Antonio Vivaldi
Vivaldi redirects here. For other uses, see Vivaldi (dis-
ambiguation).
Antonio Lucio Vivaldi (Italian: [antnjo luto vi-
Probable portrait of Vivaldi, c. 1723.[1]
valdi]; 4 March 1678 28 July 1741) was an Italian[2]
Baroque composer, virtuoso violinist, teacher and cleric.
Born in Venice, he is recognized as one of the greatest
Baroque composers, and his inuence during his lifetime
was widespread across Europe. He composed many in-
strumental concertos, for the violin and a variety of other
instruments, as well as sacred choral works and more than
forty operas. His best-known work is a series of violin
concertos known as The Four Seasons.
Many of his compositions were written for the female
music ensemble of the Ospedale della Piet, a home for
abandoned children where Vivaldi (who had been or-
dained as a Catholic priest) was employed from 1703 to
1715 and from 1723 to 1740. Vivaldi also had some
success with expensive stagings of his operas in Venice,
Mantua and Vienna. After meeting the Emperor Charles
VI, Vivaldi moved to Vienna, hoping for preferment.
However, the Emperor died soon after Vivaldis arrival, The president of the Sovvegno was Giovanni Legrenzi,
and Vivaldi himself died less than a year later in poverty. an early Baroque composer and the maestro di cappella
1
1 Life
1.1 Childhood
Church where Vivaldi was baptised: San Giovanni in Bragora,
Sestiere di Castello, Venice
Antonio Lucio Vivaldi was born in 1678 in Venice,[3]
then the capital of the Republic of Venice. He was
baptized immediately after his birth at his home by the
midwife, which led to a belief that his life was somehow
in danger. Though not known for certain, the childs im-
mediate baptism was most likely due either to his poor
health or to an earthquake that shook the city that day.
In the trauma of the earthquake, Vivaldis mother may
have dedicated him to the priesthood.[4] Vivaldis ocial
church baptism took place two months later.[5]
Vivaldis parents were Giovanni Battista Vivaldi and
Camilla Calicchio, as recorded in the register of San Gio-
vanni in Bragora.[6] Vivaldi had eight siblings: Iseppo
Santo Vivaldi, Iseppo Gaetano Vivaldi, Bonaventura
Tomaso Vivaldi, Margarita Gabriela Vivaldi, Cecilia
Maria Vivaldi , Gerolama Michela Vivaldi, Francesco
Gaetano Vivaldi, and Zanetta Anna Vivaldi.[7] Giovanni
Battista, who was a barber before becoming a profes-
sional violinist, taught Antonio to play the violin and then
toured Venice playing the violin with his young son. An-
tonio was probably taught at an early age, judging by the
extensive musical knowledge he had acquired by the age
of 24, when he started working at the Ospedale della
Piet.[8] Giovanni Battista was one of the founders of the
Sovvegno dei musicisti di Santa Cecilia, an association of
musicians.[9]
2 1 LIFE

at St Marks Basilica. It is possible that Legrenzi gave the Vivaldi was only 25 when he started working at the Os-
young Antonio his rst lessons in composition. The Lux- pedale della Piet. Over the next thirty years he com-
embourg scholar Walter Kolneder has discerned the inu- posed most of his major works while working there.[14]
ence of Legrenzis style in Vivaldis early liturgical work There were four similar institutions in Venice; their pur-
Laetatus sum (RV Anh 31), written in 1691 at the age pose was to give shelter and education to children who
of thirteen. Vivaldis father may have been a composer were abandoned or orphaned, or whose families could not
himself: in 1689, an opera titled La Fedelt sfortunata support them. They were nanced by funds provided by
was composed by a Giovanni Battista Rossi the name the Republic.[15] The boys learned a trade and had to leave
under which Vivaldis father had joined the Sovvegno di when they reached 15. The girls received a musical edu-
Santa Cecilia.[10] cation, and the most talented stayed and became members
of the Ospedales renowned orchestra and choir.
Vivaldis health was problematic. His symptoms, stret-
tezza di petto (tightness of the chest), have been inter- Shortly after Vivaldis appointment, the orphans began to
preted as a form of asthma.[5] This did not prevent him gain appreciation and esteem abroad, too. Vivaldi wrote
from learning to play the violin, composing or taking part concertos, cantatas and sacred vocal music for them.[16]
in musical activities,[5] although it did stop him from play-
These sacred works, which number over 60, are varied:
ing wind instruments. In 1693, at the age of fteen, he they included solo motets and large-scale choral works
began studying to become a priest.[11] He was ordained for soloists, double chorus, and orchestra.[17] In 1704, the
in 1703, aged 25, and was soon nicknamed il Prete Rosso, position of teacher of viola all'inglese was added to his
The Red Priest.[12] (Rosso is Italian for red, and wouldduties as violin instructor.[18] The position of maestro di
have referred to the color of his hair, a family trait.) coro, which was at one time lled by Vivaldi, required a
Not long after his ordination, in 1704, he was given a dis- lot of time and work. He had to compose an oratorio or
pensation from celebrating Mass because of his ill health. concerto at every feast and teach the orphans both music
[19]
Vivaldi only said Mass as a priest a few times and ap- theory and how to play certain instruments.
peared to have withdrawn from priestly duties, though he His relationship with the board of directors of the Os-
remained a priest. pedale 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 went 7 to 6 against
[20]
1.2 At the Conservatorio dell'Ospedale della him in 1709. After a year as a freelance musician, he
was recalled by the Ospedale with a unanimous vote in
Piet 1711; clearly during his years absence the board realized
the importance of his role.[20] He became responsible for
In September 1703, Vivaldi became maestro di violino all of the musical activity of the institution[21] when he
(master of violin) at an orphanage called the Pio Ospedale was promoted to maestro de' concerti (music director) in
della Piet (Devout Hospital of Mercy) in Venice.[3] 1716.[22]
While Vivaldi is most famous as a composer, he was re-
garded as an exceptional technical violinist as well. The In 1705, the rst collection (Connor Cassara) of his works
[23]
German architect Johann Friedrich Armand von Uen- was published by Giuseppe Sala: his Opus 1 is a col-
bach referred to Vivaldi as the famous composer and lection of 12 sonatas for two violins and basso continuo,
[18]
violinist and said that Vivaldi played a solo accom- in a conventional style. In 1709, a second collection
paniment excellently, and at the conclusion he added a of 12 sonatas for violin and basso continuo appeared, his
[24]
free fantasy [an improvised cadenza] which absolutely as- Opus 2. A real breakthrough as a composer came with
tounded me, for it is hardly possible that anyone has ever his rst collection of 12 concerti for one, two, and four
played, or ever will play, in such a fashion.[13] violins with strings, L'estro armonico Opus 3, which was
published in Amsterdam in 1711 by Estienne Roger,[25]
dedicated to Grand Prince Ferdinand of Tuscany. The
prince sponsored many musicians including Alessandro
Scarlatti and George Frideric Handel. He was a musi-
cian himself, and Vivaldi probably met him in Venice.[26]
L'estro armonico was a resounding success all over Eu-
rope. It was followed in 1714 by La stravaganza Opus 4,
a collection of concerti for solo violin and strings,[27] ded-
icated to an old violin student of Vivaldis, the Venetian
noble Vettor Doln.[28]
In February 1711, Vivaldi and his father traveled 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 sim-
Commemorative plaque beside the Ospedale della Piet.
1.3 Opera impresario
ple, the music of the rst three movements is repeated in
the next three, and not all the text is set. Nevertheless,
perhaps in part because of the forced essentiality of the
music, the work is one of his early masterpieces.
Despite his frequent travels from 1718, the Piet paid him
2 sequins to write two concerti a month for the orches-
tra and to rehearse with them at least ve times when in
Venice. The Piet's records show that he was paid for 140
concerti between 1723 and 1733.
1.3 Opera impresario
First edition of Juditha triumphans[29]
In early 18th-century Venice, opera was the most popu-
lar musical entertainment. It proved most protable for
Vivaldi. There were several theaters competing for the
publics attention. Vivaldi started his career as an opera
composer as a sideline: his rst opera, Ottone in villa (RV
729) was performed not in Venice, but at the Garzerie
Theater in Vicenza in 1713.[30] The following year, Vi-
valdi became the impresario of the Teatro San Angelo in
Venice, where his opera Orlando nto pazzo (RV 727)
was performed. The work was not to the publics taste,
and it closed after a couple of weeks, being replaced with Frontispiece of Il teatro alla moda
a repeat of a dierent work already given the previous
year.[26]
3
In 1715, he presented Nerone fatto Cesare (RV 724, now
lost), with music by seven dierent composers, of which
he was the leader. The opera contained eleven arias, and
was a success. In the late season, Vivaldi planned to put
on an opera composed entirely by him, Arsilda, regina di
Ponto (RV 700), but the state censor blocked the perfor-
mance. The main character, Arsilda, falls in love with
another woman, Lisea, who is pretending to be a man.[26]
Vivaldi got the censor to accept the opera the following
year, and it was a resounding success.
At this period, the Piet commissioned several liturgical
works. The most important were two oratorios. Moyses
Deus Pharaonis, (RV 643) is lost. The second, Juditha tri-
umphans (RV 644), celebrates the victory of the Republic
of Venice against the Turks and the recapture of the is-
land of Corfu. Composed in 1716, it is one of his sacred
masterpieces. All eleven singing parts were performed by
girls of the Piet, both the female and male roles. Many
of the arias include parts for solo instrumentsrecorders,
oboes, violas d'amore, and mandolinsthat showcased
the range of talents of the girls.[31]
Also in 1716, Vivaldi wrote and produced two more op-
eras, L'incoronazione di Dario (RV 719) and La costanza
trionfante degli amori e degli odi (RV 706). The latter was
so popular that it performed two years later, re-edited and
retitled Artabano re dei Parti (RV 701, now lost). It was
also performed in Prague in 1732. In the following years,
Vivaldi wrote several operas that were performed all over
Italy.
His progressive operatic style caused him some trouble
4 1 LIFE

with more conservative musicians, like Benedetto Mar-

cello, a magistrate and amateur musician who wrote a
pamphlet denouncing him and his operas. The pam-
phlet, Il teatro alla moda, attacks Vivaldi without men-
tioning him directly. The cover drawing shows a boat (the
Sant'Angelo), on the left end of which stands a little angel
wearing a priests hat and playing the violin. The Marcello
family claimed ownership of the Teatro Sant'Angelo, and
a long legal battle had been fought with the management
for its restitution, without success. The obscure writ-
ing under the picture mentions non-existent places and
names: ALDIVIVA is an anagram of A. Vivaldi.
In a letter written by Vivaldi to his patron Marchese Ben-
tivoglio in 1737, he makes reference to his 94 operas.
Only around 50 operas by Vivaldi have been discovered,
and no other documentation of the remaining operas ex-
ists. Although Vivaldi may have exaggerated, in his dual
role of composer and impresario it is plausible that he
may either have written or been responsible for the pro-
duction of as many as 94 operas during a career which
by then had spanned almost 25 years.[32] While Vivaldi
certainly composed many operas in his time, he never
reached the prominence of other great composers like
Alessandro Scarlatti, Johann Adolph Hasse, Leonardo
[35]
Leo, and Baldassare Galuppi, as evidenced by his inabil- Caricature by P. L. Ghezzi, Rome (1723)
ity to keep a production running for any extended period
of time in any major opera house.[33]
sociated with a sonnet, possibly by Vivaldi, describing
the scenes depicted in the music. They were published
1.4 Mantua and the Four Seasons as the rst four concertos in a collection of twelve, Il ci-
mento dell'armonia e dell'inventione, Opus 8, published in
In 1717 or 1718, Vivaldi was oered a new prestigious Amsterdam by Michel-Charles Le Cne in 1725.
position as Maestro di Cappella of the court of prince During his time in Mantua, Vivaldi became acquainted
Philip of Hesse-Darmstadt, governor of Mantua.[34] He with an aspiring young singer Anna Tessieri Gir who
moved there for three years and produced several operas, was to become his student, protge, and favorite prima
among which was Tito Manlio (RV 738). In 1721, he donna.[36] Anna, along with her older half-sister Paolina,
was in Milan, where he presented the pastoral drama La became part of Vivaldis entourage and regularly accom-
Silvia (RV 734, 9 arias survive). He visited Milan again panied him on his many travels. There was speculation
the following year with the oratorio L'adorazione delli tre about the nature of Vivaldis and Giros relationship, but
re magi al bambino Ges (RV 645, also lost). In 1722 no evidence to indicate anything beyond friendship and
he moved to Rome, where he introduced his operas new professional collaboration. Although Vivaldis relation-
style. The new pope Benedict XIII invited Vivaldi to play ship with Anna Gir was questioned, he adamantly de-
for him. In 1725, Vivaldi returned to Venice, where he nied any romantic relationship in a letter to his patron
produced four operas in the same year. Bentivoglio dated 16 November 1737.[37]
During this period Vivaldi wrote the Four Seasons, four
violin concertos depicting scenes appropriate for each
season. Three of the concerti are of original concep- 1.5 Later life and death
tion, while the rst, Spring, borrows motifs from a
Sinfonia in the rst act of his contemporaneous opera At the height of his career, Vivaldi received commis-
Il Giustino. The inspiration for the concertos was prob- sions from European nobility and royalty. The serenata
ably the countryside around Mantua. They were a rev- (cantata) Gloria e Imeneo (RV 687) was commissioned in
olution in musical conception: in them Vivaldi repre- 1725 by the French ambassador to Venice in celebration
sented owing creeks, singing birds (of dierent species, of the marriage of Louis XV. The following year, another
each specically characterized), barking dogs, buzzing serenata, La Sena festeggiante (RV 694), was written for
mosquitoes, crying shepherds, storms, drunken dancers, and premiered at the French embassy as well, celebrating
silent nights, hunting parties from both the hunters and the birth of the French royal princesses, Henriette and
the preys point of view, frozen landscapes, ice-skating Louise lisabeth. Vivaldis Opus 9, La Cetra, was ded-
children, and warming winter res. Each concerto is as- icated to Emperor Charles VI. In 1728, Vivaldi met the

emperor while the emperor was visiting Trieste to over-
see the construction of a new port. Charles admired the
music of the Red Priest so much that he is said to have
spoken more with the composer during their one meet-
ing than he spoke to his ministers in over two years. He
gave Vivaldi the title of knight, a gold medal and an invi-
tation to Vienna. Vivaldi gave Charles a manuscript copy
of La Cetra, a set of concerti almost completely dierent
from the set of the same title published as Opus 9. The
printing was probably delayed, forcing Vivaldi to gather
an improvised collection for the emperor.
Accompanied by his father, Vivaldi traveled to Vienna cently discovered in Moscow. The oil painting, which
and Prague in 1730, where his opera Farnace (RV 711)
[38]
was presented. Farnace garnered six revivals later. [33] Music of Bologna, is anonymous, and is thought to be of
Some of his later operas were created in collaboration
with two of Italys major writers of the time. L'Olimpiade
and Catone in Utica were written by Pietro Metastasio,
the major representative of the Arcadian movement and
court poet in Vienna. La Griselda was rewritten by the 2 Style and inuence
young Carlo Goldoni from an earlier libretto by Apostolo
Zeno.
Like many composers of the time, the nal years of Vi- mal and rhythmic structure of the concerto, in which he
valdis life found him in nancial diculties. His com- looked for harmonic contrasts and innovative melodies
positions were no longer held in such high esteem as and themes; many of his compositions are amboyantly,
they once were in Venice; changing musical tastes quickly almost playfully, exuberant.
made them outmoded. In response, Vivaldi chose to sell
o sizeable numbers of his manuscripts at paltry prices to
[39]
nance his migration to Vienna. The reasons for Vi-
valdis departure from Venice are unclear, but it seems
likely that, after the success of his meeting with Emperor
Charles VI, he wished to take up the position of a com-
poser in the imperial court. On his way to Vienna, Vivaldi
may have stopped in Graz to see Anna Gir.[40]
It is also likely that Vivaldi went to Vienna to stage
operas, especially as he took up residence near the
Krntnertortheater. Shortly after his arrival in Vienna,
Charles VI died, which left the composer without any
royal protection or a steady source of income. Soon after-
wards, Vivaldi became impoverished[41][42] and died dur-
ing the night of 27/28 July 1741, aged 63,[43] of internal
infection, in a house owned by the widow of a Viennese
saddlemaker. On 28 July he was buried in a simple grave
in a burial ground that was owned by the public hospi-
tal fund. Vivaldis funeral took place at St. Stephens
Cathedral, but the young Joseph Haydn had nothing to
do with this burial, since no music was performed on that
occasion.[44] The cost of his funeral with a 'Kleingelut'
was 19 Gulden 45 Kreuzer which was rather expensive
for the lowest class of peal of bells.
He was buried next to Karlskirche, in an area which is
now part of the site of the Technical Institute. The house
where he lived in Vienna has since been destroyed; the
Hotel Sacher is built on part of the site. Memorial plaques
have been placed at both locations, as well as a Vivaldi
star in the Viennese Musikmeile and a monument at
the Rooseveltplatz.
5
Only two, possibly three original portraits of Vivaldi are
known to survive: an engraving, an ink sketch and an
oil painting. The engraving, which was the basis of sev-
eral copies produced at some later time by other artists,
was made in 1725 by Franois Morellon La Cave for the
rst edition of Il cimento dell'armonia e dell'inventione,
and shows Vivaldi holding a sheet of music.[45] The ink
sketch, a caricature, was done by Ghezzi in 1723 and
shows Vivaldis head and shoulders in prole. It exists in
two versions: a rst jotting kept at the Vatican Library,
and a much lesser-known, slightly more detailed copy re-
[46]
can be seen in the International Museum and Library of
Vivaldi due to its strong resemblance with the La Cave
[47]
engraving.
Vivaldis music was innovative. He brightened the for-
Johann Sebastian Bach was deeply inuenced by Vivaldis
concertos and arias (recalled in his St John Passion, St
Matthew Passion, and cantatas). Bach transcribed six of
Vivaldis concerti for solo keyboard, three for organ, and
one for four harpsichords, strings, and basso continuo
(BWV 1065) based upon the concerto for four violins,
two violas, cello, and basso continuo (RV 580).
3 Posthumous reputation
During his lifetime, Vivaldis popularity quickly made
him famous in other countries, including France, but after
his death the composers popularity dwindled. After the
Baroque period, Vivaldis published concerti became rel-
atively unknown and were largely ignored. Even Vivaldis
most famous work, The Four Seasons, was unknown in its
original edition during the Classical and Romantic peri-
ods.
During the early 20th century, Fritz Kreisler's Concerto
in C, in the Style of Vivaldi (which he passed o as an
original Vivaldi work) helped revive Vivaldis reputation.
This spurred the French scholar Marc Pincherle to be-
gin an academic study of Vivaldis oeuvre. Many Vivaldi
manuscripts were rediscovered, which were acquired by
the Turin National University Library as a result of the
generous sponsorship of Turinese businessmen Roberto
Foa and Filippo Giordano, in memory of their sons. This
led to a renewed interest in Vivaldi by, among others,
Mario Rinaldi, Alfredo Casella, Ezra Pound, Olga Rudge,
Desmond Chute, Arturo Toscanini, Arnold Schering and
6 5 CATALOGS OF VIVALDI WORKS

Louis Kaufman, all of whom were instrumental in the Vi- As well as about 46 operas, Vivaldi composed a large
valdi revival of the 20th century. body of sacred choral music. Other works include
In 1926, in a monastery in Piedmont, researchers dis- sinfonias, about 90 sonatas and chamber music.
covered fourteen folios of Vivaldis work that were pre- Some sonatas for ute, published as Il Pastor Fido, have
viously thought to have been lost during the Napoleonic been erroneously attributed to Vivaldi, but were com-
Wars. Some missing volumes in the numbered set were posed by Nicolas Chdeville.
discovered in the collections of the descendants of the
Grand Duke Durazzo, who had acquired the monastery
complex in the 18th century. The volumes contained
300 concertos, 19 operas and over 100 vocal-instrumental
works.[48]
The resurrection of Vivaldis unpublished works in the
20th century is mostly due to the eorts of Alfredo
Casella, who in 1939 organized the historic Vivaldi 5 Catalogs of Vivaldi works
Week, in which the rediscovered Gloria (RV 589) and
l'Olimpiade were revived. Since World War II, Vivaldis
compositions have enjoyed wide success. Historically in- Vivaldis works attracted cataloging eorts betting a ma-
formed performances, often on original instruments, jor composer. Scholarly work intended to increase the
have increased Vivaldis fame still further. accuracy and variety of Vivaldi performances also sup-
Recent rediscoveries of works by Vivaldi include two ported new discoveries which made old catalogs incom-
psalm settings of Nisi Dominus (RV 803, in eight move- plete. Works still in circulation today may be numbered
ments) and Dixit Dominus (RV 807, in eleven move- under several dierent systems (some earlier catalogs are
ments). These were identied in 2003 and 2005 respec- mentioned here).
tively, by the Australian scholar Janice Stockigt. The Vi- Because the simply consecutive Complete Edition (CE)
valdi scholar Michael Talbot described RV 807 as ar- numbers did not reect the individual works (Opus num-
guably the best nonoperatic work from Vivaldis pen to bers) into which compositions were grouped, Fanna num-
come to light since... ...the 1920s.[49] Vivaldis lost 1730 bers were often used in conjunction with CE numbers.
opera Argippo (RV 697) was rediscovered in 2006 by the Combined Complete Edition (CE)/Fanna numbering was
harpsichordist and conductor Ondej Macek, whose Hof- especially common in the work of Italian groups driving
musici orchestra performed the work at Prague Castle on the mid-20th century revival of Vivaldi, such as Gli Ac-
3 May 2008, its rst performance since 1730. cademici di Milano under Piero Santi. For example, the
Bassoon Concerto in B major, La Notte RV 501, be-
came CE 12, F. VIII,1
4 Works Despite the awkwardness of having to overlay Fanna
numbers onto the Complete Edition number for meaning-
ful grouping of Vivaldis oeuvre, these numbers displaced
Main articles: List of compositions by Antonio Vivaldi the older Pincherle numbers as the (re-)discovery of more
and List of operas by Vivaldi manuscripts had rendered older catalogs obsolete.
This cataloging work was led by the Istituto Italiano
A composition by Vivaldi is identied by RV number,
Antonio Vivaldi, where Gian Francesco Malipiero was
which refers to its place in the Ryom-Verzeichnis or both the Director and the editor of the published scores
Rpertoire des oeuvres d'Antonio Vivaldi, a catalog
(Edizioni G. Ricordi). His work built on that of An-
created in the 20th century by the musicologist Peter tonio Fanna, a Venetian businessman and the Institutes
Ryom. founder, and thus formed a bridge to the scholarly cata-
Le quattro stagioni (The Four Seasons) of 1723 is his log dominant today.
most famous work. Part of Il cimento dell'armonia e Compositions by Vivaldi are identied today by RV num-
dell'inventione (The Contest between Harmony and In- ber, the number assigned by Danish musicologist Peter
vention), it depicts moods and scenes from each of the Ryom in works published mostly in the 1970s, such
four seasons. This work has been described as an out- as the Ryom-Verzeichnis or Rpertoire des oeuvres
standing instance of pre-19th century program music.[50] d'Antonio Vivaldi. Like the Complete Edition before
Vivaldi wrote more than 500 other concertos. About 350 it, the RV does not typically assign its single, consecutive
of these are for solo instrument and strings, of which 230 numbers to adjacent works that occupy one of the com-
are for violin, the others being for bassoon, cello, oboe, posers single opus numbers. Its goal as a modern catalog
ute, viola d'amore, recorder, lute, or mandolin. About is to index the manuscripts and sources that establish the
forty concertos are for two instruments and strings and existence and nature of all known works. These several
about thirty are for three or more instruments and strings. numbering systems are cross-referenced at classical.net.

6 In popular culture
The movie Vivaldi, a Prince in Venice was completed in
2005 as an Italian-French co-production under the direc-
tion of Jean-Louis Guillermou.[51] In 2005, ABC Radio [16] Heller, p. 77
National commissioned a radio play about Vivaldi, which
was written by Sean Riley. Entitled The Angel and the [17] Heller, p. 78
Red Priest, the play was later adapted for the stage and [18] Landon, p. 26
was performed at the Adelaide Festival of the Arts.[52]
Janice Jordan Shefelman wrote a childrens book detail-
ing the life of Vivaldi entitled I, Vivaldi.[53]
Classical Kids Music Education produces live theatre pro-
ductions, and has issued a CD entitled Vivaldis Ring of
Mystery [54] an original ctional story about an orphan girl
in the early 1700s who is in search of her roots. A central
clue to the mystery is a missing Stradivarius violin that
the Duke of Cremona has brought to Vivaldis school of
the Pieta in the hopes of nding his long lost grandchild.
Vivaldi music is featured throughout the story to support
the narrative.
7 References
Notes
[1] An anonymous portrait in oils in the Museo Inter-
nazionale e Biblioteca della Musica di Bologna is gener-
ally believed to be of Vivaldi and may be linked to the
Morellon La Cave engraving, which appears to be a mod-
ied mirror reection of it. Michael Talbot, The Vivaldi
Compendium (2011), p. 148.
[2] http://www.britannica.com/biography/Antonio-Vivaldi
[3] Michael Talbot, "Vivaldi, Antonio", Grove Music Online
(subscription required)
[4] Walter Kolneder, Antonio Vivaldi: Documents of his life
and works (Amsterdam: Heinrichshofens Verlag, Wil-
helmshaven, Locarno, 1982), 46.
[5] Michael Talbot, Vivaldi (London: J.M. Dent & Sons, Ltd.,
1978), 39.
[6] Landon, p. 15
[7] Michael Talbot, Vivaldi (London: J.M. Dent & Sons, Ltd,
1978), 37.
[8] Heller, p. 41
[9] Michael Talbot, Vivaldi (London: J.M. Dent & Sons, Ltd.,
1978), 36.
[10] Heller, P. 40
[11] Landon, p. 16
[12] Marc Pincherle, Vivaldi: Genius of the Baroque (Paris:
W. W. Norton & Company, Inc., 1957), 16
[13] Landon, p. 49
7
[14] Heller, p. 51
[15] Marc Pincherle, Vivaldi: Genius of the Baroque (Paris:
W. W. Norton & Company, Inc., 1957), 18.
[19] Marc Pincherle, Vivaldi: Genius of the Baroque (Paris:
W. W. Norton & Company, Inc., 1957), 24.
[20] Michael Talbot, Vivaldi (London: J.M. Dent & Sons, Ltd,
1978), 48.
[21] Heller, p. 54.
[22] Michael Talbot, Vivaldi (London: J.M. Dent & Sons, Ltd,
1978), 59.
[23] Marc Pincherle, Vivaldi: Genius of the Baroque (Paris:
W. W. Norton & Company, Inc., 1957), 38.
[24] Landon, p. 31
[25] Landon, p. 42
[26] Michael Talbot, Vivaldi (London: J.M. Dent & Sons, Ltd,
1978), 54.
[27] Michael Talbot, Vivaldi (London: J.M. Dent & Sons, Ltd,
1978), 58.
[28] Michael Talbot, Vivaldi (London: J.M. Dent & Sons, Ltd,
1978), 71.
[29] Vivaldis Venice, baroquemusic.org. As far as his the-
atrical activities were concerned, the end of 1716 was
a high point for Vivaldi. In November, he managed to
have the Ospedale della Piet perform his rst great orato-
rio, Juditha Triumphans devicta Holofernis barbaric. [sic]
This work was an allegorical description of the victory of
the Venetians over the Turks in August 1716.
[30] Heller, p. 98
[31] Landon, p. 52
[32] Heller, p. 97
[33] Heller, p. 114
[34] Michael Talbot, Vivaldi (London: J.M. Dent & Sons, Ltd,
1978), 64.
[35] There are only three known surviving depictions of Vi-
valdi made in his lifetime: this caricature, the woodcut
at the beginning of this article, and an oil portrait of the
composer and his violin. Groves Dictionary of Music and
Musicians has disputed the authenticity of the last portrait.
[36] Michael Talbot, Vivaldi (London: J. M. Dent & Sons, Ltd,
1978), 66.
[37] Michael Talbot, Vivaldi (London: J.M. Dent & Sons, Ltd,
1978), 67.
8 8
[38] Vivaldis connections with musical life in Prague and his
association with Antonio Denzio, the impresario of the
Sporck theater in Prague are detailed in Daniel E. Free-
man, The Opera Theater of Count Franz Anton von Sporck
in Prague (Stuyvesant, N.Y.: Pendragon Press, 1992).
[39] Walter Kolneder, Antonio Vivaldi: Documents of his life
and works (Amsterdam: Heinrichshofens Verlag, Wil-
helmshaven, Locarno, 1982), 179.
[40] Walter Kolneder, Antonio Vivaldi: Documents of his life
and works (Amsterdam: Heinrichshofens Verlag, Wil-
helmshaven, Locarno, 1982), 180.
[41] Landon supplies this assertion and furthermore quotes the
report of Vivaldis death which reached Venice in the
Commemorali Gradenigo: Abbe Lord Antonio Vivaldi,
incomparable virtuoso of the violin, known as the Red
Priest, much esteemed for his compositions and concer-
tos, who earned more than 50,000 ducats in his life, but
his disorderly prodigality caused him to die a pauper in
Vienna. Landon, p. 166
[42] Marc Pincherle, Vivaldi: Genius of the Baroque (Paris:
W. W. Norton & Company, Inc., 1957), 53.
[43] Talbot (p. 69) gives the 27th as the day of death.
Formichetti (p. 194) reports that he died during the night
and his death was the rst registered on the next day.
Heller (p. 263) states: The composers death is noted in
the ocial coroners report and in the burial account book
of St. Stephens Cathedral Parish as having occurred on
28 July 1741. But the so-called Totenbeschauprotokoll is
not a reliable source, since the date can refer to when the
entry was made, not to the actual time of death.
[44] Michael Lorenz, Haydn Singing at Vivaldis Exequies:
An Ineradicable Myth (Vienna 2014)
[45] Michael Talbot, The Vivaldi Compendium (Woodbridge:
The Boydell Press, 2011), 147-8.
[46] Michael Talbot, The Vivaldi Compendium (Woodbridge:
The Boydell Press, 2011), 87.
[47] Michael Talbot, The Vivaldi Compendium (Woodbridge:
The Boydell Press, 2011), 148.
[48] Antonio Vivaldi biography by Alexander Kuznetsov and
Louise Thomas, a booklet attached to the CD The best
of Vivaldi, published and recorded by Madacy Entertain-
ment Group Inc, St. Laurent Quebec Canada
[49] Michael Talbot, liner notes to the CD Vivaldi: Dixit
Dominus, Krnerscher Sing-Verein Dresden (Dresdner
Instrumental-Concert), Peter Kopp, Deutsche Gram-
mophon 2006, catalogue number 4776145
[50] Gerard Schwarz, Musically Speaking The Great Works
Collection: Vivaldi (CVP, Inc., 1995), 13.
[51] Antonio Vivaldi, un prince Venise at the Internet Movie
Database
[52] Angel and the Red Priest by Sean Riley. Airplay.
Australian Broadcasting Corporation Radio National. Re-
trieved 4 July 2011.
EXTERNAL LINKS
[53] Bush, Elizabeth (2008). I, Vivaldi (review)". Bulletin of
the Center for Childrens Books.
[54] Vivaldis Ring of Mystery
Sources and further reading
Brizi, Bruno, Maria Grazia Pensa in Music & Let-
ters, Vol. 65, No. 1 (January 1984), pp. 6264
Bukofzer, Manfred (1947). Music in the Baroque
Era. New York, W. W. Norton & Co. ISBN 0-393-
09745-5.
Cross, Eric (1984). Review of I libretti vivaldiani:
recensione e collazione dei testimoni a stampa by
Anna Laura Bellina;
Formichetti, Gianfranco Venezia e il prete col vi-
olino. Vita di Antonio Vivaldi, Bompiani (2006),
ISBN 88-452-5640-5.
Heller, Karl Antonio Vivaldi: The Red Priest of
Venice, Amadeus Press (1997), ISBN 1-57467-015-
8
Kolneder, Walter Antonio Vivaldi: Documents of
His Life and Works, C F Peters Corp (1983), ISBN
3-7959-0338-6
Robbins Landon, H. C., Vivaldi: Voice of the
Baroque, University of Chicago Press, 1996 ISBN
0-226-46842-9
Romijn, Andr. Hidden Harmonies: The Secret Life
of Antonio Vivaldi, 2007 ISBN 978-0-9554100-1-7
Selfridge-Field, Eleanor (1994). Venetian Instru-
mental Music, from Gabrieli to Vivaldi. New York,
Dover Publications. ISBN 0-486-28151-5.
Talbot, Michael (1992). Vivaldi, second edition.
London: J. M. Dent. American reprint, New York:
Schirmer Books: Maxwell Macmillan International,
1993.
Talbot, Michael, Antonio Vivaldi, Insel Verlag
(1998), ISBN 3-458-33917-5 (German)
Talbot, Michael: Antonio Vivaldi, Grove Music
Online, ed. L. Macy (Accessed 26 August 2006),
(subscription access)
8 External links
Catalog of instrumental works
Complete works catalog
Free scores by Antonio Vivaldi at Open Music Li-
brary
 9

Free scores by Antonio Vivaldi at the International

Music Score Library Project
Free scores by Antonio Vivaldi in the Choral Public
Domain Library (ChoralWiki)
Antonio Vivaldi material. BBC Radio 3 archives.

The Mutopia Project has compositions by Antonio

Vivaldi

Project Anima Veneziana, Free English eBooks: 1.

Talbot, M. Vivaldi. 1993; 2. Heller, K. Antonio Vi-
valdi: The Red Priest of Venice. 1997; 3. Pincherle,
Marc. Vivaldi: Genius of the Baroque, 1957; 4.
Ryom, Peter. Vivaldi Werkverzeichnis. 1st edition,
2007
Works by or about Antonio Vivaldi at Internet
Archive
Works by Antonio Vivaldi at LibriVox (public do-
main audiobooks)

Antonio Vivaldi at the Internet Movie Database

10 9 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

9 Text and image sources, contributors, and licenses

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9.2 Images 11

DBen07, ZroBot, Susfele, F, Ejhomusic, The big red button, The big blue button, The big green button, SporkBot, Bachcounterpoint,
Tolly4bolly, Pawelzu, Flightx52, Palosirkka, BartlebytheScrivener, GrayFullbuster, Matkatamiba, DASHBotAV, 28bot, Petrb, Helpsome,
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