Recorded on 02/14/2006, uploaded on 01/16/2009
Musician's or Publisher's Notes
Antonio Vivaldi’s only concerto to feature trumpets, the Concerto in C major, RV 537 is among his most popular compositions. However, little is known about its origins. The source of the work is a manuscript in the National Library of Turin, believed to be part of a collection that the composer himself accumulated, and did not appear in publication until 1950. Since its publication, it has also appeared in a popular brass quintet arrangement.
The outer Allegro movements are energetic movements with idiomatic fanfares and passages ripe for showmanship on the part of the soloists. Due to the limitations of the Baroque trumpet, Vivaldi’s use of the orchestra throughout the piece is extensive, taking on a role nearly equal in importance with the soloists and creating a more unified ensemble setting than the typical soloist vs. orchestra. The soloists themselves also primary play together in harmony though at times they indulge in imitative passages. These extroverted but homogenous movements are bridged by a brief central Largo providing the only point of significant contrast in the work. The soloists are not heard during this movement allowing the orchestra to be somewhat freer in its harmonic wanderings. Joseph DuBose
This work follows Vivaldi's usual concerto format of three movements in a fast-slow-fast pattern. The two Allegro movements have a strong recurring theme know as a ritornello subject, which is announced by the trumpets. The soloists alternate between "chasing" eachother and playing together in close harmony. The Largo interlude presents a short sequence of searching harmonies for the continuo players (horn, trombone and tuba). CINCO
Courtesy of International Music Foundation.
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