Album insights
Antonio Vivaldi, born in 1678 in Venice, was the son of a former baker who served as a violinist for the Markus church. Trained by his father in playing the violin and likely other related instruments like the Viola d'amore, Antonio occasionally filled in for him at the church. His initial role was as a maestro di violino at the Pio Ospdale della Pietà, one of four orphanages in Venice known for educating their wards in music, achieving success with public performances that became significant social events.
In 1704, Vivaldi received a salary increase to fund his lessons for the viole all'inglese, an umbrella term for instruments with resonant strings that included the Viola d'amore. This eighteenth-century instrument, similar in size to today's Viola, typically had fourteen strings producing resonance. Notably, it delivered a sweeter sound compared to the violin, as acknowledged by John Evelyn in his diary entry from 1679.
Vivaldi's exploration of baroque concertos, characterized by the fast-slow-fast scheme and rigorous incorporation of the ritornello structure, laid the foundation for later Baroque concertos. His skillful manipulation of themes and key modulations set the stage for the classical rondo form, featuring different tonalities and instrumental alternations, as seen in his renowned set of six concertos known for their inventive quality.
Known for their varied figurations and embellishments, Vivaldi's concertos exhibit intricate solo passages that showcase the Viola d'amore's unique attributes. Each concerto, like RV395 and RV394, signifies distinct compositional styles and technical complexity, emphasizing the virtuosity of the solo part amid rich orchestral accompaniment. Through these works, Vivaldi not only celebrated the Viola d'amore's expansive range but also revived the use of chordal expressions seen in earlier compositions, emphasizing both innovation and tradition.