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Vivaldi, Antonio - Concert Pieces: Concerto G Major, Op 3/3 - for Violin and Piano - edited by Kurt Sassmannshaus - Bärenreiter
Vivaldi, Antonio - Concert Pieces: Concerto G Major, Op 3/3 - for Violin and Piano - edited by Kurt Sassmannshaus - Bärenreiter
Antonio Vivaldi became a popular composer in Europe with the collection L’estro armonico” op. 3. The cycle, which includes twelve violin concertos, was originally written for the Ospedale della Pietà” orchestra, where Vivaldi was teacher and director for many years.
Two fast outer movements from opus 3/3 feature ritornelli in addition to more virtuosic solo sections, as was common at the time. Ritornello gives structure to the movements while also giving the student who plays both the solo and tutti sections in this edition the chance to vary the returning motives in terms of dynamics and ornamentation.
In the short but expressive Largo, distinct quarter notes alternate with patterns of sixteenth across all the strings. This allows the student to practice various bowing techniques.
Two fast outer movements from opus 3/3 feature ritornelli in addition to more virtuosic solo sections, as was common at the time. Ritornello gives structure to the movements while also giving the student who plays both the solo and tutti sections in this edition the chance to vary the returning motives in terms of dynamics and ornamentation.
In the short but expressive Largo, distinct quarter notes alternate with patterns of sixteenth across all the strings. This allows the student to practice various bowing techniques.
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Vivaldi, Antonio - Concert Pieces: Concerto G Major, Op 3/3 - for Violin and Piano - edited by Kurt Sassmannshaus - Bärenreiter
Antonio Vivaldi became a popular composer in Europe with the collection L’estro armonico” op. 3. The cycle, which includes twelve violin concertos, was originally written for the Ospedale della Pietà” orchestra, where Vivaldi was teacher and director for many years.
Two fast outer movements from opus 3/3 feature ritornelli in addition to more virtuosic solo sections, as was common at the time. Ritornello gives structure to the movements while also giving the student who plays both the solo and tutti sections in this edition the chance to vary the returning motives in terms of dynamics and ornamentation.
In the short but expressive Largo, distinct quarter notes alternate with patterns of sixteenth across all the strings. This allows the student to practice various bowing techniques.
Two fast outer movements from opus 3/3 feature ritornelli in addition to more virtuosic solo sections, as was common at the time. Ritornello gives structure to the movements while also giving the student who plays both the solo and tutti sections in this edition the chance to vary the returning motives in terms of dynamics and ornamentation.
In the short but expressive Largo, distinct quarter notes alternate with patterns of sixteenth across all the strings. This allows the student to practice various bowing techniques.
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Antonio Vivaldi became a popular composer in Europe with the collection L’estro armonico” op. 3. The cycle, which includes twelve violin concertos, was originally written for the Ospedale della Pietà” orchestra, where Vivaldi was teacher and director for many years.
Two fast outer movements from opus 3/3 feature ritornelli in addition to more virtuosic solo sections, as was common at the time. Ritornello gives structure to the movements while also giving the student who plays both the solo and tutti sections in this edition the chance to vary the returning motives in terms of dynamics and ornamentation.
In the short but expressive Largo, distinct quarter notes alternate with patterns of sixteenth across all the strings. This allows the student to practice various bowing techniques.
Two fast outer movements from opus 3/3 feature ritornelli in addition to more virtuosic solo sections, as was common at the time. Ritornello gives structure to the movements while also giving the student who plays both the solo and tutti sections in this edition the chance to vary the returning motives in terms of dynamics and ornamentation.
In the short but expressive Largo, distinct quarter notes alternate with patterns of sixteenth across all the strings. This allows the student to practice various bowing techniques.
