Studies of variation form generally overlook the works of Antonio Vivaldi due to the lack of sufficient bibliographic resources and assumptions downplaying the significance of Vivaldi's variation sets. This study, however, argues that Vivaldi's sets represent innovative contributions to the hm It begins by cataloguing the twenty instrumental variation sets published in the &st critical edition of Vivaidits works (Milan: Ricordi, 1947-72). It then examines the sequence of vatiations and manner of conclusion in each set, issues crucial to the reception of variation form ever since late eighteenth-century writers such as Koch and Vogler expanded discussions of variation technique to address variation sets as a musical farm. Vivakli's examples are compared to those by Corelli, Rarneau, and Handel, highlighting Vivaldi's greater emphasis on coherent progressions and f'lrm conclusions. Additionally, reeent chronological studies are combined to propose that Vivaldi was among the first composers to use variation form h solo concertos.
| Identifer | oai:union.ndltd.org:uvic.ca/oai:dspace.library.uvic.ca:1828/723 |
| Date | 10 April 2008 |
| Creators | Lockey, Nicholas Scott. |
| Contributors | Hammond, Susan Lewis. |
| Source Sets | University of Victoria |
| Detected Language | English |
Page generated in 0.0025 seconds