, T, B, 5vv, tpt, 2 ob, 2 vc, str, bc, CZ-Pnm, N; 3 movts arr. from works by other composers

596

C

Confitebor tibi Domine, A, T, B, 2 ob, str, bc, I-Tn, N

597

C

Beatus vir, 2 choirs (S, A, T, B, 4vv, 2 ob, org, str, bc; S, 4vv, org, str, bc), Tn, M; see rv795

598

B♭

Beatus vir, S, S, A, 4vv, str, bc, Tn, M

599

Beatus [vir], 5vv, Kreuzherren catalogue, lost; ? orig. version for single choir of rv597 and 795

600

c

Laudate pueri Dominum, S, str, bc, CZ-Pnm, I-Tn, N

601

G

Laudate pueri Dominum, S, fl, 2 ob, str, bc, D-Dl, I-Tn, M

602

A

Laudate pueri Dominum, S, 4vv, ob, str, bc; S, str, bc, Tn, N

602a

A

Laudate pueri Dominum, 2 choirs (S, 4vv, fl, str, bc; S, ?4vv, str, bc), Tn, N; arr. from rv602

603

A

Laudate pueri Dominum, 2 choirs (S, 4vv, fl, str, bc; 4vv, str, bc), Tn; arr. from rv602a

604

C

In exitu Israel, 4vv, str, bc, Tn, Vc, N

605

C

Credidi propter quod locutus sum, 5vv, str, bc, Tn, N; mostly adapted from rv Anh.35

606

d

Laudate Dominum omnes gentes, 4vv, str, bc, Tn, N

607

F

Laetatus sum, 4 vv, str, bc, Tn, N

608

g

Nisi Dominus, A, va d'amore, str, bc, Tn, M

609

e

Lauda Jerusalem, 2 choirs (S, 4vv, str, bc; S, 4vv, str, bc), Tn, M

610

g

Magnificat, S, S, A, T, 4vv, 2 ob, str, bc, Tn, M, N

610a

g

Magnificat, 2 choirs (S, T, 4vv, 2 ob, str, bc; S, S, A, 4vv, str, bc), Tn, M, N

610b

g

Magnificat, S, S, A, T, 4vv, str, bc, CZ-Pak

611

g

Magnificat, S, A, 4vv, str, bc, I-Tn, Vc, M, N; late (1739) version of rv610 with several substituted movements

612

C

Deus tuorum militum, A, T, 2 ob, str, bc, Tn, N

613

B♭

Gaude mater Ecclesia, S, str, bc, Tn, N

614

F

Laudate Dominum omnes gentes, off, S, A, 4vv, 2 hn, 2 vn, bc, PL-Wu; spurious

615

Regina coeli, T, 2 tpt, str, bc, I-Tn, inc.

616

c

Salve Regina, 2 choirs (A, 2 rec, fl, str, bc; str, bc), Tn, M, N

617

F

Salve Regina, S, vn, str, bc, CZ-Bm, N

618

g

Salve Regina, 2 choirs (A, 2 ob, str, bc; str, bc), I-Tn, N

619

Salve Regina, S, 2 rec, ?vc, bc, Kreuzherren catalogue, lost

620

C

Sanctorum meritis, S, str, bc, Tn, N

621

f

Stabat Mater (hymn), A, str, bc, Tn, M, N

622

Te Deum, lost; perf. Venice, 19 Sept 1727

789

B♭

Confitebor tibi Domine,Vc, inc.

795

C

Beatus vir, S, 2A, T/A, 4vv, str, bc, D-Dl (attrib. B. Galuppi), I-Vc, N; see rv597

803

A

Nisi Dominus, S, A, T/A, str, 2 [vn ‘in] tromba [marina’], va d’amore, chalumeau, vc, org, D-Dl (attrib. B. Galuppi), N

Solo motets

624

G

Carae rosae, respirate, S, str, bc, GB-Lbl, Lcm (inc.)

625

F

Clarae stellae, scintillate, A, str, bc, I-Tn, N

626

c

In furore (g)iustissimae irae, S, str, bc, Tn, N

627

G

In turbato mare irato, S, str, bc, D-Dl, N

628

G

Invicti, bellate, A, str, bc, I-Tn, inc.

629

g

Longe mala, umbrae, terrores, S, str, bc, Tn, N; see rv640

630

E

Nulla in mundo pax sincera, S, str, bc, Tn, N

631

E♭

O qui coeli terraeque serenitas, S, str, bc, Tn, N

632

F

Sum in medio tempestatum, S, str, bc, D-Dl, N

633

F

Vestro principi divino, A, str, bc, I-Tn, N

634

A

Vos aurae per montes, S, str, bc, Af, N; ‘Per la solennità di S Antonio’

635

A

Ascende laeta, S, str, bc, Tn, N; introduzione to Dixit Dominus

636

G

Canta in prato, ride in fonte, S, 2 ob, str, bc, Tn, N; introduzione to Dixit Dominus, text adapted from rv623

637

B♭

Cur sagittas, cur tela, cur faces, A, str, bc, Tn, N; introduzione to Gloria

638

c

Filiae maestae Jerusalem, A, str, bc, Tn, N; introduzione to Miserere

639

D

Jubilate, o amoeni chori, A, tpt, 2 ob, org, str, bc, Tn, N; introduzione to Gloria [rv588]

639a

D

Jubilate, o amoeni chori, S, tpt, 2 ob, org, str, bc, Tn, N; introduzione to Gloria, arr. from rv639

640

g

Longe mala, umbrae, terrores, A, str, bc, Tn, N; introduzione to Gloria, see rv629

641

F

Non in pratis aut in hortis, A, str, bc, Tn, N; introduzione to Miserere

642

D

Ostro picta, armata spina, S, str, bc, Tn, N; introduzione to Gloria

646

F

Ad corda reclina (Concertus italicus), A, str, bc, PL-Wu; anon. arr. of Vedrai nel volto di quella infelice from rv700; renumbered as rv Anh.59.24

647

E♭/D♭

Eja voces plausum date/Nato pastor pro me melos (Aria de sanctis), B, str, bc, Wu; anon. arr. of Benché nasconda la serpe in seno from rv728; renumbered as rv Anh.59.25

648

E

Ihr Himmel nun (Concertus italicus), A, vn, str, bc, Wu; anon. arr. of Son come farfalletta from rv728; renumbered as rv Anh.59.26

747

B♭

Candida lylia (cantata de tempore), A, ?str, bc, Kreuzherren catalogue, lost

748

G

Aria per la communione, Kreuzherren catalogue, lost

Oratorios

RV

643

Moyses Deus Pharaonis, Venice, Ospedale della Pietà, 1714, lost

644

Juditha triumphans devicta Holofernes barbarie (G. Cassetti), Venice, Ospedale della Pietà, 1716, I-Tn (facs., Siena, 1948); ed. A. Zedda (Milan, 1971)

645

L'adorazione delli tre re magi al bambino Gesù nella capanna di Betlemme, Milan, S Felice, 9 Jan 1722, lost

782

La vittoria navale predetta dal S Pontefice Pio V Ghisilieri, Vicenza, S Corona, 23 June 1713, lost

Solo cantatas

649

All'ombra d'un bel faggio, S, bc, I-Tn, N

650

Allor che lo sguardo, S, bc, Tn, N

651

Amor, hai vinto, S, bc, Tn, N; same text as for rv683

652

Aure, voi più non siete, S, bc, Tn, N

653

Del suo natio rigore, S, bc, Tn, N

654

Elvira, anima mia, S, bc, Tn, N

655

Era la notte quando i suoi splendori, S, bc, D-Dl, I-Tn, N

656

Fonti del pianto, S, bc, D-Dl, I-Tn, N

657

Geme l'onda che parte dal fonte, S, bc, D-Dl, I-Tn, N

658

Il povero mio cor, S, bc, Tn, N

659

Indarno cerca la tortorella, S, bc, Tn, N

660

La farfalletta s'aggira al lume, S, bc, Tn, N

661

Nel partir da te, mio caro, S, bc, Tn, N

662

Par che tardo oltre il costume, S, bc, D-Dl, I-Tn, N

663

Scherza di fronda in fronda, S, bc, D-Dl, N

664

Se ben vivono senz'alma, S, bc, I-Tn, N

665

Si levi dal pensier, S, bc, Tn, N

666

Sì, sì, luci adorate, S, bc, Tn, N

667

Sorge vermiglia in ciel la bella Aurora, S, bc, D-Dl, I-Tn, N

668

T'intendo, sì mio cor, S, bc, Tn, N

669

Tra l'erbe i zeffiri, S, bc, Tn, N

670

Alla caccia dell'alme e de' cori, A, bc, Tn, N

671

Care selve, amici prati, A, bc, Tn, N

672

Filli di gioia, A, bc, Fc; probably spurious

673

Ingrata, Lidia, hai vinto, A, bc, Fc; probably spurious

674

Perfidissimo cor! Iniquo fato, A, bc, D-Dl, N

675

Piango, gemo, sospiro, A, bc, I-Fc; probably spurious

676

Pianti, sospiri e dimandar mercede, A, bc, D-Dl, N

677

Qual per ignoto calle, A, bc, Dl, N

678

All'ombra di sospetto, S, fl, bc, Dl, N

679

Che giova il sospirar, povero core, S, str, bc, MEIr, N

680

Lungi dal vago volto, S, vn, bc, I-Tn, N

681

Perché son molli, S, 2 vn, bc, GB-Ob, N

682

Vengo a voi, luci adorate, S, str, bc, I-Tn, N

683

Amor, hai vinto, A, str, bc, Tn, N; same text as for rv651

684

Cessate, omai cessate, A, str, bc, Tn, N

684a

Cessate, omai cessate, A, str, bc, Tn, inc.; with different 1st aria

685

O mie porpore più belle, May 1719, A, str, bc, Tn, N

686

Qual in pioggia dorata i dolci rai, A, 2 hn, str, bc, Tn, N

753

Prendea con man di latte, S, bc, GB-Ob; spurious

796

Usignoletto bello, S, bc, D-Dl, N

799

Tremori al braccio e lagrime sul ciglio, S, bc, A-Wgm, N

Serenatas

688

Le gare del dovere, 5vv, Rovigo, sum. 1708, music lost

690

Mio cor, povero cor, 3vv, bc, c1719, I-Tn

689

Le gare della Giustizia e della Pace (G.B. Catena), c1721, lost

687

Dall'eccelsa mia reggia, 2vv, bc, Venice, 12 Sept 1725, Tn (facs. in DMV, xv, 1995)

692

Queste, Eurilla gentil (V. Vettori), 4vv, bc, Mantua, 31 July 1726, music lost

693

La Senna festeggiante (D. Lalli), 3vv, bc, ?Venice, c1726, Tn (facs. in DMV, xv, 1995)

694

L'unione della Pace e di Marte (A. Grossatesta), 3vv, bc, Venice, 19 Sept 1727, music lost

691

Il Mopso (Egidio Nonnanuci [G. Cendoni]), Venice, date uncertain, lost

Works incorrectly attributed to Vivaldi

Conc., C, rv Anh.2, by A.W. Solnitz; conc., d, rv Anh.3, anon.; sinfonia, G, rv Anh.4, by J.A. Hasse; sonata, A, rv Anh.5, by G. Sammartini; vn conc., C, rv Anh.7, by T. Albinoni; vn conc., D, rv Anh.9, Fanna I,237, by F.M. Veracini; vn conc., d, rv Anh.10, by G. Torelli (= bwv979); vn conc., e, rv Anh.11, by Johann Ernst of Saxe-Weimar; vn conc., G, rv Anh.12, probably by Johann Ernst of Saxe-Weimar; vn conc., A, rv Anh.14, by F.M. Veracini; vn conc., a, rv Anh.15, anon.; ob conc., d/c, rv Anh.16, by A. Marcello (= bwv974); conc., vn, ob, c, rv Anh.17, Fanna XII,53, by G.P. Telemann; vn conc. arr. vn and pf, rv Anh.62, by F. Kreisler; vn conc., g, rv Anh.73, by G. Tartini; vn conc., B♭, rv Anh.75, by M. d’Alay

See also entries under rv13, 24, 49, 50, 80, 89, 102, 132, 144, 148, 172a, 272, 274, 338, 355, 373, 415, 426, 446, 456, 458–9, 464–5 and 776

Operas

drammi per musica, in three acts, unless otherwise stated; list includes pasticcios arranged by Vivaldi

† later versions or revivals under different titles

View large

RV

Title

Libretto

Performances

Principal MS sources; remarks

729

Ottone in villa

D. Lalli, after F.M. Piccioli: Messalina

Vicenza, Garzerie, May 1713

I-Tn (facs. in DMV, xii, 1982); passed by censor 21 April 1713

727

Orlando finto pazzo

G. Braccioli

Venice, S Angelo, Nov 1714

Tn (lacking sinfonia); ded. 10 Nov 1714

Anh. 84

Orlando furioso

Braccioli, after L. Ariosto

Venice, S Angelo, aut. 1714

Tn (partly autograph score of Acts 1 and 2); ded. 17 Dec 1714; extensive rev. of G.A. Ristori: Orlando furioso, 1713

724

Nerone fatto Cesare

M. Noris

Venice, S Angelo, carn. 1715

pasticcio arr. Vivaldi, containing 12 arias by him; passed by censor 12 Feb 1714 [=1715]

Brescia, Accademia, carn. 1716

? adaptation of 1715 version, many new arias, but 6 of Vivaldi’s aria texts the same

706

La costanza trionfante de gl’amori e de gl’odii

A. Marchi

Venice, S Moisè, carn. 1716

8 arias in GB-Berkeley Castle, ded. 18 Jan 1715 [=1716]; passed by censor 21 Jan 1715 [=1716]

701

†Artabano, re de’ Parti

Venice, S Moisè, carn. 1718

revival of La costanza trionfante, 1716; passed by censor 5 Jan 1718

Anh.57

†Die über Hass und Liebe siegende Beständigkeit, oder Tigranes, König von Armenien

Hamburg, Gänsemarkt, 5 May 1719

6 arias D-B; int Dorimena e Tuberone; almost all arias are from Artabano, 1718

Anh.51

†L’odio vinto dalla constanza

B. Vitturi, after Marchi

Venice, S Angelo, carn. 1731

? pasticcio arr. A. Galeazzi; int Melinda; passed by censor 24 Jan 1731

708

†Doriclea

Prague, Sporck, carn. 1732

adapted from 1st version of La costanza trionfante

700

Arsilda, regina di Ponto

Lalli

Venice, S Angelo, 27 or 28 Oct 1716

I-Tn (1 autograph working score, 1 copy), 16 arias, D-Dl; int L’alfier fanfarone; passed by censor 18 Oct 1716; same sinfonia as Teuzzone, 1718

719

L’incoronazione di Dario

A. Morselli

Venice, S Angelo, 23 Jan 1717

I-Tn; passed by censor 15 Jan 1716 [=1717]

737

Tieteberga

A.M. Lucchini

Venice, S Moisè, 16 Oct 1717

2nd version made during 1717 season, with 9 arias by other composers

Anh.58

Il vinto trionfante del vincitore

Marchi: Zenobia, regina de’ Palmireni

Venice, S Angelo, aut. 1717

pasticcio, ? with some music by Vivaldi; ded. 22 Nov 1717

699

Armida al campo d’Egitto

G. Palazzi, after T. Tasso

Venice, S Moisè, 15 Feb 1718

Tn (Acts 1 and 3 autograph; partly rev. with non-autograph addns for 1738 perf.); same sinfonia as Ercole, 1723

720

†Gli inganni per vendetta

? arr. Lalli

Vicenza, Grazie, 1720

passed by censor 12 May 1720; adapted from Armida

†Armida al campo d’Egitto

Ravenna, Industria, 1726

addns by A. Monteventi

Venice, S Margherita, carn. 1731

int Lidia ed Ircano; rev. (not by Vivaldi himself)

Venice, S Angelo, 12 Feb 1738

pasticcio arr. Vivaldi, based on 1718 version with several new arias, incl. 2 from Leo: Farnace

732

Scanderbeg

A. Salvi

Florence, Pergola, 22 June 1718

4 arias, 2 recits Tn

736

Teuzzone

A. Zeno

Mantua, Arciducale, 28 Dec 1718

D-B (copy of final version), I-Tn (working score, partly autograph); aria ‘Ritorna a lusingarmi’ probably by Orlandini, possibly other foreign arias; same sinfonia as Arsilda, 1716

738

Tito Manlio

Noris

Mantua, Arciducale, carn. 1719

Tn (1 autograph headed ‘musica del Vivaldi fatta in 5 giorni’, 1 copy; both lacking sinfonia); 8 arias Tn

704

La Candace, o siano Li veri amici

F. Silvani, rev. Lalli, after P. Corneille: Héraclius, empereur d’Orient

Mantua, Arciducale, carn. 1720

11 arias, 1 qt Tn

778

Tito Manlio[Act 3]

Noris

Rome, Pace, carn. (? 8 Jan) 1720

10 arias F-Pc, 9 arias, 1 chorus D-WD; a few of Vivaldi’s arias correspond with 1719 version; Act 1 by G. Boni, Act 2 by G. Giorgi; int Breno e Dina; formerly rv Anh.56

739

La verità in cimento

Palazzi and Lalli

Venice, S Angelo, aut. (? 26 Oct) 1720

I-Tn, 12 arias D-Mbs, 6 arias, 1 qt I-Tn; int L’avaro by F. Gasparini; passed by censor 3 Oct 1720

715

Filippo, re di Macedonia [Act 3]

Lalli

Venice, S Angelo, 27 Dec 1720

Acts 1 and 2 by G. Boniventi; passed by censor 17 Dec 1720; int Melinda e Tiburzio

734

La Silvia

E. Bissarri

Milan, Regio Ducale, 28 Aug 1721

9 arias Tn; dramma pastorale

710

Ercole su’l Termodonte

G.F. Bussani

Rome, Capranica, Jan 1723

23 arias, 1 duet D-MÜs, 6 arias, sinfonia F-Pc; same sinfonia as Armida, 1718

740

La virtù trionfante dell’amore, e dell’odio, overo Il Tigrane [Act 2]

Silvani

Rome, Capranica, 1st op in carn. 1724

Act 2 I-Tn; Act 1 and int by B. Micheli, Act 3 by N. Romaldo; also known as Mitridate

717

Giustino

P. Pariati, after N. Beregan

Rome, Capranica, 2nd op in carn. 1724

Tn; ed. R. Strohm (Milan, 1991)

721

L’inganno trionfante in amore

? G.M. Ruggieri, after Noris: Laodicea e Berenice

Venice, S Angelo, aut. 1725

? pasticcio arr. Vivaldi

707

Cunegonda

A. Piovene: La principessa fedele

Venice, S Angelo, 29 Jan 1726

? pasticcio arr. Vivaldi; passed by censor 22 Jan 1726

712

La fede tradita e vendicata

Silvani

Venice, S Angelo, 16 Feb 1726

passed by censor 10 Feb 1726

Anh.45

†Ernelinda

Venice, S Cassiano, carn. 1750

? pasticcio (with music by Vivaldi, Gasparini and Galuppi); int La preziosa ridicola

Anh.55

La tirannia gastigata

Silvani: La fortezza in cimento

Prague, Sporck, carn. 1726

ded. 20 Feb 1726; arr. A. Denzio using arias from La costanza trionfante; recits. by A. Guerra

709

Dorilla in Tempe

Lucchini

Venice, S Angelo, 9 Nov 1726

melodramma eroico-pastorale

Venice, S Angelo, c2 Feb 1734

Tn; pasticcio arr. Vivaldi, based on 1726 version, with arias by Hasse, Giacomelli and Leo

722

Ipermestra

Salvi

Florence, Pergola, 25 Jan 1727

3 arias US-BEm

711

Farnace

Lucchini

Venice, S Angelo, 10 Feb 1727

passed by censor 6 Feb 1727; revived in aut. 1727 with several new arias by Vivaldi; I-Tn (partly autograph, 1731, Pavia); Tn (autograph, dated 1738, Acts 1 and 2; ? 1739, Ferrara)

735

Siroe, re di Persia

P. Metastasio

Reggio nell’Emilia, Pubblico, Ascension 1727

ded. 29 April 1727

Ancona, Fenice, sum. 1738

incl. many arias from Vivaldi’s other operas

Ferrara, Bonacossi, 1st op in carn. 1739

? pasticcio arr. Vivaldi

728

Orlando [Orlando furioso]

Braccioli, after Ariosto

Venice, S Angelo, aut. (? 10 Nov) 1727

Tn (working score, mainly autograph, lacking sinfonia); lib similar to, but music largely different from, 1714 version; passed by censor 5 Nov 1727; int Il marito giocatore

Brno, Taverna, carn. 1735

music by Vivaldi ‘a riserva di alcune arie’; perfs. of Orlando furioso in Bergamo and Vicenza 1738, Este 1740 and Bassano 1741 may be pasticcios with Vivaldi’s arias

730

Rosilena ed Oronta

Palazzi

Venice, S Angelo, carn. 1728

passed by censor 12 Jan 1728; ded. 17 Jan 1728

702

L’Atenaide

Zeno

Florence, Pergola, 29 Dec 1728

Tn (lacking sinfonia), 6 arias D-Dl

697

Argippo

Lalli

Prague, Sporck, aut. 1730

696

Alvilda, regina de’Goti

Zeno: L’amor generoso and G.C. Corradi: L’amazzone corsara

Prague, Sporck, spr. 1731

only some arias by Vivaldi, probably from other operas; renumbered as rv Anh.88

733

Semiramide

Silvani

Mantua, Arciducale, carn. 1732

6 arias in Dl; ded. 26 Dec 1731

714

La fida ninfa

S. Maffei

Verona, Filarmonico, carn. 1732

I-Tn (lacking sinfonia), ed. R. Monterosso (Cremona, 1964); 8 arias, 1 trio D-Dl; written for opening of new theatre; ded. 6 Jan 1732

777

†Il giorno felice

Vienna, 1737

? some music by Vivaldi; renumbered as rv Anh.92

723

Motezuma

A. Giusti

Venice, S Angelo, 14 Nov 1733

D-B (complete Act 2, fragments Acts 1 and 3)

725

L’Olimpiade

Metastasio

Venice, S Angelo, 17 Feb 1734

I-Tn

703

Il Tamerlano [Il Bajazet]

Piovene

Verona, Filarmonico, carn. 1735

Tn; tragedia per musica; pasticcio arr. Vivaldi using arias by Hasse, Giacomelli, Porpora and R. Broschi

695

L’Adelaide

? Salvi

Verona, Filarmonico, carn. 1735

718

Griselda

Zeno, rev. C. Goldoni, after G. Boccaccio: Il decamerone

Venice, S Samuele, 18 May 1735

Tn (facs. in IOB, xxxv, 1978), ed. R. Fasano (Palermo, 1985)

698

Aristide

? Goldoni

Venice, S Samuele, aut. 1735

drama eroi-comico per musica, 1 act; ded. signed by Domenico Lalli; ? not by Vivaldi; int Il filosofo; renumbered as rv Anh.89

716

Ginevra, principessa di Scozia

Salvi, after Ariosto

Florence, Pergola, 17 Jan 1736

705

Catone in Utica

Metastasio

Verona, Filarmonico, May 1737

Tn (Acts 2 and 3)

731

Rosmira [Rosmira fedele]

S. Stampiglia: Partenope

Venice, S Angelo, 27 Jan 1738

Tn (sinfonia by G. Micheli); pasticcio arr. Vivaldi

726

L’oracolo in Messenia

Zeno: Merope

Venice, S Angelo, 30 Dec 1737

passed by censor ? 27 Dec 1737

Vienna, Kärntnertor, carn. 1742

most aria texts unchanged

713

Feraspe

Silvani [lib orig. L’innocenza giustificata]

Venice, S Angelo, 7 Nov 1739

View large
Arrs. of Hasse

Demetrio, 1737

Alessandro nell’Indie, 1737

Arias in A-Wgm, Wn; B-Bc; CH-Gc; D-B, BNms, Dl, Hs, LEm, Mbs, MÜs, MÜu, ROu, SHs, SWl, DK-Kk; F-Pc, Pn; GB-Cfm, Lbl, Mp; I-Mc, Nc, Tn, Vc; S-L, SK; US-BEm

Bibliography

Specialist periodicals and collections

ISV Informazioni e studi vivaldiani

  • Antonio Vivaldi: note e documenti sulla vita e sulle opere, Chigiana, 1 (1939)
  • La scuola veneziana (secoli XVI–XVIII): note e documenti, Chigiana, 3 (1941)
  • Fac-simile di un autografo di Antonio Vivaldi, Quaderni dell'Accademia chigiana, 13 (Siena, 1947)
  • Fac-simile del Concerto funebre di Antonio Vivaldi, Quaderni dell'Accademia chigiana, 15 (Siena, 1947)
  • Vivaldiana, 1 (Brussels, 1969) [only one issue pubd]
  • Vivaldi informations (Copenhagen, 1971–3)
  • F. Degrada and M.T. Muraro, eds.: Antonio Vivaldi da Venezia all'Europa (Milan, 1978)
  • NRMI, 13/1 (1979) [Vivaldi issue]
  • Vivaldi veneziano europeo: Venice 1978
  • Informazioni e studi vivaldiani: bollettino annuale dell'Istituto Italiano Antonio Vivaldi (1980–2000) [ISV]
  • Vivaldi-Studien: Dresden 1978
  • Opera & Vivaldi: Dallas 1980
  • Antonio Vivaldi: Venice 1981
  • Nuovi studi vivaldiani: Venice 1987
  • La prima ’Settimana musicale senese’ e la Vivaldi Renaissance (1939-1989): Siena 1989 [Chigiana, new ser., 21 (1989)]
  • Vivaldi: vero e falso: Poitiers 1991
  • Cinquant’anni di produzione e consumi della musica dell’età di Vivaldi: Venice 1997
  • Studi vivaldiani (2001–) [SV]
Catalogues and documentation
  • A. Fuchs: Thematisches Verzeichniss über die Compositionen von Antonio Vivaldi (MS, D-B, 1839); facs. with commentary ed. P. Ryom in Vivaldi informations, i (1971–2), 43–71
  • W. Altmann: ‘Thematischer Katalog der gedruckten Werke Antonio Vivaldis’, AMw, 4 (1922), 262–79
  • A. Gentili: ‘La raccolta di rarità musicali “Mauro Foà” alla Biblioteca Nazionale di Torino’, Accademie e biblioteche d'Italia, 1 (1927–8), 3–50; repr. as ‘La raccolta “Mauro Foà” nella Biblioteca Nazionale de Torino’, RMI, xxxiv (1927), 356–68
  • A. Gentili: ‘La raccolta di antiche musiche “Renzo Giordano” alla Biblioteca Nazionale di Torino’, Accademie e biblioteche d'Italia, 4 (1930–31), 117–25
  • M. Rinaldi: Catalogo numerico tematico delle composizioni di Antonio Vivaldi (Rome, 1945)
  • M. Pincherle: Antonio Vivaldi et la musique instrumentale, 2 (Paris, 1948/R)
  • H.R. Jung: ‘Die Dresdner Vivaldi-Manuskripte’, AMw, 12 (1955), 314–18
  • P.P. Domokos: ‘Két Vivaldi-emlék’ [Two Vivaldi fragments], Magyar zene, 3 (1962), 156–7 [concerns rv791]
  • G. Gentili Verona: ‘Le collezioni Foà e Giordano della Biblioteca Nazionale di Torino’, Accademie e biblioteche d'Italia, 32 (1964), 405–30; repr. with Eng. summary in Vivaldiana, i (1969), 31–56
  • P. Damilano: ‘Inventario delle composizioni musicale manoscritte di Antonio Vivaldi esistenti presso la Biblioteca Nazionale di Torino’, RIM, 3 (1968), 109–79
  • A. Fanna: A. Vivaldi: catalogo numerico-tematico delle opere strumentali (Milan, 1968); rev. 2/1986 as Opere strumentali di Antonio Vivaldi (1678-1741): catalogo numerico-tematico secondo la catalogazione Fanna [catalogue of the Ricordi edition]
  • P. Ryom: ‘Le recensement des cantates d'Antonio Vivaldi’, DAM, 6 (1968–72), 81–100
  • J.-P. Demoulin: ‘Indice thématique “pro memoria” conservé dans la collection Foà de Turin’, Vivaldiana, 1 (1969), 147–50
  • J.-P. Demoulin: ‘Un “Salve Regina” inconnu pour soprano, violon solo, orchestre à cordes et orgue’, Vivaldiana, 1 (1969), 143–6 [concerns rv617]
  • R. Eller: ‘Über Charakter und Geschichte der Dresdner Vivaldi-Manuskripte’, Vivaldiana, 1 (1969), 57–67
  • P. Ryom: ‘Àpropos de l'inventaire des oeuvres d'Antonio Vivaldi: étude critique des catalogues et nouvelles découvertes (48 manuscrits inconnus)’, Vivaldiana, 1 (1969), 69–114
  • K. Heller: Die deutsche Überlieferung der Instrumentalwerke Vivaldis (Leipzig, 1971)
  • P. Ryom: ‘Nouvelles découvertes, 1–4’, Vivaldi informations, 1 (1971–2), 14–16, 30–35, 87–90; ii (1973), 106–7
  • P. Ryom: ‘Le premier catalogue thématique des oeuvres d'Antonio Vivaldi’, Festskrift Jens Peter Larsen, ed. N. Schiørring, H. Glahn and C.E. Hatting (Copenhagen, 1972), 127–40
  • K. Beckmann: ‘Zur Echtheitsfrage des Concertorv275’, Vivaldi informations, 2 (1973), 7–16
  • P. Ryom: Antonio Vivaldi: table de concordances des oeuvres (Copenhagen, 1973)
  • P. Ryom: ‘Inventaire de la documentation manuscrite des oeuvres de Vivaldi: I. Biblioteca Nazionale di Torino (première partie: le fonds Foà)’, Vivaldi informations, 2 (1973), 61–100
  • R. Strohm: ‘Eine neuentdeckte Mantuaner Opernpartitur Vivaldis’, Vivaldi informations, 2 (1973), 104–6 [concerns rv736]
  • P. Ryom: Verzeichnis der Werke Antonio Vivaldis: kleine Ausgabe (Leipzig, 1974, 2/1979)
  • F. Fano: ‘Una traccia prossima alla prima origine della raccolta di musiche vivaldiane conservata alla Biblioteca Nazionale di Torino’, Medioevo e umanesimo, 24 (1976), 83–93
  • P. Ryom: Les manuscrits de Vivaldi (Copenhagen, 1977)
  • M. Fechner: ‘Neue Vivaldi-Funde in der Sächisischen Landesbibliothek Dresden’, Vivaldi-Studien: Dresden 1978, 42–58, 174–5
  • E. Garbero: ‘Drammaturgia vivaldiana: regesto e concordanze dei libretti’, Antonio Vivaldi da Venezia all'Europa, ed. F. Degrada and M.T. Muraro (Milan, 1978), 111–53
  • O. Landmann: ‘Katalog der Dresdener Vivaldi-Handschriften und -Frühdrucke’, Vivaldi-Studien: Dresden 1978, 101–67
  • L. Bellingardi: ‘Discografia di Antonio Vivaldi’, NRMI, 13 (1979), 290–304
  • A. Girard and G.Rostirolla: ‘Catalogo delle composizioni di Antonio Vivaldi’, NRMI, 13 (1979), 210–89
  • R.-C. Travers: ‘Discographie Vivaldi’, ISV (1980–)
  • A.L. Bellina, B. Brizi and M.G. Pensa: I libretti vivaldiani: recensione e collazione dei testimoni a stampa (Florence, 1982)
  • M. Talbot: ‘A Vivaldi Discovery at the Conservatorio “Benedetto Marcello”’, ISV, 3 (1982), 3–12
  • R.-C. Travers and T.Walker: ‘Discographie Vivaldi 78 tours’, ISV, 3 (1982), 74–97
  • P. Everett: ‘A Roman Concerto Repertory: Ottoboni's “What Not”?’, PRMA, 110 (1983–4), 62–78
  • M. Grattoni: ‘Una scoperta vivaldiana a Cividale del Friuli’, ISV, 4 (1983), 3–19 [concerns rv208]
  • R.-C. Travers: ‘Nouvelles informations sur la discographie Vivaldi 78 tours’, ISV, 4 (1983), 98–100
  • P. Everett: ‘Vivaldi Concerto Manuscripts in Manchester’, ISV, 5 (1984), 23–52; vi (1985), 23–52; vii (1986), 5–34
  • M. Grattoni: ‘Nuove fonti vivaldiane a Udine e a Cividale del Friuli’, ISV, 5 (1984), 3–22 [concerns rv7a, 208, 519, 757 and 785]
  • M. Talbot: ‘Vivaldi in the Sale Catalogue of Nicolaas Selhof’, ISV, 6 (1985), 57–63
  • C. Timms: ‘“Prendea con man di latte”: a Vivaldi Spuriosity?’, ISV, 6 (1985), 64–73 [concerns rv753]
  • P. Ryom: Répertoire des oeuvres d'Antonio Vivaldi: les compositions instrumentales (Copenhagen, 1986)
  • P. Everett: ‘Towards a Chronology of Vivaldi Manuscripts’, ISV, 8 (1987), 90–107
  • I. Fragalà Data and A. Colturato: Biblioteca nazionale universitaria di Torino, i: Raccolta Mauro Foà, roccolta Renzo Giordano (Rome, 1987)
  • F.S. Tanenbaum: ‘The Pietà Partbooks and More Vivaldi’, ISV, 8 (1987), 7–12
  • P. Everett: ‘Towards a Vivaldi Chronology’, Nuovi studi vivaldiani: Venice 1987, 729–57
  • M. Fechner: ‘Bemerkungen zu einigen Dresdner Vivaldi-Manuskripten’, Nuovi studi vivaldiani: Venice 1987, 775–84
  • M. Talbot: Antonio Vivaldi: a Guide to Research (New York, 1988), 1–108 [comprehensive bibliography]
  • F.S. Tanenbaum: ‘The Pietà Partbooks – Continued’, ISV, 9 (1988), 5–13
  • A. Basso: ‘I codici vivaldiani di Torino, ovvero fatti e misfatti, avventure e disavventure del collezionismo musicale’, La prima ’Settimana musicale senese’ e la Vivaldi Renaissance (1939-1989): Siena 1989 [Chigiana, new ser., 21 (1989)], 161–84
  • P. Everett: The Manchester Concerto Partbooks (New York, 1989)
  • P. Everett: ‘Vivaldi's Italian Copyists’, ISV, 11 (1990), 27–87
  • P. Everett: ‘Vivaldi's Marginal Markings: Clues to Sets of Instrumental Works and their Chronology’, Musicology in Ireland, ed. G. Gillen and H. White (Dublin, 1990), 248–63
  • Vivaldi: vero e falso: Poitiers 1991 [incl. P. Ryom: ‘Vivaldi ou Galuppi? Un cas de doute surprenant’, 25–41 [concerns rv795]; K. Heller: ‘Zu einigen Incerta im Werkbestand Vivaldis’, 43–58 [concerns rv51, 796 and Anh.71]; M. Fechner: ‘Wer ist der Komponist der Sinfonia rv132?’, 149–54]
  • M. Talbot: ‘Vivaldi in the Sale Room: a New Version of “Leon Feroce”’, ISV, 12 (1991), 5–17
  • B. Over: ‘Ein unbekanntes Vivaldi-Autograph im Conservatorio “Benedetto Marcello”’, ISV, 13 (1992), 5–16
  • L. Pancino: ‘Le caratteristiche grafiche della mano di Vivaldi secondo il metodo grafologico’, ISV, 13 (1992), 67–95
  • P. Ryom: ‘rv749’, ISV, 14 (1993), 5–50 [lists operatic arias preserved separately]
  • P. Ryom: ‘Les doubles dans les partitions d'opéra de Vivaldi’, ISV, 15 (1994), 5–50
  • P. Ryom: ‘La “Grosse Ausgabe” et “Ercole sul Termodonte”: Problèmes concernant le catalogage d’un opéra perdu’, SV, 3 (2003), 89–102
General
  • M. Abbado: Antonio Vivaldi, I maestri della musica, 29 (Turin, 1942)
  • M. Rinaldi: Antonio Vivaldi (Milan, 1943)
  • M. Pincherle: Antonio Vivaldi et la musique instrumentale (Paris, 1948/R)
  • M. Pincherle: Vivaldi (Paris, 1955; Eng. trans., 1958, as Vivaldi: Genius of the Baroque)
  • W. Kolneder: Antonio Vivaldi: neue Studien zur Biographie und zur Stilistik der Werke (diss., U. of Saarbrücken, 1956)
  • W. Kolneder: Antonio Vivaldi: Leben und Werk (Wiesbaden, 1965; Eng. trans., 1970)
  • R. Giazotto: Vivaldi (Milan, 1965, 2/1973 as Antonio Vivaldi)
  • R. de Candé: Vivaldi (Paris, 1967, 2/1994)
  • M. Talbot: Vivaldi (London, 1978, 3/1993)
  • W. Kolneder: Antonio Vivaldi: Dokumente seines Lebens und Schaffens (Wilhelmshaven, 1979)
  • M. Talbot: Vivaldi (London, 1979)
  • K. Heller: Antonio Vivaldi: Kalendarium zur Lebens- und Werkgeschichte, Studien zur Aufführungspraxis und Interpretation der Musik des 18. Jahrhunderts, 33 (Michaelstein-Blankenburg, 1987)
  • K. Heller: Antonio Vivaldi (Leipzig, 1991; Eng. trans., 1997)
  • H.C.R. Landon: Vivaldi: Voice of the Baroque (London, 1993)
  • M. Talbot: Venetian Music in the Age of Antonio Vivaldi (Aldershot, 1999)
Life
  • E. Wright: Some Observations Made in Travelling through France, Italy &c. in the Years 1720, 1721, and 1722, 1 (London, 1730), 84
  • C. de Brosses: Lettres historiques et critiques sur l'Italie, 1 (Paris, 1799), 297–9
  • Commemoriali Gradenigo (MS, I-Vmc, c1750), 2, f.36r
  • J.A. Hiller: ‘Lebenslauf des ehemaligen königlich polnischen und churfürstlichen sächsischen Concertmeisters Herrn Johann Georg Pisendel’, Wöchentliche Nachrichten und Anmerkungen die Musik betreffend, 1 (1766–7), 277–82, 285–92
  • C. Goldoni: Preface to Commedie, 13 (Venice, 1775), 10–13
  • J.A. Hiller: Lebensbeschreibung berühmter Musikgelehrten und Tonkünstler neuerer Zeit (Leipzig, 1784/R), 189–90
  • C. Goldoni: Mémoires, 1 (Paris, 1787), 286–91
  • G. Orloff: Essai sur l'histoire de la musique en Italie, 2 (Paris, 1822), 288–91
  • F. Caffi: Storia della musica teatrale in Venezia (MS, I-Vnm, c1850), 4, ff.310–15
  • F. Stefani, ed.: Sei lettere di Antonio Vivaldi maestro compositore della prima metà del secolo XVIII (Venice, 1871)
  • A. Salvatori: ‘Antonio Vivaldi (il Prete Rosso): note biographiche’, Rivista mensile della città di Venezia, 7 (1928), 325–46
  • M. Pincherle: ‘Antonio Vivaldi: saggio biografico’, RaM, 2 (1929), 513–26, 599–605; Fr. trans. as ‘Antonio Vivaldi: essai biographique’, RdM, xi (1930), 161–70 and 265–81
  • G.F. Malipiero: ‘Un frontespizio enigmatico’, Bollettino bibliografico musicale, 5/1 (1930), 16–19
  • R. Gallo: ‘Antonio Vivaldi, il Prete Rosso: la famiglia – la morte’, Ateneo veneto, 124 (1938), 165–72
  • M. Pincherle: ‘Vivaldi and the Ospitali of Venice’, MQ, 24 (1938), 300–12
  • P. Berri: ‘La malattia di Vivaldi’, Musica d'oggi, 24 (1942), 9–13
  • O. Rudge, ed.: Lettere e dediche di Antonio Vivaldi, Quaderni dell'Accademia chigiana, 1 (Siena, 1942)
  • E. Preussner: Die musikalischen Reisen des Herrn von Uffenbach (Kassel, 1949)
  • M. Antoine: ‘Antonio Vivaldi et François de Lorraine’, Annales de l'est, 5 (1954), 159–62
  • A. Cavicchi: ‘Inediti nell'epistolario Vivaldi–Bentivoglio’, NRMI, 1 (1967), 45–79
  • H. Pabisch: ‘Neue Dokumente zu Vivaldis Sterbetag’, ÖMz, 27 (1972), 82–3
  • Vivaldi veneziano europeo: Venice 1978 [incl. M. Talbot: ‘Charles Jennens and Antonio Vivaldi’, 67–75; C. Gallico: ‘Vivaldi dagli archivi di Mantova’, 77–88; L. Moretti: ‘Dopo l'insuccesso di Ferrara: diverbio tra Vivaldi e Antonio Mauro’, 89–99; G. Vio: ‘Precisazioni sui documenti della Pietà in relazione alle “figlie di coro”’, 101–22]
  • T. Antonicek: ‘Vivaldi in Österreich’, ÖMz, 33 (1978), 128–34
  • L. Moretti: ‘Le inconvenienze teatrali: documenti inediti su Antonio Vivaldi impresario’, Antonio Vivaldi da Venezia all'Europa, ed. F. Degrada and M.T. Muraro (Milan, 1978), 26–9
  • R. Antonetto: Un documento della civiltà piemontese del Settecento: il castello di Guarene (Turin, 1979), 139
  • G. Corti: ‘Il Teatro della Pergola di Firenze e la stagione d'opera per il carnevale 1726–1727: lettere di Luca Casimiro degli Albizzi a Vivaldi, Porpora e altri’, RIM, 15 (1980), 182–8
  • G. Vio: ‘Antonio Vivaldi prete’, ISV, 1 (1980), 32–57
  • M. Talbot: ‘Vivaldi and a French Ambassador’, ISV, 2 (1981), 31–42
  • G. Vio: ‘Antonio Vivaldi violinista in S. Marco’, ISV, 2 (1981), 51–60
  • F. della Seta: ‘Documenti inediti su Vivaldi a Roma’, Antonio Vivaldi: Venice 1981, 521–32
  • R.-C. Travers: La maladie de Vivaldi (Poitiers, 1982)
  • R.-C. Travers: ‘Une mise au point sur la maladie de Vivaldi’, ISV, 3 (1982), 52–60
  • G. Vio: ‘Una nuova abitazione de Vivaldi a Venezia’, ISV, 3 (1982), 61–6
  • G. Vio: ‘Antonio Vivaldi e i Vivaldi’, ISV, 4 (1983), 82–97
  • F. Degrada: ‘Le lettere di Antonio Vivaldi pubblicate da Federico Stefani: un caso di “revisione” ottocentesca’, ISV, 5 (1984), 83–9
  • L. Cataldi: ‘I rapporti di Vivaldi con il “Teatro detto il Comico” di Mantova’, ISV, 6 (1985), 88–110
  • C.F. Panagl: ‘Bilddokumente zu Vivaldis Tod in Wien’, ISV, 6 (1985), 111–26
  • B. Brizi: ‘Vivaldi a Vicenza: una festa barocca del 1713’, ISV, 7 (1986), 35–54
  • J.M. Whittemore: Revision of Music Performed at the Venetian Ospedali in the Eighteenth Century (diss., U. of Illinois, Urbana-Champaign, 1986)
  • L. Cataldi: ‘Alcuni documenti relativi alla permanenza di Vivaldi a Mantova’, ISV, 8 (1987), 13–23
  • L. Cataldi: ‘La rappresentazione mantovana del “Tito Manlio” di Antonio Vivaldi’, ISV, 8 (1987), 52–89
  • M. Talbot: ‘Vivaldi and the Empire’, ISV, 8 (1987), 31–51
  • G. Vio: ‘Ancora due residenze vivaldiane a Venezia’, ISV, 8 (1987), 24–30
  • L. Cataldi: ‘L'attività operistica di Vivaldi a Mantova’, Nuovi studi vivaldiani: Venice 1987, 131–45
  • W.C. Holmes: ‘Vivaldi e il Teatro La Pergola a Firenze: nuove fonti’, Nuovi studi vivaldiani: Venice 1987, 117–30
  • O. Termini: ‘Vivaldi at Brescia: the Feast of the Purification at the Chiesa della Pace (1711)’, ISV, 9 (1988), 64–74
  • R. Eller: ‘Vier Briefe Antonio Vivaldis’, ISV, 10 (1989), 5–23
  • C. Vitali: ‘Vivaldi e il conte bolognese Sicinio Pepoli: nuovi documenti sulle stagioni vivaldiane al Filarmonico di Verona’, ISV, 10 (1989), 25–56
  • M. Talbot: ‘“Lingua romana in bocca veneziana”: Vivaldi, Corelli and the Roman School’, Studi corelliani IV: Fusignano 1986, 303–18
  • G. Vio: ‘Alla ricerca della data dell'ultimo addio di Vivaldi a Venezia’, ISV, 11 (1990), 89–97
  • G. Vio: ‘Appunti vivaldiani’, ISV, 12 (1991), 77–86
  • C. Vitali: ‘I fratelli Pepoli contro Vivaldi e Anna Girò: le ragioni di un'assenza’, ISV, 12 (1991), 19–46
  • N. Billio D'Arpa: ‘Festività solenni al Santo di Padova: testimonianze inedite su Vivaldi e su altri musicisti e virtuosi’, Il Santo, 32 (1992), 345–59
  • D.E. Freeman: The Opera Theater of Count Franz Anton von Sporck in Prague (New York, 1992)
  • M. Saccardo: ‘Un autografo vivaldiano a Venezia’, ISV, 13 (1992), 17–22
  • E. Selfridge-Field: ‘Vivaldi and the Accademia Filarmonica’, ISV, 13 (1992), 39–49
  • D.E. Freeman: ‘“Orlando Furioso” in the Bohemian Lands: was Vivaldi's Music Really Used?’, ISV, 14 (1993), 51–74
  • W.C. Holmes: Opera Observed: Views of a Florentine Impresario in the Early Eighteenth Century (Chicago, 1993)
  • C. Vitali: ‘Castelli di carte: Vivaldi, Pietro degli Antonii e l'Accademia Filarmonica di Bologna’, ISV, 14 (1993), 75–96
  • G. Vio: ‘Ancora sull'ultima residenza vivaldiana’, ISV, 15 (1994), 75–81
  • G. Vio: ‘Antonio Vivaldi chierico veneziano’, ISV, 16 (1995), 123–31
  • C. Vitali: ‘I nove “principi di altezza” corrispondenti di Vivaldi e la dedica enigmatica del Concerto rv574: alla ricerca dell'indirizzario perduto’, ISV, 16 (1995), 59–89
  • R. Rasch: ‘La famosa mano di Monsieur Roger: Antonio Vivaldi and his Dutch Publishers’, ISV, 17 (1996), 89–137
  • M. Talbot: ‘Wenzel von Morzin as a Patron of Antonio Vivaldi’, Johann Friedrich Fasch und der italienische Stil, K. Musketa (Dessau, 2003), 67–76
Works
  • B. Marcello: Il teatro alla moda, o sia Metodo sicuro e facile per il ben comporre ed eseguire l'opere italiane in musica all'uso moderno (Venice, 1720; Eng. trans. in MQ, xxxiv (1948), 371–403, xxxv (1949), 85–105; also trans. in StrunkSR1)
  • J. Mattheson: Der vollkommene Capellmeister (Hamburg, 1739/R), 205
  • C. Avison: An Essay on Musical Expression (London, 1752, 2/1753/R, 3/1775), 42–3
  • J.J. Quantz: Versuch einer Anweisung die Flöte traversiere zu spielen (Berlin, 1752, 3/1789/R; Eng. trans., 1966 as On Playing the Flute)
  • W. Hayes: Remarks on Mr. Avison's Essay on Musical Expression (London, 1753), 39–41
  • J.J. Quantz: ‘Lebenslauf’, in F.W. Marpurg Historisch-kritische Beyträge zur Aufnahme der Musik, 1 (Berlin, 1754/R), 197–250
  • L. Torchi: La musica istrumentale in Italia nei secoli XVI, XVII e XVIII (Turin, 1901)
  • S. Clercx: ‘A propos des sinfonies de Vivaldi’, La revue internationale de musique, no.1 (1938), 632–5
  • R.G. Pauly: ‘Benedetto Marcello's Satire on Early 18th-Century Opera’, MQ, 34 (1948), 222–33
  • W. Kolneder: ‘Vivaldi als Bearbeiter eigener Werke’, AcM, 24 (1952), 45–52
  • W.S. Newman: ‘The Sonatas of Albinoni and Vivaldi’, JAMS, 5 (1952), 99–113
  • W. Kolneder: Aufführungspraxis bei Vivaldi (Leipzig, 1955, 2/1973)
  • R. Eller: ‘Geschichtliche Stellung und Wandlung der Vivaldischen Konzertform’, Musikwissenschaftlicher Kongress: Vienna 1956, 150–55
  • R. Eller: Das Formprinzip des Vivaldischen Konzerts: Studien zur Geschichte des Instrumentalkonzerts und zum Stilwandel in der ersten Hälfte des 18. Jahrhunderts (diss., U. of Leipzig, 1957)
  • H.R. Rarig: The Instrumental Sonatas of Antonio Vivaldi (diss., U. of Michigan, 1958)
  • L.E. Rowell: Four Operas of Antonio Vivaldi (diss., U. of Rochester, 1959)
  • A. Hutchings: The Baroque Concerto (London, 1961, 3/1973)
  • W. Kolneder: Die Solokonzertform bei Vivaldi, Sammlung musikwissenschaftlicher Abhandlungen, 42 (Strasbourg and Baden-Baden, 1961)
  • D.S. Higbee: ‘Michel Corrette on the Piccolo and Speculations regarding Vivaldi's “flautino”’, GSJ, 17 (1964), 115–16
  • W. Kolneder: ‘Vivaldis Aria-Concerto’, DJbM, 9 (1964), 17–27
  • T. Volek and M. Skalická: ‘Vivaldis Beziehungen zu den böhmischen Ländern’, AcM, 39 (1967), 64–72
  • D. Lasocki: ‘Vivaldi and the Recorder’, American Recorder, 9 (1968), 13–14; repr. in Recorder and Music Magazine, iii (1969), 22–7
  • H.C. Wolff: ‘Vivaldi und der Stil der italienischen Oper’, AcM, 40 (1968), 179–86
  • P. Damilano: ‘Antonio Vivaldi compose due vespri?’, NRMI, 3 (1969), 652–63
  • M.M. Dunham: The Secular Cantatas of Antonio Vivaldi in the Foà Collection (diss., U. of Michigan, 1969)
  • K. Heller: ‘Die Bedeutung J.G. Pisendels für die deutsche Vivaldi-Rezeption’, GfMKB: Leipzig 1966, 247–51
  • R.E. Fort: An Analysis of Thirteen Vesper Psalms of Antonio Vivaldi Contained in the Foà-Giordano Manuscripts (diss., Union Theological Seminary, 1971)
  • P. Ryom: ‘Le concerto “Per il Natale” de Vivaldi’, Vivaldi informations, 1 (1971–2), 75–80
  • M. Talbot: ‘The Concerto Allegro in the Early Eighteenth Century’, ML, 52 (1971), 8–18, 159–72
  • D. Arnold: ‘Vivaldi's Church Music: an Introduction’, EMc, 1 (1973), 66–74
  • D. Burrows: ‘Style in Culture: Vivaldi, Zeno, and Ricci’, Journal of Interdisciplinary History, 4 (1973–4), 1–23
  • W. Kolneder: Melodietypen bei Vivaldi (Zürich, 1973)
  • I. Farup-Madsen: Vivaldis anvendelse af fløjteinstrumenter (diss., U. of Copenhagen, 1974)
  • H. Maurer: The Independent Arias of Antonio Vivaldi in Foà 28 (diss., Indiana U., 1974)
  • R.D. Seidler: The Bassoon Concertos of Antonio Vivaldi (diss., Catholic U. of America, 1974)
  • K. Heller: ‘Zu einigen Aspekten der solistischen Improvisation im Instrumentalkonzert des frühen 18. Jahrhunderts’, Zu Fragen des Instrumentariums, der Besetzung und Improvisation in der ersten Hälfte des 18. Jahrhunderts: Blankenburg, Harz, 1975, 80–87
  • E. Selfridge-Field: Venetian Instrumental Music from Gabrieli to Vivaldi (Oxford, 1975, 3/1994)
  • K. Heller: ‘Tendenzen der Tempo-Differenzierung im Orchesterallegro Vivaldis’, Die Blasinstrumente und ihre Verwendung sowie zu Fragen des Tempos in der ersten Hälfte des 18. Jahrhunderts: Blankenburg, Harz, 1976, 79–84
  • R. Strohm: Italienische Opernarien des frühen Settecento (1720-30), AnMc, no.16 (1976)
  • L. van Hasselt: ‘Heeft Vivaldi in 1738 Amsterdam bezocht?’, Mens en melodie, 32 (1977), 398–9
  • M. Talbot: ‘Vivaldi's “Manchester” Sonatas’, PRMA, 104 (1977–8), 20–29
  • Vivaldi-Studien: Dresden 1978 [incl. K. Heller: ‘Vivaldi's Ripienkonzerte: Bemerkungen zu einigen ausgewählten Problemen’, 1–31, 169–73; P. Ahnsehl: ‘Bemerkungen zur Rezeption der Vivaldischen Konzertform durch die mittel- und norddeutschen Komponisten im Umkreis Bachs’, 59–72; M. Talbot: ‘Ungewöhnliche Tonleiterformen bei Vivaldi’, 73–80, 176–9; R. Strohm: ‘Bemerkungen zu Vivaldi und der Oper seiner Zeit’, 81–99]
  • Vivaldi veneziano europeo: Venice 1978 [incl. W. Kolneder: ‘Musikalische Symbolik bei Vivaldi’, 13–23; D. Arnold: ‘Vivaldi's Motets for Solo Voice’, 37–48; F. Degrada: ‘Vivaldi e Metastasio: note in margine a una lettura dell'Olimpiade’, 155–81; B. Brizi: ‘Domenico Lalli librettista de Vivaldi?’, 183–204; G. Folena: ‘Prima la parola, poi la musica: Scipione Maffei poeta per musica e la Fida ninfa’, 205–33; E. Selfridge-Field: ‘Juditha in Historical Perspective: Scarlatti, Gasparini, Marcello and Vivaldi’, 135–53; M.T. Muraro and E. Povoledo: ‘Le scene della Fida ninfa: Maffei, Vivaldi e Francesco Bibiena’, 235–52]
  • P. Avanzi: ‘Sulla realizzazione del basso continuo nell'opera 2 di Antonio Vivaldi’, Ricerche musicali, 2 (1978), 113–57
  • E. Cross: ‘Vivaldi as Opera Composer: “Griselda”’, MT, 119 (1978), 411–16
  • E. Cross: ‘Vivaldi's Operatic Borrowings’, ML, 59 (1978), 429–39
  • K. Heller: ‘Zwei “Vivaldi-Orchester” in Dresden und Venedig’, Musikzentren in der ersten Hälfte des 18. Jahrhunderts und ihre Ausstrahlung: Blankenburg, Harz, 1978, 56–63
  • J.W. Hill: ‘Vivaldi's Griselda’, JAMS, 31 (1978), 53–82
  • N. Mangini: ‘Sui rapporti del Vivaldi col teatro di Sant'Angelo’, Venezia e il melodramma nel Settecento, ed. M.T. Muraro (Florence, 1978), 263–70
  • P. Ryom: ‘Antonio Vivaldi: les relations entre les opéras et la musique instrumentale’, Venezia e il melodramma nel Settecento, ed. M.T. Muraro (Florence, 1978), 249–62
  • E. Selfridge-Field: ‘Vivaldi's Esoteric Instruments’, EMc, 6 (1978), 332–8
  • R. Strohm: ‘Zu Vivaldis Opernschaffen’, Venezia e il melodramma nel Settecento, ed. M.T. Muraro (Florence, 1978), 237–48
  • W. Witzenmann: ‘“Credo in unum Deum”: un confronto tra interpretazioni di Gasparini e di Vivaldi’, Francesco Gasparini: Camaiore 1978 [Quaderni della RaM, vi (1981)], 119–32
  • D. Arnold: ‘The Solo Motet in Venice (1625–1775)’, PRMA, 106 (1979–80), 56–68
  • L. Bianchi: ‘Intorno alla Juditha di Vivaldi’, NRMI, 13 (1979), 204–9
  • N. Ohmura: ‘I “concerti senza orchestra” di Antonio Vivaldi’, NRMI, 13 (1979), 119–49
  • M. Rinaldi: Il teatro musicale di Antonio Vivaldi (Florence, 1979)
  • M. Talbot: ‘Vivaldi e lo chalumeau’, RIM, 15 (1980), 153–81
  • M. Talbot: ‘Vivaldi's Op. 5 Sonatas’, The Strad, 90 (1979–80), 678–81
  • C. Vitali: ‘Una lettera vivaldiana perduta e ritrovata, un inedito monteverdiano del 1630 e altri carteggi di musicisti celebri, ovvero splendori e nefandezze del collezionismo di autografi’, NRMI, 14 (1980), 404–12
  • Antonio Vivaldi: Venice 1981 [incl. R. Strohm: ‘Vivaldi's Career as an Opera Producer’, 11–63, repr. in R. Strohm: Essays on Handel and Italian Opera (Cambridge, 1985), 122–63; M. Talbot: ‘Vivaldi's Serenatas: Long Cantatas or Short Operas?’, 67–96; C. Timms: ‘The Dramatic in Vivaldi's Cantatas’, 97–129; G. Folena: ‘La cantata e Vivaldi’, 131–90; H. Hucke: ‘Vivaldi und die vokale Kirchenmusik des Settecento’, 191–206; K. Heller: ‘Anmerkungen zu Vivaldis Opernsinfonien’, 207–16; R. Wiesend: ‘Vivaldi e Galuppi: rapporti biografici e stilistici’, 233–55; B. Brizi: ‘Gli Orlandi di Vivaldi attraverso i libretti’, 315–30; M.G. Pensa: ‘L'Atenaide di Apostolo Zeno adattata per la musica di Vivaldi’, 331–44; F. Fido: ‘Le tre Griselde: appunti su Goldoni librettista di Vivaldi’, 345–63]
  • E. Cross: The Late Operas of Antonio Vivaldi, 1727-1728 (Ann Arbor, 1981)
  • K.D. Graumann: Antonio Vivaldi: Performance Editions of Nine Sacred Vocal Works on Liturgical Texts Preserved in the Raccolta Foà-Giordano (diss., U. of Oklahoma, 1981)
  • M. Talbot: ‘A Vivaldi Sonata with Obbligato Organ in Dresden’, Organ Yearbook, 12 (1981), 81–103
  • W. Kolneder: ‘“Laudate Dominum”: eine Motette von Michel Corrette nach dem Frühlingskonzert op.VIII Nr.1 von Vivaldi’, Logos musicae: Festschrift für Albert Palm, ed. R. Görner (Wiesbaden, 1982), 124–30
  • K. Heller: Concerto ripieno und Sinfonia bei Vivaldi (diss., U. of Rostock, 1983)
  • K. Heller: ‘Über die Beziehungen zwischen einigen Concerto- und Sinfonia-Sätzen Vivaldis’, ISV, 4 (1983), 41–60
  • J.W. Hill: ‘Vivaldi's “Ottone in villa” (Vicenza, 1713): a Study in Musical Drama’, DMV, 12 (1983), pp.vii–xxxvii
  • T.E. Hoeprich: ‘Finding a Clarinet for the Three Concertos by Vivaldi’, EMc, 11 (1983), 61–4
  • K. Hortschansky: ‘Arientexte Metastasios in Vivaldis Opern’, ISV, 4 (1983), 61–75
  • R. Wiesend: ‘Die Arie “Già si sa ch'un empio sei”: von Vivaldi oder von Galuppi?’, ISV, 4 (1983), 76–81
  • Opera & Vivaldi: Dallas 1980 [incl. E. Cross: ‘The Relationship between Text and Music in the Operas of Vivaldi’, 279–307; K. Kropfinger: ‘Vivaldi as Self-Borrower’, 308–26; J.W. Hill: ‘Vivaldi's Orlando: Sources and Contributing Factors’, 327–46]
  • H. Hell: ‘Ein Doppelkonzert Antonio Vivaldis als Triosonate’, AnMc, no.22 (1984), 149–96 [concerns rv516 and 71]
  • E. Selfridge-Field: ‘Dating Vivaldi's Venetian Operas’, ISV, 5 (1984), 53–65
  • M. Talbot: ‘Vivaldi's Conch Concerto’, ISV, 5 (1984), 66–82
  • P. Weiss: ‘Venetian Commedia Dell'Arte “Operas” in the Age of Vivaldi’, MQ, 70 (1984), 195–217
  • P. Ahnsehl: ‘Geneis, Wesen, Weiterwirken: Miszellen zur Vivaldischen Ritornellform’, ISV, 6 (1985), 74–86
  • P.G. Gillio: ‘Il mottetto per voce sola nella produzione di Antonio Vivaldi’, Rivista internazionale di musica sacra, 6 (1985), 137–96
  • E. Stipcevic: ‘Sull'opera “Scanderbeg” di Antonio Vivaldi’, Subsidia musica veneta, 5 (1985–6), 1–119
  • L. Della Libera: Il flauto traverso in Vivaldi (diss., U. of Rome, 1986–7)
  • M. Stegemann: ‘Vivaldi und das Horn: Mutmassungen über die Genese der Concertirv538 undrv539’, ISV, 7 (1986), 62–70
  • F. Tàmmaro: ‘Il “Farnace” di Vivaldi: problemi di ricostruzione’, Studi musicali, 15 (1986), 213–56
  • F. Tàmmaro: ‘Il “Farnace” fiorentino del 1733’, ISV, 7 (1986), 55–61
  • C. Fertonani: L' ’imitazion convenevole’: i concerti ’a programma’ di Antonio Vivaldi e l'estetica del primo Settecento (diss., U. of Milan, 1987–8)
  • R. Strohm: ‘Vivaldi's and Handel's Settings of Giustino’, Music and Theatre: Essays in Honour of Winton Dean, ed. N. Fortune (Cambridge, 1987), 131–58
  • Nuovi studi vivaldiani: Venice 1987 [incl. F. Tàmmaro: ‘I pasticci di Vivaldi: “Dorilla in Tempe”’, 147–84; A.L. Bellina, B. Brizi and M.G. Pensa: ‘Il pasticcio “Bajazet”: la “favola” del Gran Tamerlano nella messinscena di Vivaldi’, 185–272; M. Collins: ‘L'orchestra nelle opere teatrali di Vivaldi’, 285–312; N. Dubowy: ‘Anmerkungen zur Form in den frühen Konzerten Antonio Vivaldis’, 431–49; M. Grattoni: ‘“Qui si ferma a piacimento”: struttura e funzione della cadenza nei concerti di Vivaldi’, 472–92; E. Selfridge-Field: ‘“La pastorella sul primo albore”: a Case Study in the Relationship between Text and Music in the Cantatas of Marcello and Vivaldi’, 493–500; P.G. Gillio: ‘Il mottetto a voce sola: un oratorio in miniatura’, 501–10; J.W. Hill: ‘A Computer-Based Analytical Concordance of Vivaldi's Aria Texts: First Findings and Puzzling New Questions about Self-Borrowing’, 511–34; D.E. Monson: ‘The Trail of Vivaldi's Singers: Vivaldi in Rome’, 563–89; M. Talbot: ‘Vivaldi's Sacred Vocal Music: the Three Periods’, 759–69; E. Selfridge-Field: ‘Vivaldi and Marcello: Clues to Provenance and Chronology’, 785–800; L. Zoppelli: ‘Tempeste e stravaganze: fattori estetici e recettivi in margine alla datazione dei concerti “a programma”’, 801–10]
  • M. Talbot: ‘Vivaldi and Rome: Observations and Hypotheses’, JRMA, 113 (1988), 28–46
  • K. Vlaardingerbroek: ‘Thematic Links to Other Works in the “Confitebor”rv596: their Nature and Context’, ISV, 9 (1988), 47–63
  • P. Whitmore: ‘Towards an Understanding of the Capriccio’, JRMA, 113 (1988), 47–56
  • P. Everett: ‘Vivaldi's Paraphrased Oboe Concertos of the 1730s’, La prima ’Settimana musicale senese’ e la Vivaldi Renaissance (1939-1989): Siena 1989 [Chigiana, new ser., xxi (1989)], 197–216
  • C. Lawson: ‘Single Reed Instruments in the Music of Vivaldi’, La prima ’Settimana musicale senese’ e la Vivaldi Renaissance (1939-1989): Siena 1989 [Chigiana, new ser., xxi (1989)], 185–96
  • U. Roseman: Antonio Vivaldi's ’Orlando finto pazzo’: an Analysis and Critical Edition (diss., UCLA, 1989)
  • Vivaldi: vero e falso: Poitiers 1991 [incl. P.J. Everett: ‘Opening “Il sepolcro”: Ziani, Vivaldi and a Question of Stylistic Authenticity’, 69–89: K. Vlaardingerbroek: ‘Vivaldi and Lotti: Two Unknown Borrowings in Vivaldi's Music’, 91–108; E. Selfridge-Field: ‘Vivaldi's Cello Sonatas’, 127–48]
  • P. Lescat: ‘“Il Pastor Fido”, une oeuvre de Nicolas Chédeville’, ISV, 11 (1990), 5–10; expanded in Vivaldi: vero e falso: Poitiers 1991, 109–26
  • F. Doé de Maindreville: Les neuf sonates pour violoncello et basse continue de A. Vivaldi (diss., U. of Paris IV, 1991)
  • C. Fertonani: Antonio Vivaldi: la simbologia musicale nei concerti a programma (Pordenone, 1992)
  • S. Mamy: ‘“Le Printemps” d'Antonio Vivaldi revu et corrigé à Paris par Nicolas Chédeville, Michel Corrette et Jean-Jacques Rousseau’, ISV, 13 (1992), 51–65
  • M. Talbot: ‘New Light on Vivaldi's “Stabat Mater”’, ISV, 13 (1992), 23–37
  • M. Talbot: ‘Vivaldi and the Concertante Organ’, The Organist, 2/2 (1992), 1–3
  • C. White: From Vivaldi to Viotti: a History of the Early Classical Violin Concerto (Philadelphia, 1992)
  • A. Hermes-Neumann: Die Flötenkonzerte von Antonio Vivaldi (Egelsbach, 1993)
  • P.A. Mori: Vivaldi's Bassoon Concerto Variants: a Schenkerian Approach (diss., Peabody Institute, Johns Hopkins U., Baltimore, 1993)
  • W. Alexander: ‘Zur Spezifik des Ritornells in Antonio Vivaldis Konzerten für mehrere verschiedene Instrumente, Orchester und Basso continuo’, Rudolf Eller zum achzigsten Geburtstag, ed. K. Heller and A. Waczkat (Rostock, 1994), 41–9
  • L. Pancino: ‘“Arsilda regina di Ponto”: per una ricostruzione della versione primitiva’, ISV, 15 (1994), 51–73
  • P. Ryom: Vivaldis koncerter (Copenhagen, 1994)
  • M. Talbot: ‘Tenors and Basses at the Venetian Ospedali’, AcM, 66 (1994), 128–38
  • E. Cross: ‘Vivaldi and the Pasticcio: Text and Music in Tamerlano’, Con che soavità: Studies in Italian Opera, Song, and Dance, ed. T. Carter and I. Fenlon (Oxford, 1995), 275–311
  • L. Pancino: ‘Le opere di Vivaldi nel raffronto fra libretti e partiture, i: “Ottone in villa”; “Orlando finto pazzo”; “Arsilda regina di Ponto”; “L'incoronazione di Dario”’, ISV, 16 (1995), 5–58
  • M. Talbot and P. Everett: ‘Homage to a French King: Two Serenatas by Vivaldi (Venice, 1725 and ca. 1726)’, DMV, 15 (1995), pp.ix–lxxxvii
  • M. Talbot: The Sacred Vocal Music of Antonio Vivaldi (Florence, 1995)
  • K. Vlaardingerbroek: ‘Venetian Echoes on Northern Canals: some Observations on Vivaldi's Music in the Netherlands’, ISV, 16 (1995), 91–121
  • P. Everett: ‘Vivaldi at Work: the Autograph of the “Gloria”rv589’, ISV, 17 (1996), 68–86
  • P. Everett: Vivaldi: ’The Four Seasons’ and Other Concertos, Op. 8 (Cambridge, 1996)
  • L. Pancino: ‘Le opere di Vivaldi nel raffronto fra libretti e partiture, ii: “Armida al campo d'Egitto”: “Teuzzone”; “Tito Manlio”’, ISV, 17 (1996), 5–67
  • U. Zilkens: Antonio Vivaldi zwischen Naturalismus und Pop: die vier Jahreszeiten im Spiegel ihrer Interpretationen durch Musiktheoretiker und Musiker, in Bearbeitungen und auf Plattencovern (Cologne-Rodenkirchen, 1996) [incl. discography by R.-C. Travers]
  • C. Fertonani: La musica strumentale di Antonio Vivaldi (Florence, 1997)
  • C. Fertonani: ‘Antonio Vivaldi: le sonate a tré’, ISV, 18 (1997), 5–36
  • O. Rouvière: ‘Siro di Vivaldi, ou Metastasio à Venise’, ISV, 18 (1997), 45–61
  • L. Pancino: ‘Le opere di Vivaldi nel raffronto fra libretti e partiture, iii: “La verità in cimento”; “La virtù trionfanate dell’amore e dell’odio, overo il Tigrane”; “Giustino”’, ISV, 19 (1998), 5–31
  • R. Rasch: ‘Some Remarks on Vivaldi’s “Amsterdam Concerto” (rv562a)’, ISV, 19 (1998), 33–43
  • O. Rouvière: ‘De Zeno à Goldoni: trois versions de “Griselda”’, ISV, 19 (1998), 75–99
  • B. Brover-Lubovsky: ‘Vivaldi and Contemporary German Music Theory’, ISV, 20 (1999), 59–81
  • L. Pancino: ‘Le opere di Vivaldi nel raffronto tra libretti e partiture, iv: “Dorilla in Tempe”; “Farnace”’, ISV, 20 (1999), 5–56
  • M. Talbot: ‘A New Vivaldi Violin Sonata and Other Recent Finds’, ISV, 20 (1999), 111–31
  • B. Brover-Lubovsky: ‘Between Modality and Tonality: Vivaldi’s Harmony’, ISV, 21 (2000), 111–31
  • O. Fourés and M. Talbot: ‘A New Vivaldi Cantata in Vienna’, ISV, 21 (2000), 99–108
  • L. Pancino: ‘Le opere di Vivaldi nel raffronto tra libretti e partiture, v: “Orlando furioso”; “Atenaide”’, ISV, 21 (2000), 5–32
  • L. Cataldi: ‘Da “Ah, ch’infelice sempre” a “Cessate, omai cessate”: riflessioni sulle varianti della cantata vivaldiana RV 684’, SV, 1 (2001), 137–52
  • F. Delaméa: ‘“La Silva”, RV 734: Ombres et lumières sur l’opéra milanais de Vivaldi’, SV, 1 (2001), 27–116
  • L. Pancino: ‘Le opere di Vivaldi nel raffronto tra libretti e partiture, vi: “La fida ninfa”; “L’Olimpiade”’, SV, 1 (2001), 7–25
  • F.M. Sardelli: La musica per flauto di Antonio Vivaldi (Florence, 2001)
  • M. Talbot: ‘How Recitatives End and Arias Begin in the Solo Cantatas of Antonio Vivaldi’, JRMA, 126 (2001), 169–92
  • M. Talbot: ‘The “Improvisata”: a “Characteristic” Sinfonia by Vivaldi?’, SV, 1 (2001), 119–35
  • E. Careri: ‘Sulla ripresa moderna del melodramma italiano del primo ’700: il caso de “La verità in cimento” di Antonio Vivaldi’, SV, 2 (2002), 75–96
  • L. Pancino: ‘Le opere di Vivaldi nel raffronto tra libretti e partiture, vii: “Bajazet”; “La Griselda”’, SV, 2 (2002), 3–22
  • F.M. Sardelli: ‘Vivaldi a Ulm negli acquisti di Johann Kleinknecht’, SV, 2 (2002), 99–105
  • M. Talbot: ‘Vivaldi and the English Viol’, EMc, 30 (2002), 381–94
  • M. Talbot: ‘Vivaldi’s “Quadro”? The Case of RV Anh. 66 Reconsidered’, AnMc, 32 (2002), 9–32
  • B. Brover-Lubovsky: ‘“Die schwarze Gredel”, or the Parallel Minor Key in Vivaldi’s Instrumental Music’, SV, 3 (2003), 105–31
  • J. Cameron: ‘Vivaldi’s “Crucifixus” in its Descriptive and Rhetorical Context’, SV, 3 (2003), 133–52
  • L. Pancino: ‘Le opere di Vivaldi nel raffronto tra libretti e partiture, viii: “Catone in Utica”; “Rosmira (fedele)”’, SV, 3 (2003), 3–30
  • F. Tanenbaum Tiedge and M. Talbot: ‘The Berkeley Castle Manuscript: Arias and Cantatas by Vivaldi and his Italian Contemporaries’, SV, 3 (2003), 33–86
  • M. Talbot: ‘Recovering Vivaldi’s Lost Psalm’, Eighteenth-Century Music, 1 (2004), 1–17
Revival
  • J.-P. Demoulin: ‘Chronologie des principaux événements qui ont marqué la résurrection d'Antonio Vivaldi, au vingtième siècle’, Vivaldiana, 1 (1969), 21–8
  • M. Pincherle: ‘Rencontre de Vivaldi’, Vivaldiana, 1 (1969), 7–11
  • M. Rinaldi: ‘Vita, morte e risurrezione di Antonio Vivaldi’, Studi musicali, 7 (1978), 189–214
  • M. Abbado: ‘Antonio Vivaldi nel nostro secolo, con particolare riferimento alle sue opere strumentali’, NRMI, 13 (1979), 79–112
  • Vivaldi veneziano europeo: Venice 1978 [incl. M. Rinaldi: ‘Itinerario della rivalutazione vivaldiana’, 289–302; F. Nicolodi: ‘Vivaldi nell'attività di Alfredo Casella organizzatore e interprete’, 303–32; R.-C. Travers: ‘La redécouverte de Vivaldi par le disque, de 1950 à 1978’, 333–46]
  • F. Nicolodi: Gusti e tendenze del Novecento musicale in Italia (Florence, 1982), 163–204
  • L.T. Billiet: La redécouverte de Vivaldi par le disque (diss., U. Libre de Bruxelles, 1984)
  • Nuovi studi vivaldiani: Venice 1987 [incl. K. Heller: ‘Zum Vivaldi-Bild im deutschen Schrifttum des 19. Jahrhunderts’, 19–32; W. Kolneder: ‘Vivaldi in der Polemik Schreyer-Spitta’, 33–44; R.-C. Travers: ‘L'exhumation des opéras de Vivaldi au XX siècle’, 313–54; H.L. Hirsch: ‘VI? VAL? DI? Der “Prete Rosso” in den Medien: Versuch einer Spurensicherung’, 713–28]
  • D.E. Freeman: ‘J.S. Bach’s “Concerto” Arias: a Study in the Amalgamation of Eighteenth-Century Genres’, Studi musicali, 27 (1998), 123–62
  • L. Alberti: ‘Come nacque a Venezia il Centro di Studi Vivaldiani’, La prima ’Settimana musicale senese’ e la Vivaldi Renaissance (1939-1989): Siena 1989 [Chigiana, new ser., xxi (1989)], 53–64
  • B. Brizi: ‘Per l'edizione dei testi operistici vivaldiani’, La prima ’Settimana musicale senese’ e la Vivaldi Renaissance (1939-1989): Siena 1989 [Chigiana, new ser., xxi (1989)], 137–60
  • J.-P. Demoulin: ‘Du rôle complémentaire du concert et du disque dans l'histoire de la renaissance de Vivaldi au XXème siècle’, La prima ’Settimana musicale senese’ e la Vivaldi Renaissance (1939-1989): Siena 1989 [Chigiana, new ser., xxi (1989)], 217–34
  • C. Fertonani: ‘Edizioni e revisioni vivaldiane in Italia nella prima metà del Novecento (1919–43)’, La prima ’Settimana musicale senese’ e la Vivaldi Renaissance (1939-1989): Siena 1989 [Chigiana, new ser., xxi (1989)], 235–66
  • R. Meloncelli: ‘Antonio Vivaldi e il rinnovamento musicale a Roma tra le due guerre’, La prima ’Settimana musicale senese’ e la Vivaldi Renaissance (1939-1989): Siena 1989 [Chigiana, new ser., xxi (1989)], 65–111
  • F. Nicolodi: ‘Fonti critiche e storiografiche della riscoperta italiana di Vivaldi’, La prima ’Settimana musicale senese’ e la Vivaldi Renaissance (1939-1989): Siena 1989 [Chigiana, new ser., xxi (1989)], 19–39
  • M. Talbot: ‘The Fortunes of Vivaldi Biography, from Pincherle to the Present’, La prima ’Settimana musicale senese’ e la Vivaldi Renaissance (1939-1989): Siena 1989 [Chigiana, new ser., xxi (1989)], 113–35
  • Cinquant’anni di produzione e consumi della musica dell’età di Vivaldi: Venice 1997 [incl. R.-C. Travers: ‘1947–1997: Vivaldi, les baroques et la critique: toute une histoire’, 53–74; F. Deleméa: ‘Les opéras de Vivaldi au XXe siècle: la poursuite di l’exhumation (1987–1996)’, 129–201]
  • F. Delaméa: ‘La redécouverte du théâtre vivaldien: état des lieux et perspectives’, ISV, 19 (1998), 45–73
Iconography
  • F. Vatielli: ‘Un ritratto di Antonio Vivaldi?’, RaM, 11 (1938), 224–7
  • M. Talbot: Antonio Vivaldi: a Guide to Research (New York, 1988), 149–53
  • F. Farges and M. Ducastel-Delacroix: ‘Au sujet du vrai visage de Vivaldi: essai iconographique’, Vivaldi: vero e falso: problemi di attribuzione, ed. A. Fanna and M. Talbot (Florence, 1992), 155–79
  • F.M. Sardelli: ‘Ciuffi rossi ed altri dettagli: per una riconsiderazione dell'iconografia vivaldiana’, ISV, 15 (1994), 103–13
  • J. Wende: ‘Ein Porträt Don Antonio Vivaldis?’, ISV, 15 (1994), 83–98
  • F.M. Sardelli: ‘Un nuovo ritratto di Antonio Vivaldi’, SV, 2 (2002), 107–13
Vivaldi and Bach
  • J.N. Forkel: Über Johann Sebastian Bachs Leben, Kunst und Kunstwerke (Leipzig, 1802/R), 23–4
  • C.L. Hilgenfeldt: Johann Sebastian Bach's Leben, Wirken und Werke (Leipzig, 1850), 128
  • J. Rühlmann: ‘Antonio Vivaldi und sein Einfluss auf Johann Sebastian Bach’, NZM, 63 (1867), 393–7, 401–5, 413–16
  • P. Waldersee: ‘Antonio Vivaldis Violinconcerte unter besonderer Berücksichtigung der von Johann Sebastian Bach bearbeiteten’, VMw, 1 (1885), 356–80
  • A. Schering: ‘Zur Bach-Forschung’, SIMG, 4 (1902–3), 234–43
  • M. Schneider: ‘Das sogenannte “Orgelkonzert d-moll von Wilhelm Friedemann Bach”’, BJb (1911), 23–36
  • R. Eller: ‘Zur Frage Bach-Vivaldi’, GfMKB: Hamburg 1956, 80–85
  • R. Eller: ‘Vivaldi-Dresden-Bach’, BMw, 3/4 (1961), 31–48
  • P. Ryom: ‘La comparaison entre les versions différentes d'un concerto d'Antonio Vivaldi transcrit par J.S. Bach’, DAM, 5 (1966–7), 91–111
  • H.-G. Klein: Der Einfluss der Vivaldischen Konzertform im Instrumentalwerk Johann Sebastian Bachs (Baden-Baden, 1970)
  • J.T. Igoe: ‘Bachs Bearbeitungen für Cembalo solo: eine Zusammenfassung’, BJb1971, 91–7
  • H.-J. Schulze: ‘J.S. Bach's Concerto-Arrangements for Organ: Studies or Commissioned Works?’, Organ Yearbook, 3 (1972), 4–13
  • R. Eller: ‘Vivaldi and Bach’, Vivaldi veneziano europeo: Venice 1978, 55–66
  • H.-J. Schulze: ‘Neue Ermittlungen zu J.S. Bachs Vivaldi-Bearbeitungen’, Vivaldi-Studien: Dresden 1978, 32–41
  • W. Kolneder: ‘Vivaldi in der Polemik Schreyer-Spitta’, Nuovi studi vivaldiani: Venice 1987, 33–44
  • C. Wolff: ‘Vivaldi's Compositional Art and the Process of “Musical Thinking”’, Nuovi studi vivaldiani: Venice 1987, 1–17
  1. See also from The New Grove Dictionary of Opera: Dorilla in Tempe; Griselda; Orlando; Ottone in villa; and Tito Manlio.

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