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Essay / Research Paper Abstract
Antonio Vivaldi wrote his baroque concerto 'Four Seasons' in the 18th century, during a period of extended musical expressionism in Venice and throughout Italy. This 2.5 page paper provides a concise overview of Four Seasons and considers key elements such as composition, dynamics, medium, form and overall impression. Bibliography lists 2 sources.
Page Count:
2 pages (~225 words per page)
File: D0_Vivaldi.doc
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Unformatted sample text from the term paper:
Bach, and was noted for his use of varied stylistic developments and alternatives to the normative compositional forms of this era. "Four Seasons" is an interesting work because
it is made up of four separate movements, each in a different key and representing what Vivaldi perceived as musical representations of the differentiated seasons. In Concerto No. 1,
for example, Vivaldi creates three separate segments, Allegro, Largo and Allegro in E major, representing a musical perception of spring. Entitled "La Primavera" (The Spring), this segment of Vivaldis
work provides a relatively light opening, with a much more lively melodious sound and a brighter tempo than the more languid representations in his second Concerto. Concerto No.
2 in G minor, entitled "Lestate" or The Summer, is also divided into three parts, Allegro non molto, Adagio--Presto and Presto, which provide support for the more drawn out, seemingly
sleepless passages that promote the sense of heat, almost to the point of discomfort (Crawford 1). Vivaldi incorporates musical tension in this movement more than in Concerto No. 1,
and the progression of the rhythmic representations are broken up by a number of sounds, including the clap of thunder in Presto and what appears to be the whirling of
a storm in the third segment of this movement. The summer demonstrates Vivaldis propensity for incorporating non-standard format elements and harmonies into the body of his work.
Concerto No. 3 in F major, "Lautunno" (The Fall) provides three sections: Allegro, Adagio molto, and Allegro, each of which is essential for the development of the baroque composition
and the overall sound of the work. In this segment, a number of elements come together, including an up-tempo rhythm that appears to underscore his use of rhythm and
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