Vivaldi´s Music for Flute and Recorder.
Federico Maria Sardelli writes from the perspective of a professional baroque flautist and recorder-player, as well as from that of an experienced and committed scholar, in order to shed light on the bewildering array of sizes and tunings of the recorder and transverse flute families as they relate to Antonio Vivaldi's compositions. Sardelli draws copiously on primary documents to analyse and place in context the capable and surprisingly progressive instrumental technique displayed in Vivaldi's music.
The book includes a discussion of the much-disputed chronology of Vivaldi's works, drawing on both internal and external evidence. Each known piece by him in which the flute or the recorder appears is evaluated fully from historical, biographical, technical and aesthetic standpoints. This book is designed to appeal not only to Vivaldi scholars and lovers of the composer's music, but also to players of the two instruments, students of organology and those with an interest in late baroque music in general.
Vivaldi is a composer who constantly springs surprises as, even today, new pieces are discovered or old ones reinterpreted. Much has happened since Sardelli's book was first published in Italian, and this new English version takes full account of all these new discoveries and developments. The reader will be left with a much fuller picture of the composer and his times, and the knowledge and insights gained from minutely examining his music for these two wind instruments will be found to have a wider relevance for his work as a whole. Generous music examples and illustrations bring the book's arguments to life.
Traducción al inglés a cargo de Michael Talbot del original en italiano publicado en Florencia en 2001.
Gran Bretaña, 2007. 358pp. Idionma: inglés. Encuadernación: cartoné con sobrecubierta.
List of Plates vii
List of Tables ix
List of Numbered Music Examples x
Translator’s Note xix
Conventions and Abbreviations xxi
PART I: THE RECORDER AND FLUTE INITALY IN VIVALDI’S TIME
1 The Emancipation of the Recorder and Flute 3
2 Straight and Cross Flutes 7
3 The Recorder and Flute in Venice: the Role of Amateur Players 17
4 The Recorder and Flute in Venice: the First Professional Players 21
5 Other Players of the Recorder and Flute Associated with Vivaldi 37
6 Missing Workshops and Instruments 45
PART II: VIVALDI’S MUSIC FOR RECORDER AND FLUTE
7 Vivaldi’s Sonatas for Recorder and Flute 57
Sonatas for Transverse Flute 57
Sonatas for Recorder 70
A Distinguished Forgery: Il pastor fido 73
Sonatas for Two Instruments and Continuo 84
8 Vivaldi’s Chamber Concertos with Recorder or Flute 91
The Chamber Concerto: a New Genre 91
Lost and Spurious Works 93
The Earliest Examples 96
Other Chamber Concertos 104
The Choice of Instrument 125
9 Vivaldi’s Flute Concertos 139
True and False Attributions 139
New Works, Old Music: Vivaldi’s Opera decima 141
Beyond Op. 10 149
10 Vivaldi’s Recorder Concertos 163
11 Vivaldi’s Concertos for Flautino 177
The Instrument’s Identity 177
The Type of Flautino Used by Vivaldi 188
Date, Style and Special Characteristics 198
12 The Concerto for Two Flutes 205
13 The Concertos with Multiple Soloists and Orchestra 207
14 The Recorder and Flute in Vivaldi’s Vocal Music 233
Sacred Works 233
15 Remarks on Instrumental Technique 273
16 Conclusions 279
17 Postscript: A Late Discovery 283
Inventory of the Works for Recorder and Flute by Antonio Vivaldi 287
General Index 315
Index to the Vivaldi Works Mentioned 331