March 04, 2010 <Back to Index>
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Antonio Lucio Vivaldi (March 4, 1678 – July 28, 1741), nicknamed il Prete Rosso ("The Red Priest"), was a Venetian baroque composer and priest, as well as a famous virtuoso violinist, born and raised in the Republic of Venice. The Four Seasons, a series of four violin concerti, is his best-known work and a highly popular baroque piece. Antonio Lucio Vivaldi was born in Venice, the capital of the Republic of Venice in 1678. He was baptized immediately after his birth at his home by the midwife, leading it to be believed that his life was somehow in danger. Though not known for certain, the immediate baptism was most likely due to his poor health or to an earthquake that shook the city that day. In the trauma of the event, Vivaldi’s mother may have dedicated him to the priesthood. Vivaldi’s parents were Giovanni Battista Vivaldi and Camilla Calicchio, as recorded in the register of San Giovanni in Bragora. Vivaldi had five siblings: Margarita Gabriela, Cecilia Maria, Bonaventura Tomaso, Zanetta Anna, and Francesco Gaetano. Giovanni Battista, a barber before becoming a professional violinist, taught him to play violin and then toured Venice playing the violin with his young son. He probably taught him at an early age, as evidenced by Vivaldi’s extensive musical knowledge at age 24 when he started working at the Ospedale della Pietà. Giovanni Battista was one of the founders of the Sovvegno dei musicisti di Santa Cecilia, a sort of trade union for musicians and composers. The president of the association was Giovanni Legrenzi, the maestro di cappella at St. Mark's Basilica and noted early baroque composer. His father may have been a composer himself: in 1689, an opera titled La Fedeltà sfortunata was composed by a Giovanni Battista Rossi, and this was the name under which Vivaldi's father had joined the Sovvegno di Santa Cecilia ("Rossi" for "Red", because of the colour of his hair, a family trait). Vivaldi
had a health problem, probably a form of asthma, which did not prevent
him from learning to play the violin, compose or take part in many
musical activities. It
did however stop him from playing wind instruments because of shortness
of breath. At the age of 15 in the year of 1693, he began studying to
become a priest. In 1703, at the age of 25, Vivaldi was ordained a priest and was soon nicknamed il Prete Rosso, "The Red Priest", because of his red hair. Not long after his ordination, in 1704, he was given a reprieve from celebrating the Holy Mass because of his ill health. Vivaldi only said mass as a priest a few times because of his strettezza di petto, or what we interpret to be asthma. In September 1703, Vivaldi became maestro di violino (master of violin) at an orphanage called the Pio Ospedale della Pietà (Devout Hospital of Mercy) in Venice. While
Vivaldi is most known as a composer, he was regarded as an exceptional
technical violinist as well. Vivaldi
was only 25 when he started working at the Ospedale della Pietà
and he composed most of his major works while working there for the
next thirty years of his life. There
were four such institutions in Venice; their purpose was to give
shelter and education to children who were abandoned, orphaned, or
whose families could not support them. His
relationship with the board of directors of the Ospedale was often
strained. The board had to take a vote every year on whether to keep a
teacher. The vote on Vivaldi was seldom unanimous, and in 1709, he lost
his job after a 7 against 6 vote. After
a year as a freelance musician, he was recalled by the Ospedale with a
unanimous vote in 1711; clearly the board had realized the importance
of his role by then. In 1713, he became responsible for the musical activity of the institution. Vivaldi was promoted to maestro di' concerti (music director) in 1716. It
was during these years that Vivaldi wrote much of his music, including
many operas and concerti. In 1705, the first collection (Connor Cassara)
of his works was published: his Opus 1 is a collection of 12 sonatas
for two violins and basso continuo, still in a conventional style. His first printed collection, written in 1705, was published by Giuseppe Sala. In 1709, a second collection of 12 sonatas for violin & basso continuo appeared (Opus 2). The real breakthrough came with his first collection of 12 concerti for one, two, and four violins with strings, L'estro armonico (Opus 3), which was published in Amsterdam in 1711 by Estienne Roger. L’estro armonico was
dedicated to Grand Prince Ferdinand of Tuscany, a musician himself who
sponsored many musicians like Alessandro Scarlatti and Handel. Vivaldi
probably met him in Venice. This was a resounding success all over Europe, and was followed in 1714 by La stravaganza (Opus 4), a collection of concerti for solo violin and strings. La stravaganza was dedicated to an old violin student of Vivaldi’s, Vettor Dolfin, who was also a Venetian noble. In February 1711, Vivaldi and his father went to Brescia, where his setting of the Stabat Mater (RV 621)
was played as part of a religious festival. The work seems to have been
written in haste: the string parts are simple, the music of the first
three movements is repeated in the next three, and not all the text is
set. However, and in part as a consequence of the forced essentiality
of the music, the work reveals musical and emotional depth and is one
of his early masterpieces. In
1718, Vivaldi began to travel. Despite his frequent travels, the
Pietà paid him to write two concerti a month for the orchestra
and to rehearse with them at least five times when in Venice. The
Pietà's records show that he was paid for 140 concerti between
1723 and 1733. In the Venice of the early 18th century, opera was
the most popular musical entertainment and the most profitable for the
composer. There were several theaters competing for the public
attention. Vivaldi started his career as opera writer in undertone: his
first opera, Ottone in villa (RV 729) was performed not in Venice, but at the Garzerie theater in Vicenza in 1713. The following year, Vivaldi made the jump to Venice and became the impresario of the theater Sant'Angelo in Venice, where his opera Orlando finto pazzo (RV
727) was performed. However, the work did not meet the public's taste,
and Vivaldi had to close it after a couple of weeks and replace it with
a rerun of a different work already given the previous year. In 1715,
he presented Nerone fatto Cesare (RV 724, lost), with music by seven different composers, of which he was the leader, with eleven arias. This time it was a success, and in the late season, Vivaldi planned to give an opera completely of his own hand, Arsilda regina di Ponto (RV
700). However, the state censor blocked the performance, objecting to
the plot: the main character, Arsilda, falls in love with another
woman, Lisea, who is pretending to be a man. Vivaldi
managed to get the opera through censorship the following year, and it
was eventually performed to a resounding success. In this same period
of time, the Pietà commissioned several liturgical works. The most important were two oratorios. The first, Moyses Deus Pharaonis, (RV 643) is lost. The second, Juditha triumphans (RV
644), composed in 1716, is one of his sacred masterpieces. It was
commissioned to celebrate the victory of the Republic of Venice against
the Turks and the recapture of the island of Corfù. In the same year, 1716, Vivaldi wrote and produced two more operas, L'incoronazione di Dario (RV 719) and La costanza trionfante degli amori e degli odi (RV 706). The latter was so popular that it was re-edited and represented two years later with the title Artabano re dei Parti (RV 701, lost) and was eventually performed in Prague in 1732. His modern operatic style caused him some trouble with other more conservative musicians, like Benedetto Marcello, a magistrate and amateur musician who wrote a pamphlet denouncing him and the modern style of opera. While
Vivaldi composed many operas in his time, he never reached the
prominence of other great composers like Alessandro Scarlatti, Leonardo
Leo, and Baldassare Galuppi, as evidenced by his inability to keep a
production running for any period of time in any major opera house. His most successful operas were La constanza trionfante and Farnace which garnered six revivals each. In 1717 or 1718, Vivaldi was offered a new prestigious position as Maestro di Cappella of the court of the prince Phillip of Hesse-Darmstadt, governor of Mantua. He moved there for three years and produced several operas, among which was Tito Manlio (RV 738). In 1721, he was in Milan, presenting the pastoral drama La Silvia (RV 734, lost) and again the next year with the oratorio L'adorazione delli tre re magi al bambino Gesù (RV 645, also lost). The next big step was a move to Rome in 1722, where his operas introduced the new style and where the new pope Benedict XIII invited
Vivaldi to play for him. In 1725, he returned to Venice, where he
produced four operas in the same year. It is also in this period that
he wrote the Four Seasons,
four violin concertos depicting natural scenes in music. While three of
the concerti are of original conception, the first, "Spring", borrows
motifs from a Sinfonia in the first act of his opera "Il Giustino",
composed at the same time as The Four Seasons. They were published as the first four of a collection of twelve, Il cimento dell'armonia e dell'inventione, his Opus 8, published in Amsterdam by Le Cène in 1725. During
his time in Mantua Vivaldi became acquainted with an aspiring young
singer, Anna Tessieri Giro, who was to become his student,
protégée, and favorite prima donna. Anna,
along with her older half-sister Paolina, became part of Vivaldi's
entourage and regularly accompanied him on his many travels. There was
speculation about the nature of Vivaldi's and Giro's relationship, but
no evidence to indicate anything beyond friendship and professional
collaboration. Although Vivaldi’s relationship with Anna Giro was
questioned, he adamantly denies any romantic relationship in a letter
to his patron Bentivoglio November 16th, 1737. Vivaldi's
life, like those of many composers of the time, ended in financial
difficulties. His compositions no longer held the high esteem they once
did in Venice; changing musical tastes quickly made them outmoded, and
Vivaldi, in response, chose to sell off sizeable numbers of his
manuscripts at paltry prices to finance a migration to Vienna. The
reasons for Vivaldi's departure from Venice are unclear, but it seems
likely that he wished to meet Charles VI, who appreciated his
compositions (Vivaldi dedicated La Cetra to
Charles in 1727), and take up the position of a composer in the
Imperial Court. When Vivaldi departed from Venice, he may have stopped
in Graz to see Anna Giro before settling in Vienna. It is ever more likely that Vivaldi went to Vienna to stage operas, especially as his place of residence was near the Kärntnertortheater.
However, shortly after Vivaldi's arrival at Vienna, Charles died. This
tragic stroke of bad luck left the composer without royal protection
and a source of income. Vivaldi died not long after, on the night
between 27 and July 28, 1741, of internal infection in
a house owned by the widow of a Viennese saddlemaker. On July 28 he was
buried in a simple grave at the Hospital Burial Ground in Vienna.
Vivaldi's funeral took place at St. Stephen's Cathedral, where the young Joseph Haydn was then a choir boy. His burial spot is next to the Karlskirche in Vienna, at the site of the Technical Institute. |