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"must have been conceived for the enjoyment of a small group ofĪmateurs who, it appears, were still playing the obsolescent recorder In passing, I did come across one puzzling passage: a reference to theĬoncerto di flauti by Alessandro Marcello, which the translation claims as if it had been written from the start in English" (p. In general he has achieved his goal of "producing a text that reads The translator, Michael Talbot, of course knows Italian well, and Vivaldis, which is soon to appear from Breitkopf & Hartel" (p. Peter Ryom's forthcoming "large and complete version (GrosseĪusgabe) of his monumental catalogue, the Verzeichnis der Werke Antonio Second, Sardelli has had private access to in establishing more firmly the chronology and filiation of "critical analysis of the dense network of borrowings, reworkingsĪnd quotations that pervade the entire output of the composer can play The book is living proof of Sardelli's opinion that which I hope will appear in print before long" Unpublished, catalogue of Vivaldi's self-quotations-a massiveĪccumulation. Theįirst is a special kind of bibliographical control: "my own, still Sardelli has had two particular advantages in his research. Violin concerto, RV 202, blends musicological and practical Showing how Vivaldi reworked the C minor recorder concerto from the
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Insider's view of the technique of both instruments.
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I was especially taken by hisĮvidence and arguments that Vivaldi himself taught the flute and had an In part II, on the music, Sardelli devotes chapters to the sonatas,Ĭhamber concertos, flute concertos, recorder concertos, concertos forįlautino, concerto for two flutes, concertos with multiple soloists and Switching over to the flute, Vivaldi already preferred the flute in theġ710s and did not start writing for the recorder until the early 1720s. In the first two or three decades of the eighteenth century, then The received scholarly view that, rather than writing for the recorder This skillfullyĪssembled mass of evidence supports Sardelli's novel reversal of Musical, and organological evidence for the presence of the instruments,īoth in the country and in Vivaldi's life. In Italy in Vivaldi's Time," Sardelli looks at the social, The translation retains the book's division into two parts, ofĭisparate length (54, 134 pp.). Use of the flute and recorder in vocal music, explored virtually Perhaps the most stimulating section, on Vivaldi's Instrumentation, dating, and the players and occasions for which pieces The main preoccupations of the book were matters of Previous research on the subject and possessing an obvious love for the Someone well-versed in the composer's music in general as well as Music for flute and recorder (in Italian, both kinds of flauto) by Scholarship: the first book-length study of Vivaldi's imaginative The original book constituted a considerable achievement in woodwind Scholars of today, who also contributed some of the additional material. Olschki, 2001), translated by one of the most eminent Vivaldi Sardelli's La musica per flauto di Antonio Vivaldi (Florence: Leo S. The book under review is an expanded English version of Burlington, VT: Ashgate inĪssociation with Istituto Italiano Antonio Vivaldi/Fondazione APA style: Vivaldi's Music for Flute and Recorder.Vivaldi's Music for Flute and Recorder." Retrieved from
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