INTRO

These four pieces were written to complete a four-part violin concerto. The idea
behind the music was to create programmatic pieces that would reflect the diffe
rent moods and aspects of Spring, Summer, Autumn and Winter. Within all twelves
movements, three for each season, Vivaldi creates the differences by using rhyth
m, melody, dynamics and structure.

STRUCTURE
The main basis of the structure of the piece is the ritornello principle. This i
s the traditional base for all concertos in the Baroque Era. With a mixture of t
hemes, solos and repeats the music is always grounded within these features. fas
t-slow-fast
Aside from the actual structure of the piece. the piece is also largely written
around the key area. This is a set of harmonies that all have a relationship wit
h the one key note; the tonic. They key note of this piece is F and the mode is
F minor. To ensure the piece was not mono-tonal, Vivaldi uses a number of differ
ent keys throughout the movement. However he brings the key back to F minor to f
inish otherwise the music would sound inconclusive. He moves to keys in some maj
or modes during the second movement as the moods begin to change. The key change
s still have relationship to the tonic but are far enough away to create a sense
of harmonic variety.

MOVEMENT 1 (0.00)
The first movement begins with the orchestra playing a dissonant chord of F mino
r that is broken up by an on-the-beat staccato rhythm. The tension builds throug
h the beginning section and comes to a climax with a crescendo just as the violi
nist begins the first solo. The soloist comes in at bar 12 (0:39) with a forte d
ynamic to introduce drama into the piece. intertwined elements
The relationship between the orchestra and solo violin is very important as when
there is no solo being played the entire orchestra works as a whole and it is v
ery hard to determine which line the violin principle is playing.
With regard to harmony, the ground bass sustains the key area but is also used a
s a metronome to keep the beat. Towards the end of the movement the soloist move
s higher and higher through phrases to climax to the end. The whole orchestra pl
ays the original theme and a cadence closes the first movement.

MOVEMENT 2 (3:10)
The allegro second movement is much shorter and has a more gentle feel. The solo

ist plays a legato melody while a few other instruments play a high arpeggiaic a
ccompaniment in pizzicato. Unlike movement one, this movement is lead entirely b
y the melody played by the soloist. This movement ends in a major chords which s
hows difference in moods compared to the previous and latter.

MOVEMENT 3 (5:16)
Much like the first movement, the third is fast paced at vivace but is actually
slightly faster than the original tempo. The mood of the last section is very si
milar also as the the use of returning theme and fortissimo dynamic injections c
reate the same drama and emotions. Both the soloist and the orchestra build off
of each others sequences throughout this movement. Towards the end section, the
soloist plays higher and higher while the orchestra play a downward sequence on
every other beat as a counter theme to build suspense. Finally, the downward seq
uence brings the solo back down to their register and the piece end on a dramati
c flare with a fortissimo minor chord.
Winter is a piece of programmatic music as it develops a relationship between th
e story, poem or art with the music. It was never clear whether the sonnet that
this piece is associated with was written around the music or the music around t
he sonnet. Vivaldi claims that his original idea was inspired by the seasonal ar
twork of Marco Ricci.
The sonnet;
First movement: To tremble from cold in the icy snow
In the harsh breath of a horrid wind
To run, stamping our feet every moment
Our teeth chattering in the extreme cold.
Second movement: Before the fire to pass peaceful, contented days,
While the rain outside pours down.
Third movement: To walk on the ice and, at a slow pace
For fear of falling, move carefully.
To make a bold turn, slip, fall down.
To go on the ice once more and run hard
Until the ice cracks and breaks up.
To hear the Sirocco, Boreas, and all
The winds at war leave their iron gates:
This is winter, but even so, what joy it brings!
The first movement is based on the first four lines of the poem. The beginning l
ow staccato and building tension paints the trembling cold and the harshness of
the wind. The fast feel of the staccato and the highly pitched pizzicato depicts
chattering teeth. Many techniques are used to ensure this mood is achieved when
this music is played. For example, the strings bounce the bow across the string
s to create a sense of urgency as the feet are stamping into the snow.

The second movement is only based on two lines but has a completely different fe
el to the first movement. The imagery of rain pouring down outside while inside
the fire is warm and takes no notice of the rain as if it were never there has a
sense of security and serenity. The soloist creates long flowing phrases with a
sweeping melody to create the essence of the warmth from the fire.

While the second movement is sweet and serene, the third movement brings the mus
ic back to the minor mode with more ideas of harsh winds and ice. This section o
f the sonnet speaks of falling down and slipping on the ice making it seem much
more real and frightening. The Sirocco (north wind) and Boreas (south wind) are
personified as if they are fighting and that is causing the storm. Regardless of
the storm, winds and ice the sonnet brings the poem round to an upbeat end and
it claims winter to be joyous even with all the unpleasant aspects.

CONCLUSION
Overall, the music fully captivate the imagery of the sonnet and creates the sam
e moods that the words create.