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to teach him; he also improved greatly under this professor: the 5th
Concerto of Vivaldi was often performed on the stage at the theatre by Tim's master with great applause, as it was thought at that time that it was not in the power of any human being to execute a piece of music more difficult. This excited great emulation in our hero, who usually got up at four o’clock in the morning to practise the 5th of Vivaldi; he continued to do this for five months successively, besides what he did at other times, so that he did not upon an average play less than five hours every day: And indeed that instrument requires it, if a student is resolved to make any great proficiency.
1022:
33:
947:'s printer, published the twelve concertos in two instalments in 1715 and 1717, when he also published all twelve in one volume, with individual concertos included in later collections. In London his version was pirated by other printing firms in the 1720s; and in Paris there were five or more reprintings from the late 1730s to the early 1750s. The works were also transmitted through manuscript copies, often of individual concertos, the most popular by far being Op. 3, No. 5, which has 15 known copies and transcriptions.
860:
1194:, contains a summary of the known surviving publications, handwritten manuscript copies and arrangements of the concertos. Of these six were arranged by Bach: three of those for solo violin were arranged for harpsichord; two double violin concertos for organ (two keyboards and pedal); and one of the concertos for four violins was arranged for four harpsichords and orchestra. Four further keyboard arrangements appear in Anne Dawson's book, an English anthology dating from around 1720 of arrangements for
716:
616:
519:
412:
1045:
concerto of
Vivaldi. Carolan, immediately taking his harp, played over the whole piece after him, without missing a note, though he had never heard it before: which produced some surprize; but their astonishment increased, when he assured them he could make a concerto in the same taste himself, which he instantly composed with such spirit and eloquence, that it may compare (for we have it still) with the finest compositions of Italy.
1318:
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1214:
924:, sometimes with Vivaldi as soloist. Open air concerts in the 1720s and 1730s could have as many as a hundred performers. Despite originating in a religious institution, the print copies were widely distributed throughout Europe, with 20 reprintings of Estienne Roger's Amsterdam edition between 1711 and 1743. Sales were slightly more successful than those of Vivaldi's famous 1725 collection
1010:. To illustrate the extent to which "Vivaldi's Fifth" had entered the popular culture, Talbot mentions a 1743 musical entertainment where a performance was advertised in a programme involving "rope-dancing, tumbling, vaulting and equilibres", with dances that included "the Drunken Peasant", a "Hornpipe in wooden shoes" and new "Morrice dances". In a 1760 essay,
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instruments. (Arrangements for other instruments, such as the harp, or vocal ensembles are discussed in the previous section.) The great success of
Vivaldi's concertos during his lifetime was matched by his rapid descent into obscurity after his death in 1741. As Vivaldi scholars agree, some of the earliest and most significant transcriptions—those made in
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gives a detailed description, drawn from contemporary accounts, of the performances and reception of the concertos in
Britain and Ireland in the eighteenth century. The most popular concerto from the set was Op. 3, No. 5, RV 519 which was commonly referred to as "Vivaldi's Fifth". Two other
208:
format, that is: for each concerto there are seven independent parts. In each consecutive group of three concertos, the first is a concerto for four violins, the second for two violins, and the third a solo violin concerto. The cello gets solistic passages in several of the concertos for four and two
116:
format, that is: for each concerto there are seven independent parts. In each consecutive group of three concertos, the first is a concerto for four violins, the second for two violins, and the third a solo violin concerto. The cello gets solistic passages in several of the concertos for four and two
1044:
Being once at the home of an Irish nobleman, where there was a musician present who was eminent in the profession, Carolan immediately challenged him to a trial of skill. To carry the jest forward, his lordship persuaded the musician to accept the challenge, and he accordingly played over the fifth
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At this time he had a great desire to learn the violin, and his father knowing something of it himself, initiated him; he improved so fast that he soon put it out of the power of his father to instruct him. The old gentleman finding he had a genius for music, engaged a famous musician, one
Dubourg,
1049:
The violinist is not named, but commentators have suggested
Geminiani, Dubourg or Clegg; as Talbot points out, it is unlikely to have been Geminiani, because of his known antipathy to Vivaldi. Transcriptions for harp of the third and fifth concertos survive in the collections of another celebrated
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points out, Op. 3, No. 5, RV 519, by far the most popular concerto of the set in the
British Isles, was so often performed in public and private that it was simply referred to as "Vivaldi's Fifth". The collection—and especially the fifth concerto—spawned many arrangements for keyboard
904:, Vivaldi's senior colleague, the local Venetian newspaper reported that "the audience, larger than ever, was made ecstatic by the spirited harmony of such a variety of instruments". Selfridge-Field has suggested that it is highly likely that the concert included performances of concertos from
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1284:—part of the nineteenth century "Bach revival". At that stage all of Bach's concerto transcriptions were described as "after Vivaldi", regardless of authorship. Problems with attribution were raised again by the new edition of the concerto transcriptions published by the
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in the 1890s. The controversy that ensued in the 1910s in assessing their authorship and that of the original concertos sparked the
Vivaldi revival, which involved a reevaluation of Vivaldi and the eventual rediscovery of his numerous "lost" works.
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by Bach were probably made in Weimar where he was employed as court organist and later concertmaster in the period 1708–1717. It is thought likely that many of the transcriptions were made in 1713/1714, when Bach would have had access to a copy of
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In our younger days, the fifth concerto of
Vivaldi, composed of rattling passages in perpetual semiquavers, was the making of every player on the violin, who could mount into the clouds, and imitate not only the flight, but the whistling notes of
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Following their publication, the concertos from the collection were widely performed in Italy, as church music and chamber music, both indoors and outdoors. In theatres and opera houses they were performed by small groups of 10, as in the
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1132:, with the music of various composers arranged by John Abraham Fisher. The first movement of the fifth concerto was arranged for the final number, a sextet for the principal characters, Jupiter, Juno, Pallas, Venus, Paris and the Dragon.
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I myself, though very far from being an accomplished player, can with great ease go through all the parts of Fisher's celebrated rondeau; nay, I have heard the fifth concerto of
Vivaldi played upon it with as much distinctness as upon a
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There were numerous arrangements for keyboard instruments in the eighteenth century, as described in the next section. One surviving eighteenth century transcription of Op. 3, No. 3 has been interpreted as an arrangement for
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as part of a series of arrangements for keyboard and organ of Italian and Italianate concertos—indirectly played a decisive role in restoring Vivaldi's reputation during the so-called "Vivaldi revival" in the twentieth century.
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1368:, was identified by Russell Stinson in 1990. Transposed to the key of G major, it is a straightforward transcription which occasionally simplifies Vivaldi's score by omitting the second violin and viola parts.
1267:
There is a much later arrangement of one of the concertos for four violins as a concerto for four harpsichords and strings. It has been dated to Bach's period in Leipzig, probably in the late 1720s or early 1730s.
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was his first collection of concertos appearing in print. It was also the first time Vivaldi chose a foreign publisher, Estienne Roger, instead of an Italian one. Vivaldi composed a few concertos specifically for
989:, is known to have given many performances of the fifth concerto (at least as early as 1720) and used it for training his pupils; this is recounted by one of them, Francis Fleming, in the autobiographical novel
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892:, performances of the concertos would have allowed advanced pupils to develop their skills as soloists and given the chance to others to learn how to play in an ensemble. The dedicatee of the collection,
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solo violins. Each double violin concerto also had a concertante violoncello part, which did not have a fixed role, sometimes playing solo, sometimes responding to the two violin soloists. In the
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concertos from the set were also played by the public, Op. 3, Nos. 3 and 12. In a London catalogue from 1780, the solo part for each of the three concertos was advertised for a sum of
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1152:
1206:, pp. 616–617) points out, the fifth concerto Op. 3, No. 5, RV 519, is the unique concerto to have resulted in so many transcriptions: these are described in detail in
1102:. Themes from movements in the concertos were borrowed by other composers for vocal works: the opening themes from the last movement of Op. 3, No. 11 were borrowed by
2334:
1340:
A Collection of Easy Genteel Lessons for the Harpsichord composed by Giovanni Agrell, Book II, to which is added Vivaldi's Celebrated 5th Concerto, set for the Harpsichord
893:
152:
1006:, a child prodigy who studied with both Geminiani and Dubourg, is also known to have been an advocate of Vivaldi's concertos, although no records specifically mention
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was almost certainly expressing Geminiani's views when he dismissed Vivaldi's concertos as "defective in various harmony and true invention", a withering reference to
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in its entirety has been recorded several times by some of the world's leading orchestras and ensembles. Some notable interpretations include:
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1989:
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described the set as "perhaps the most influential collection of instrumental music to appear during the whole of the eighteenth century".
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Talbot, Michael (2010), "'The Golden Pippin' and the Extraordinary Adventures in Britain and Ireland of Vivaldi's Concerto RV 519",
2007:
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1964:
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per concerto; and in a different catalogue from 1790, the solo part with an added bass line was advertised at a price of one
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2116:
2016:
137:
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is a set of 12 concertos for string instruments. In the 1711 first publication each concerto was printed in eight parts:
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after a two-year stay in the Netherlands. Bach made harpsichord arrangements of three of the concertos for solo violin:
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808:(Note that this concerto may be referred to as having 5 movements due to the tempo changes in the first movement.)
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was his first collection of concertos appearing in print. It was also the first time he chose a foreign publisher,
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2587:
2414:
1342:, London, Randall and Abell, c. 1767. This skillful arrangement of RW 519, probably made by the Swedish composer
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884:, the collection of 12 concertos was grouped in four cycles of three, each containing a concerto for 1, 2 and 4
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151:(the harmonic inspiration) was published as Antonio Vivaldi's Op. 3 in Amsterdam in 1711 and dedicated to
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1981:
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874:, Vivaldi scholar Eleanor Selfridge-Field gives an account of the performance and publication history of
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Bach's transcriptions were not widely disseminated. They were only published in the 1840s and 1850s by
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supplements Ryom's list with three further arrangements, all of them connected in some way to Britain.
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1913:
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1113:; and the opening motif of the first movement of the fifth concerto is quoted by Handel in the aria
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under the title of "Ferdinando III" . Vivaldi's Opp. 1 and 2 had only contained sonatas, thus
1364:'s transcription of RV 519, realised between 1727 and 1735. The arranger's autograph, in the
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the gentle graces of virginal ornamentation: shakes, coulées, long apoggiaturas, and so forth".
1256:
He arranged two of the double violin concertos for the organ, scored for two manuals and pedal:
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Performed by the Advent Chamber Orchestra with David Parry and Roxana Pavel Goldstein (violins)
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2124:
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2003:
1985:
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970:
58:
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2218:
Complete downloadable scores(parts) for the 12 Concertos – PDF and CFT(DMuse Viewer) formats
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Four Concertos Op. 3, RV 519, 567, 230, 265, transcribed for Keyboard in Anne Dawson's Book
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210:
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62:
136:, while other concertos of the set had been composed at an earlier date. Vivaldi scholar
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with L'Arte dell'Arco in 2014 for his series of Vivaldi's complete orchestral works for
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1931:
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Anne Dawson's Book, part of a bequest of baroque musical manuscripts now held in the
1136:
1335:
Apart from the arrangement of RV 519 in Anne Dawson's Book, there were many others:
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624:
Concerto for Four Violins, Cello, & Strings in B minor in D major, Op. 3 No. 10
189:
98:
1213:
1328:
Selfridge-Field describes these as replacing "the virile acrobatics of Vivaldi's
1300:, contains arrangements for single-manual instrument of the following concertos:
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556:
538:
467:
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431:
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2222:
1908:
Hauge, Peter (2018). "SchW A6:001: Concerto pro clavicembal del Sigr. Vivaldi".
1444:, the concertos were frequently recorded by period instrument ensembles such as
1059:
885:
197:
106:
50:
1957:
Repertoire des oeuvres d'Antonio Vivaldi : les compositions instrumentales
2358:
1973:
1952:
1434:
1297:
1195:
488:
2109:
583:
2406:
1879:
798:
2176:
Vivaldi, Antonio (2005), Eleanor Selfridge-Field; Michael Pereira (eds.),
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2064:
Vivaldi, Antonio (1999), Eleanor Selfridge-Field; Edmund Correia (eds.),
1395:
1199:
1122:
1014:
recorded the following anecdote about the celebrated blind Irish harpist
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247:
209:
violins, so that a few of the concertos conform to the traditional Roman
164:, while other concertos of the set had been composed at an earlier date.
117:
violins, so that a few of the concertos conform to the traditional Roman
54:
1221:, Bach's transcription of Op. 3, No. 11, which became part of
1165:
reflect the immediate popularity of these works within his lifetime. As
81:, instead of an Italian. Each concerto was printed in eight parts: four
2462:
2438:
2233:
2217:
1838:"Emulation and Inspiration: J. S. Bach's Transcriptions from Vivaldi's
1218:
1068:
records that the fifth concerto was also played on an Irish variant of
896:, frequently visited Venice from his native Florence and supported the
817:
787:
690:
383:
360:
337:
311:
288:
262:
230:
193:
102:
17:
1171:
1140:
1085:
82:
1978:
Antonio Vivaldi. Thematisch-systematisches Verzeichnis seiner Werke
1084:, a 35-glass harmonica is described, about which its inventor, the
965:
Few Italian violinists promoted Vivaldi in England. In the case of
911:
2238:
1031:
1020:
910:
858:
241:
217:
of two violins and cello plays in contrast to a string orchestra.
125:
of two violins and cello plays in contrast to a string orchestra.
90:
86:
31:
1357:
1037:
724:
Concerto for Two Violins in D minor, Op. 3 No. 11
2242:
2224:
Concerto de Antonio Vivaldi transcrit par Johann Sebastian Bach
2091:"On the question of the Baroque instrumental concerto typology"
900:. After a concert there in April 1711 featuring an oratorio by
593:
Concerto No. 9 in D major for solo violin and strings, RV 230:
496:
Concerto No. 8 in A minor for two violins and strings, RV 522:
420:
Concerto for Two Violins in A minor, Op. 3 No. 8
1139:, where students are first introduced to playing in a higher
527:
Violin Concerto in D major, Op. 3 No. 9 (Trumpet & Organ)
714:
614:
517:
410:
991:
The Life and Extraordinary Adventures of Timothy Ginnadrake
973:
and partly to his own ambitions as a composer. His protègé
1036:
1776 Poster for "The Golden Pippin" at the Theatre Royal,
866:, the church built on the site of the Ospedale della PietĂ
2185:, Center for Computer Assisted Research in the Humanities
1153:
Concerto transcriptions for organ and harpsichord (Bach)
1147:
Transcriptions and arrangements for keyboard instruments
2123:(2nd ed.). Cambridge: Cambridge University Press.
2068:
Full Score – Concertos for Violins and String Orchestra
1321:
First movement of Vivaldi's 5th concerto from Agrell's
969:, this was due partly to his allegiance to his teacher
2000:
Keyboard Transcriptions from the Bach Circle (preface)
2875:
878:. Probably initially composed for performance in the
221:
pioneered orchestral unisono in concerto movements.
129:
pioneered orchestral unisono in concerto movements.
2809:
2788:
2762:
2604:
2535:
2294:
2023:, The Master Musicians (2nd ed.), J. M. Dent,
1912:. Danish Humanist Texts and Studies. Vol. 58.
1135:Op. 3, No. 6, RV 356, is an important piece in the
2151:
1666:
1106:for the first choral movement in his 1714 cantata
132:Vivaldi composed a few concertos specifically for
65:, first published in Amsterdam in 1711. Vivaldi's
1938:, translated by Christopher Hatch, W. W. Norton,
1509:
1507:
1505:
1346:, is the only transcription of any concerto from
1121:. The most substantial borrowing occurred in the
2663:Il cimento dell'armonia e dell'inventione, Op. 8
1890: 979-0-004-18366-3, EB 8805, archived from
1398:recorded the complete concertos twice, both for
1910:Johann Adolph Scheibe: A Catalogue of His Works
1872:Preface to J.S. Bach: Sonatas, Trios, Concertos
1750:
1711:
1709:
1701:
1202:or harpsichord prepared by an unknown hand. As
1161:The many surviving transcriptions of Vivaldi's
1090:
1042:
1028:arranged the third and fifth concertos for harp
995:
838:
475:Performed by the Advent Chamber Orchestra with
2335:La costanza trionfante degl'amori e de gl'odii
2104:, translated by Paweł Wróbel, Kraków: 83–102,
1483:Italian conductor Federico Guglielmo recorded
2254:
1878:(Urtext), Complete Organ Works, vol. 5,
1304:Op. 3, No. 5, RV 519 (2 violins, violoncello)
981:. On the other hand, in London the violinist
693:for four violins, cello and strings, RV 580:
386:for four violins, cello and strings, RV 567:
314:for four violins, cello and strings, RV 550:
153:Ferdinando de'Medici, Grand Prince of Tuscany
27:Set of 12 violin concertos by Antonio Vivaldi
8:
1526:
1524:
1522:
790:for two violins, cello and strings, RV 565:
340:for two violins, cello and strings, RV 519:
265:for two violins, cello and strings, RV 578:
1816:Tonal Space in the Music of Antonio Vivaldi
1668:"This Content is for TSV Gold Members Only"
1272:Op. 3, No. 10, RV 580, arranged as BWV 1065
1157:Keyboard concertos by Johann Sebastian Bach
2608:
2261:
2247:
2239:
1354:Concerto pro clavicembal del Sigr. Vivaldi
1350:to be published in the eighteenth century.
1263:Op. 3, No. 11, RV 565, arranged as BWV 596
1252:Op. 3, No. 12, RV 265, arranged as BWV 976
2205:International Music Score Library Project
1742:
1689:
1572:International Music Score Library Project
1260:Op. 3, No. 8, RV 522, arranged as BWV 593
1249:Op. 3, No. 9, RV 230, arranged as BWV 972
1246:Op. 3, No. 3, RV 310, arranged as BWV 978
1186:, explained in detail in the two volumes
979:Il cimento dell'armonia e dell'inventione
927:Il cimento dell'armonia e dell'inventione
1650:
1323:Easy Genteel Lessons for the Harpsichord
1316:
1212:
729:1. Allegro – Adagio e spiccato – Allegro
586:(trumpet) & Jeffrey Campbell (organ)
2882:
1797:
1785:
1773:
1738:
1726:
1715:
1697:
1681:
1618:
1606:
1594:
1501:
835:Performance, transmission and reception
2928:Music dedicated to nobility or royalty
1793:
1789:
1746:
1693:
1685:
1646:
1642:
1630:
1582:
1552:
1530:
1513:
1375:
1207:
1166:
950:
486:
2731:, RV 208 (early violin concerto)
1761:
915:Probable portrait of Vivaldi, c. 1723
820:for solo violin and strings, RV 265:
794:Allegro – Adagio e spiccato – Allegro
363:for solo violin and strings, RV 356:
291:for solo violin and strings, RV 310:
233:for four violins, cello and strings,
97:. The continuo part was printed as a
7:
1654:
1541:
1371:
1238:brought back to Weimar by the young
1203:
1191:
1187:
479:and Roxana Pavel Goldstein (violins)
1374:lists four further transcriptions.
1313:Op. 3, No. 12, RV 265 (solo violin)
1415:Academy of St Martin in the Fields
1310:Op. 3, No. 9, RV 230 (solo violin)
1240:Prince Johann Ernst of Saxe-Weimar
487:Problems playing these files? See
25:
1442:historically-informed performance
1128:, first performed in 1773 at the
1088:physician Edward Cullen, writes:
2885:
2862:
2861:
2226:(BWV 972 after RV 230)
1307:Op. 3, No. 7, RV 567 (4 violins)
769:
751:
733:
669:
651:
633:
572:
554:
536:
465:
447:
429:
2913:Compositions by Antonio Vivaldi
2775:Concerto for Two Cellos, RV 531
1814:Brover-Lubovsky, Bella (2008),
864:Santa Maria della PietĂ , Venice
73:, only contained sonatas, thus
36:Title page of the first edition
1936:Vivaldi: Genius of the Baroque
1:
2699:
2154:Vivaldi: voice of the baroque
2121:The Organ Music of J. S. Bach
2046:Talbot, Michael, ed. (2011),
1072:'s celebrated invention, the
2918:Concertos by Antonio Vivaldi
2721:Six Violin Concertos, Op. 12
1282:Friedrich Konrad Griepenkerl
1280:in the editions prepared by
1130:Theatre Royal, Covent Garden
1065:1797 Encyclopædia Britannica
1050:blind harpist, the Welshman
681:the Modena Chamber Orchestra
204:The concertos belong to the
112:The concertos belong to the
71:Twelve Violin Sonatas, Op. 2
2750:Concerto in C major, RV 559
2709:Six Flute Concertos, Op. 10
2650:Six Violin Concertos, Op. 6
2160:University of Chicago Press
2066:L'Estro armonico Op. 3, in
2944:
2622:Twelve Trio Sonatas, Op. 2
2616:Twelve Trio Sonatas, Op. 1
2581:Nulla in mundo pax sincera
1959:, Engstrøm & Sødring,
1836:Butler, H. Joseph (2011),
1294:Henry Watson Music Library
1150:
1109:Ich hatte viel BekĂĽmmernis
67:Twelve Trio Sonatas, Op. 1
2859:
2780:Concerto for Two Trumpets
2679:Mandolin Concerto, RV 425
2644:Six Violin Sonatas, Op. 5
2611:
2276:
1998:Stinson, Russell (1992),
1056:National Library of Wales
2740:, RV 431a (c. 1730)
2447:Orlando furioso (RV 728)
2367:Armida al campo d'Egitto
2351:L'incoronazione di Dario
2343:Arsilda, regina di Ponto
2311:Orlando furioso (RV 819)
1869:Dirksen, Pieter (2010),
1820:Indiana University Press
1450:Academy of Ancient Music
1217:Autograph manuscript of
443:2. Larghetto e spiritoso
47:The Harmonic Inspiration
2656:Twelve Concertos, Op. 7
2629:L'estro armonico, Op. 3
2470:Alvilda regina de' Goti
2232:(harpsichord), 1936 at
1851:: 19–21, archived from
1421:recorded the works for
1417:under the direction of
1231:concerto transcriptions
1223:Wilhelm Friedemann Bach
1054:; they are held in the
812:Concerto No. 12, RV 265
708:Concerto No. 11, RV 565
608:Concerto No. 10, RV 580
188:Continuo, printed as a
2698:for string orchestra (
2415:Ercole su'l Termodonte
2048:The Vivaldi Compendium
1982:Breitkopf & Härtel
1884:Breitkopf & Härtel
1325:
1226:
1095:
1076:. Under the entry for
1047:
1040:
1029:
1000:
916:
870:In her preface to the
867:
857:
797:Largo e spiccato (aka
719:
619:
522:
511:Concerto No. 9, RV 230
415:
404:Concerto No. 8, RV 522
378:Concerto No. 7, RV 567
355:Concerto No. 6, RV 356
332:Concerto No. 5, RV 519
306:Concerto No. 4, RV 550
283:Concerto No. 3, RV 310
257:Concerto No. 2, RV 578
225:Concerto No. 1, RV 549
37:
2715:Six Concertos, Op. 11
2695:Concerto alla rustica
2637:La stravaganza, Op. 4
2525:L'oracolo in Messenia
2148:Robbins Landon, H. C.
1402:: first in 1963 with
1394:The Italian ensemble
1362:Johann Adolph Scheibe
1320:
1216:
1176:Johann Sebastian Bach
1117:in his 1750 oratorio
1035:
1024:
985:, another student of
914:
894:Ferdinando de' Medici
862:
718:
618:
521:
503:Larghetto e spiritoso
477:Jacques Israelievitch
414:
35:
2744:Lute Concerto, RV 93
2399:La veritĂ in cimento
2286:list of compositions
2089:Wilk, Piotr (2012),
1914:Royal Danish Library
1751:Brover-Lubovsky 2008
1702:Brover-Lubovsky 2008
1419:Sir Neville Marriner
1406:, then in 1984 with
1366:Berlin State Library
1137:Suzuki violin method
1002:The Irish violinist
881:Ospedale della PietĂ
61:by Italian composer
2671:Le quattro stagioni
2327:Nerone fatto Cesare
2319:Orlando finto pazzo
1446:Christopher Hogwood
987:Francesco Geminiani
967:Francesco Geminiani
816:Concerto No. 12 in
786:Concerto No. 11 in
747:2. Largo e spiccato
689:Concerto No. 10 in
2824:Concerto da camera
2595:Juditha triumphans
2098:Musica Iagellonica
2073:Dover Publications
1916:. pp. 91–92.
1741:, pp. 24–25,
1700:, pp. 24–25,
1609:, pp. vi–vii.
1555:, pp. 130–131
1489:Brilliant Classics
1404:Roberto Michelucci
1330:violino principale
1326:
1227:
1041:
1030:
1016:Turlough O'Carolan
917:
868:
720:
620:
523:
416:
382:Concerto No. 7 in
359:Concerto No. 6 in
336:Concerto No. 5 in
310:Concerto No. 4 in
287:Concerto No. 3 in
261:Concerto No. 2 in
229:Concerto No. 1 in
59:string instruments
53:3, is a set of 12
38:
2923:1711 compositions
2873:
2872:
2758:
2757:
2169:978-0-226-46842-6
2050:, Boydell Press,
1991:978-3-7651-0372-8
1923:978-87-635-4560-0
1466:Archiv Produktion
1440:With the rise of
1360: A6:001, is
1286:Bach-Gesellschaft
1163:L'estro armonico
1126:The Golden Pippin
1070:Benjamin Franklin
852:Rees's Cyclopædia
774:
756:
738:
700:Largo – Larghetto
674:
656:
638:
577:
559:
541:
470:
452:
434:
269:Adagio e spiccato
179:Four violin parts
16:(Redirected from
2935:
2908:Violin concertos
2890:
2889:
2888:
2881:
2865:
2864:
2834:Ryom-Verzeichnis
2796:Vivaldi (crater)
2704:
2703: 1725–1730
2701:
2609:
2431:Dorilla in Tempe
2263:
2256:
2249:
2240:
2212:L'Estro armonico
2203:: Scores at the
2199:L'estro armonico
2186:
2184:
2172:
2157:
2134:
2112:
2095:
2085:
2060:
2042:
2039:Studi Vivaldiani
2033:
2012:
2002:, A-R Editions,
1994:
1969:
1948:
1927:
1904:
1903:
1902:
1896:
1877:
1865:
1864:
1863:
1857:
1846:
1840:L'estro armonico
1832:
1800:
1783:
1777:
1771:
1765:
1759:
1753:
1736:
1730:
1724:
1718:
1713:
1704:
1679:
1673:
1672:
1670:
1663:
1657:
1640:
1634:
1628:
1622:
1616:
1610:
1604:
1598:
1592:
1586:
1580:
1574:
1570:: Scores at the
1566:L'estro armonico
1562:
1556:
1550:
1544:
1539:
1533:
1528:
1517:
1511:
1485:L'estro armonico
1425:with violinists
1388:L'estro armonico
1348:L'estro armonico
1236:L'estro armonico
1184:Ryom-Verzeichnis
1174:in the 1710s by
1115:Tho' the honours
1012:Oliver Goldsmith
1008:L'estro armonico
933:The Four Seasons
930:which contained
906:L'estro armonico
876:L'estro armonico
855:
827:Largo e spiccato
776:
775:
758:
757:
740:
739:
717:
676:
675:
658:
657:
640:
639:
617:
579:
578:
561:
560:
543:
542:
520:
472:
471:
454:
453:
436:
435:
413:
396:Allegro – Adagio
219:L'estro armonico
173:L'estro armonico
162:L'estro armonico
157:L'estro armonico
149:L'estro armonico
134:L'estro armonico
127:L'estro armonico
75:L'estro armonico
42:L'estro armonico
21:
2943:
2942:
2938:
2937:
2936:
2934:
2933:
2932:
2898:
2897:
2896:
2892:Classical music
2886:
2884:
2876:
2874:
2869:
2855:
2846:Vivaldi's Cello
2805:
2801:Vivaldi Glacier
2784:
2754:
2734:Flute Concerto
2702:
2668:1723, includes
2600:
2531:
2303:Ottone in villa
2290:
2272:
2270:Antonio Vivaldi
2267:
2228:, performed by
2194:
2189:
2182:
2175:
2170:
2146:
2142:
2140:Further reading
2137:
2131:
2117:Williams, Peter
2115:
2093:
2088:
2083:
2063:
2058:
2045:
2036:
2031:
2017:Talbot, Michael
2015:
2010:
1997:
1992:
1972:
1967:
1951:
1946:
1932:Pincherle, Marc
1930:
1924:
1907:
1900:
1898:
1894:
1875:
1868:
1861:
1859:
1855:
1844:
1835:
1830:
1813:
1809:
1804:
1803:
1784:
1780:
1772:
1768:
1760:
1756:
1737:
1733:
1725:
1721:
1714:
1707:
1680:
1676:
1665:
1664:
1660:
1653:, p. 220,
1641:
1637:
1629:
1625:
1617:
1613:
1605:
1601:
1593:
1589:
1581:
1577:
1563:
1559:
1551:
1547:
1540:
1536:
1529:
1520:
1512:
1503:
1498:
1462:English Concert
1408:Pina Carmirelli
1400:Philips Records
1385:
1159:
1149:
1074:glass harmonica
983:Matthew Dubourg
856:
845:
837:
814:
784:
783:
782:
781:
780:
777:
770:
767:
761:
760:
759:
752:
749:
743:
742:
741:
734:
731:
725:
721:
715:
710:
687:
686:
685:
684:
683:
677:
670:
667:
661:
660:
659:
652:
649:
643:
642:
641:
634:
631:
625:
621:
615:
610:
591:
590:
589:
588:
587:
580:
573:
570:
564:
563:
562:
555:
552:
546:
545:
544:
537:
534:
528:
524:
518:
513:
494:
493:
485:
483:
482:
481:
480:
473:
466:
463:
457:
456:
455:
448:
445:
439:
438:
437:
430:
427:
421:
417:
411:
406:
380:
357:
334:
308:
285:
259:
227:
213:format where a
211:concerto grosso
182:Two viola parts
170:
146:
121:format where a
119:concerto grosso
63:Antonio Vivaldi
28:
23:
22:
15:
12:
11:
5:
2941:
2939:
2931:
2930:
2925:
2920:
2915:
2910:
2900:
2899:
2895:
2894:
2871:
2870:
2860:
2857:
2856:
2854:
2853:
2848:
2843:
2840:Slice to Sharp
2836:
2831:
2826:
2821:
2813:
2811:
2807:
2806:
2804:
2803:
2798:
2792:
2790:
2786:
2785:
2783:
2782:
2777:
2772:
2766:
2764:
2760:
2759:
2756:
2755:
2753:
2752:
2747:
2741:
2732:
2724:
2718:
2712:
2706:
2691:
2682:
2676:
2675:
2674:
2659:
2653:
2647:
2641:
2633:
2625:
2619:
2612:
2606:
2605:Works with Op.
2602:
2601:
2599:
2598:
2591:
2584:
2577:
2572:
2567:
2562:
2557:
2550:
2545:
2539:
2537:
2533:
2532:
2530:
2529:
2521:
2513:
2505:
2497:
2489:
2481:
2473:
2467:
2459:
2451:
2443:
2435:
2427:
2419:
2411:
2403:
2395:
2387:
2379:
2371:
2363:
2355:
2347:
2339:
2331:
2323:
2315:
2307:
2298:
2296:
2292:
2291:
2289:
2288:
2283:
2281:list of operas
2277:
2274:
2273:
2268:
2266:
2265:
2258:
2251:
2243:
2237:
2236:
2230:Ruggero Gerlin
2220:
2215:
2207:
2193:
2192:External links
2190:
2188:
2187:
2173:
2168:
2143:
2141:
2138:
2136:
2135:
2129:
2113:
2086:
2081:
2061:
2056:
2043:
2034:
2029:
2013:
2008:
1995:
1990:
1970:
1965:
1949:
1944:
1928:
1922:
1905:
1866:
1833:
1829:978-0253351296
1828:
1810:
1808:
1805:
1802:
1801:
1778:
1766:
1754:
1743:Pincherle 1962
1731:
1719:
1705:
1690:Pincherle 1962
1674:
1658:
1649:, p. 95,
1635:
1623:
1621:, p. vii.
1611:
1599:
1587:
1585:, p. 111.
1575:
1557:
1545:
1534:
1518:
1516:, pp. 5–6
1500:
1499:
1497:
1494:
1493:
1492:
1481:
1474:Europa Galante
1458:Trevor Pinnock
1438:
1411:
1384:
1381:
1380:
1379:
1369:
1351:
1315:
1314:
1311:
1308:
1305:
1274:
1273:
1265:
1264:
1261:
1254:
1253:
1250:
1247:
1225:'s repertoire.
1148:
1145:
975:Charles Avison
962:per concerto.
847:Charles Burney
843:
836:
833:
832:
831:
828:
825:
813:
810:
806:
805:
802:
795:
778:
768:
763:
762:
750:
745:
744:
732:
727:
726:
723:
722:
713:
712:
711:
709:
706:
705:
704:
701:
698:
678:
668:
663:
662:
650:
645:
644:
632:
627:
626:
623:
622:
613:
612:
611:
609:
606:
605:
604:
601:
598:
584:Michel Rondeau
581:
571:
566:
565:
553:
548:
547:
535:
530:
529:
526:
525:
516:
515:
514:
512:
509:
508:
507:
504:
501:
484:
474:
464:
459:
458:
446:
441:
440:
428:
423:
422:
419:
418:
409:
408:
407:
405:
402:
401:
400:
397:
394:
391:
379:
376:
375:
374:
371:
368:
356:
353:
352:
351:
348:
345:
333:
330:
329:
328:
325:
322:
319:
307:
304:
303:
302:
299:
296:
284:
281:
280:
279:
276:
273:
270:
258:
255:
254:
253:
250:
244:
226:
223:
202:
201:
186:
183:
180:
169:
166:
145:
142:
138:Michael Talbot
79:Estienne Roger
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
2940:
2929:
2926:
2924:
2921:
2919:
2916:
2914:
2911:
2909:
2906:
2905:
2903:
2893:
2883:
2879:
2868:
2858:
2852:
2851:4 (2007 film)
2849:
2847:
2844:
2842:
2841:
2837:
2835:
2832:
2830:
2827:
2825:
2822:
2820:
2819:
2815:
2814:
2812:
2808:
2802:
2799:
2797:
2794:
2793:
2791:
2787:
2781:
2778:
2776:
2773:
2771:
2770:Cello sonatas
2768:
2767:
2765:
2761:
2751:
2748:
2745:
2742:
2739:
2738:
2737:Il gran mogol
2733:
2730:
2729:
2725:
2722:
2719:
2716:
2713:
2710:
2707:
2697:
2696:
2692:
2689:
2687:
2683:
2680:
2677:
2673:
2672:
2667:
2666:
2665:
2664:
2660:
2657:
2654:
2651:
2648:
2645:
2642:
2639:
2638:
2634:
2631:
2630:
2626:
2623:
2620:
2617:
2614:
2613:
2610:
2607:
2603:
2597:
2596:
2592:
2590:
2589:
2585:
2583:
2582:
2578:
2576:
2575:Dixit Dominus
2573:
2571:
2568:
2566:
2563:
2561:
2558:
2556:
2555:
2551:
2549:
2546:
2544:
2541:
2540:
2538:
2534:
2527:
2526:
2522:
2519:
2518:
2514:
2511:
2510:
2506:
2503:
2502:
2498:
2495:
2494:
2490:
2487:
2486:
2485:La fida ninfa
2482:
2479:
2478:
2474:
2471:
2468:
2465:
2464:
2460:
2457:
2456:
2452:
2449:
2448:
2444:
2441:
2440:
2436:
2433:
2432:
2428:
2425:
2424:
2420:
2417:
2416:
2412:
2409:
2408:
2404:
2401:
2400:
2396:
2393:
2392:
2388:
2385:
2384:
2380:
2377:
2376:
2372:
2369:
2368:
2364:
2361:
2360:
2356:
2353:
2352:
2348:
2345:
2344:
2340:
2337:
2336:
2332:
2329:
2328:
2324:
2321:
2320:
2316:
2313:
2312:
2308:
2305:
2304:
2300:
2299:
2297:
2293:
2287:
2284:
2282:
2279:
2278:
2275:
2271:
2264:
2259:
2257:
2252:
2250:
2245:
2244:
2241:
2235:
2231:
2227:
2225:
2221:
2219:
2216:
2214:
2213:
2208:
2206:
2202:
2200:
2196:
2195:
2191:
2181:
2180:
2174:
2171:
2165:
2161:
2156:
2155:
2149:
2145:
2144:
2139:
2132:
2130:9780521891158
2126:
2122:
2118:
2114:
2111:
2107:
2103:
2099:
2092:
2087:
2084:
2082:9780486406312
2078:
2074:
2070:
2067:
2062:
2059:
2057:9781843836704
2053:
2049:
2044:
2040:
2035:
2032:
2026:
2022:
2018:
2014:
2011:
2009:9780895792693
2005:
2001:
1996:
1993:
1987:
1983:
1979:
1975:
1971:
1968:
1962:
1958:
1954:
1950:
1947:
1941:
1937:
1933:
1929:
1925:
1919:
1915:
1911:
1906:
1897:on 2015-09-13
1893:
1889:
1885:
1881:
1874:
1873:
1867:
1858:on 2015-11-29
1854:
1850:
1843:
1841:
1834:
1831:
1825:
1821:
1817:
1812:
1811:
1806:
1799:
1795:
1791:
1787:
1782:
1779:
1775:
1770:
1767:
1763:
1758:
1755:
1752:
1748:
1744:
1740:
1735:
1732:
1729:, p. 25.
1728:
1723:
1720:
1717:
1712:
1710:
1706:
1703:
1699:
1695:
1691:
1687:
1683:
1678:
1675:
1669:
1662:
1659:
1656:
1652:
1651:Williams 2003
1648:
1644:
1639:
1636:
1632:
1627:
1624:
1620:
1615:
1612:
1608:
1603:
1600:
1597:, p. vi.
1596:
1591:
1588:
1584:
1579:
1576:
1573:
1569:
1567:
1561:
1558:
1554:
1549:
1546:
1543:
1538:
1535:
1532:
1527:
1525:
1523:
1519:
1515:
1510:
1508:
1506:
1502:
1495:
1490:
1486:
1482:
1479:
1475:
1471:
1467:
1463:
1459:
1455:
1454:L'Oiseau-Lyre
1451:
1447:
1443:
1439:
1436:
1432:
1428:
1424:
1423:Decca Records
1420:
1416:
1413:In 1973, the
1412:
1409:
1405:
1401:
1397:
1393:
1392:
1391:
1389:
1382:
1377:
1376:Talbot (2010)
1373:
1370:
1367:
1363:
1359:
1355:
1352:
1349:
1345:
1341:
1338:
1337:
1336:
1333:
1331:
1324:
1319:
1312:
1309:
1306:
1303:
1302:
1301:
1299:
1295:
1290:
1287:
1283:
1279:
1271:
1270:
1269:
1262:
1259:
1258:
1257:
1251:
1248:
1245:
1244:
1243:
1241:
1237:
1232:
1224:
1220:
1215:
1211:
1209:
1208:Talbot (2010)
1205:
1201:
1197:
1193:
1189:
1185:
1180:
1177:
1173:
1168:
1167:Talbot (2010)
1164:
1158:
1154:
1146:
1144:
1142:
1138:
1133:
1131:
1127:
1124:
1120:
1116:
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1094:
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994:
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988:
984:
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976:
972:
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961:
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952:
951:Talbot (2010)
948:
946:
942:
937:
935:
934:
929:
928:
923:
913:
909:
907:
903:
899:
895:
891:
887:
883:
882:
877:
873:
872:Dover edition
865:
861:
854:
853:
849:(1726–1814),
848:
842:
834:
829:
826:
823:
822:
821:
819:
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809:
803:
800:
796:
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789:
766:
748:
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707:
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695:
694:
692:
682:
679:Performed by
666:
648:
630:
607:
602:
599:
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594:
585:
582:Performed by
569:
551:
533:
510:
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478:
462:
444:
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321:Allegro assai
320:
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43:
34:
30:
19:
2838:
2829:Galant music
2818:Bella Figura
2816:
2735:
2728:Grosso mogul
2726:
2693:
2685:
2670:
2661:
2635:
2628:
2627:
2593:
2588:Introduzioni
2586:
2579:
2570:Stabat Mater
2554:Nisi Dominus
2552:
2536:Sacred music
2523:
2515:
2507:
2499:
2491:
2483:
2475:
2469:
2461:
2453:
2445:
2437:
2429:
2421:
2413:
2405:
2397:
2389:
2381:
2373:
2365:
2357:
2349:
2341:
2333:
2325:
2317:
2309:
2301:
2223:
2211:
2198:
2178:
2153:
2120:
2101:
2097:
2069:
2065:
2047:
2038:
2020:
1999:
1977:
1956:
1935:
1909:
1899:, retrieved
1892:the original
1871:
1860:, retrieved
1853:the original
1849:The Diapason
1848:
1839:
1815:
1798:Stinson 1992
1786:Vivaldi 1999
1781:
1774:Stinson 1992
1769:
1757:
1739:Dirksen 2010
1734:
1727:Dirksen 2010
1722:
1716:Vivaldi 1999
1698:Dirksen 2010
1682:Vivaldi 1999
1677:
1661:
1638:
1626:
1619:Vivaldi 1999
1614:
1607:Vivaldi 1999
1602:
1595:Vivaldi 1999
1590:
1578:
1565:
1560:
1548:
1537:
1484:
1470:Fabio Biondi
1431:Carmel Kaine
1427:Alan Loveday
1387:
1386:
1353:
1347:
1344:Johan Agrell
1339:
1334:
1329:
1327:
1322:
1291:
1278:C. J. Peters
1275:
1266:
1255:
1235:
1228:
1181:
1162:
1160:
1134:
1125:
1114:
1108:
1100:glockenspiel
1096:
1091:
1081:
1077:
1063:
1048:
1043:
1007:
1001:
996:
990:
978:
964:
949:
938:
931:
925:
921:
918:
905:
897:
889:
879:
875:
869:
850:
839:
815:
807:
785:
688:
647:2. Larghetto
592:
550:2. Larghetto
495:
381:
358:
335:
309:
286:
260:
228:
218:
206:concerto a 7
205:
203:
190:figured bass
172:
171:
161:
156:
148:
147:
133:
131:
126:
114:concerto a 7
113:
111:
99:figured bass
74:
46:
41:
40:
39:
29:
2658:(1716–1717)
2652:(1716–1721)
2501:L'Olimpiade
2391:Tito Manlio
1974:Ryom, Peter
1953:Ryom, Peter
1794:Talbot 2011
1790:Talbot 2010
1747:Talbot 1993
1694:Talbot 1993
1686:Talbot 2010
1647:Talbot 2011
1643:Talbot 2010
1631:Talbot 2010
1583:Talbot 2010
1553:Talbot 2011
1531:Butler 2011
1514:Talbot 2011
1383:Discography
1372:Ryom (2007)
1192:Ryom (2007)
1188:Ryom (1986)
1060:Aberystwyth
886:concertante
198:harpsichord
107:harpsichord
2902:Categories
2565:Magnificat
2477:Semiramide
2375:Scanderbeg
2359:Tieteberga
2030:0460861085
1966:8787091194
1945:0393001687
1901:2017-01-10
1862:2017-01-09
1762:Hauge 2018
1496:References
1435:Iona Brown
1298:Manchester
1204:Ryom (1986
1196:clavichord
1151:See also:
1052:John Parry
1026:John Parry
1004:John Clegg
941:John Walsh
939:In London
765:3. Allegro
665:3. Allegro
629:1. Allegro
568:3. Allegro
532:1. Allegro
489:media help
461:3. Allegro
425:1. Allegro
215:concertino
123:concertino
2789:Namesakes
2407:La Silvia
2110:1233-9679
1880:Wiesbaden
1655:Ryom 2007
1542:Wilk 2012
1078:Harmonica
902:Gasparini
799:Siciliano
600:Larghetto
275:Larghetto
168:Structure
55:concertos
2867:Category
2686:La cetra
2517:Griselda
2493:Motezuma
2455:Atenaide
2423:Giustino
2383:Teuzzone
2210:More on
2150:(1996),
2119:(2003).
2041:: 87–124
2019:(1993),
1976:(2007),
1955:(1986),
1934:(1962),
1460:and the
1448:and the
1396:I Musici
1200:virginal
1141:position
1123:burletta
1119:Theodora
1111:, BWV 21
1082:Armonica
960:shilling
956:sixpence
844:—
248:spiccato
246:Largo e
95:continuo
2810:Related
2746:(1730s)
2688:, Op. 9
2509:Bajazet
2463:Argippo
2439:Farnace
2234:Gallica
2201:, Op. 3
2021:Vivaldi
1807:Sources
1568:, Op. 3
1219:BWV 596
1093:violin.
971:Corelli
830:Allegro
824:Allegro
818:E major
804:Allegro
788:D minor
703:Allegro
697:Allegro
691:B minor
603:Allegro
597:Allegro
506:Allegro
500:Allegro
399:Allegro
390:Andante
384:F major
367:Allegro
361:A minor
350:Allegro
344:Allegro
338:A major
327:Allegro
318:Andante
312:E minor
301:Allegro
295:Allegro
289:G major
278:Allegro
272:Allegro
263:G minor
252:Allegro
242:Allegro
231:D major
194:violone
144:History
103:violone
83:violins
2878:Portal
2723:(1729)
2717:(1729)
2711:(1728)
2690:(1727)
2681:(1725)
2646:(1716)
2640:(1714)
2632:(1711)
2624:(1709)
2618:(1705)
2548:Gloria
2528:(1737)
2520:(1735)
2512:(1735)
2504:(1734)
2496:(1733)
2488:(1732)
2480:(1732)
2472:(1731)
2466:(1730)
2458:(1728)
2450:(1727)
2442:(1727)
2434:(1726)
2426:(1724)
2418:(1723)
2410:(1721)
2402:(1720)
2394:(1719)
2386:(1718)
2378:(1718)
2370:(1718)
2362:(1717)
2354:(1717)
2346:(1716)
2338:(1716)
2330:(1715)
2322:(1714)
2314:(1714)
2306:(1713)
2295:Operas
2166:
2127:
2108:
2079:
2054:
2027:
2006:
1988:
1963:
1942:
1920:
1826:
1468:) and
1172:Weimar
1086:Dublin
1062:. The
945:Handel
841:birds.
393:Adagio
373:Presto
324:Adagio
87:violas
85:, two
69:, and
18:RV 580
2763:Other
2560:Credo
2543:Kyrie
2183:(PDF)
2094:(PDF)
1895:(PDF)
1876:(PDF)
1856:(PDF)
1845:(PDF)
1478:Erato
922:PietĂ
898:PietĂ
890:PietĂ
370:Largo
347:Largo
298:Largo
237:549:
185:Cello
91:cello
2164:ISBN
2125:ISBN
2106:ISSN
2077:ISBN
2052:ISBN
2025:ISBN
2004:ISBN
1986:ISBN
1961:ISBN
1940:ISBN
1918:ISBN
1888:ISMN
1824:ISBN
1472:and
1433:and
1358:SchW
1229:The
1190:and
1182:The
1155:and
1104:Bach
1038:York
196:and
192:for
105:and
101:for
93:and
57:for
1456:),
1296:in
1080:or
1058:in
51:Op.
49:),
2904::
2700:c.
2162:,
2158:,
2100:,
2096:,
2075:,
2071:,
1984:,
1980:,
1886:,
1882::
1847:,
1822:,
1818:,
1796:,
1792:,
1788:,
1749:,
1745:,
1708:^
1696:,
1692:,
1688:,
1684:,
1645:,
1521:^
1504:^
1480:).
1429:,
1356:,
1210:.
1198:,
1143:.
1018::
993::
943:,
936:.
908:.
235:RV
109:.
89:,
2880::
2705:)
2262:e
2255:t
2248:v
2133:.
2102:6
1926:.
1842:"
1776:.
1764:.
1671:.
1633:.
1491:.
1476:(
1464:(
1452:(
1437:.
1410:.
801:)
491:.
200:.
45:(
20:)
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