Antonio Vivaldi

1 Life

Vivaldi redirects here. For other uses, see Vivaldi (disambiguation).

Antonio Lucio Vivaldi (Italian: [antnjo luto vi-

1.1 Childhood

Church where Vivaldi was baptised: San Giovanni Battista in

Bragora, Sestiere di Castello, Venice

Antonio Lucio Vivaldi was born in 1678 in Venice,[1]

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 immediate 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.[2] Vivaldis ocial
church baptism took place two months later.[3]

Antonio Vivaldi

valdi]; 4 March 1678 28 July 1741) was an Italian

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 is known mainly for
composing many instrumental 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.

Vivaldis parents were Giovanni Battista Vivaldi and

Camilla Calicchio, as recorded in the register of San Giovanni in Bragora.[4] Vivaldi had ve siblings: Margarita
Gabriela, Cecilia Maria, Bonaventura Tomaso, Zanetta
Anna, and Francesco Gaetano.[5] Giovanni Battista, who
was a barber before becoming a professional violinist,
taught Antonio to play the violin and then toured Venice
playing the violin with his young son. Antonio 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.[6] Giovanni
Battista was one of the founders of the Sovvegno dei musicisti di Santa Cecilia, an association of musicians.[7]

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 ordained 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,
and Vivaldi himself died less than a year later in poverty.

The president of the Sovvegno was Giovanni Legrenzi,

an early Baroque composer and the maestro di cappella
at St Marks Basilica. It is possible that Legrenzi gave the
young Antonio his rst lessons in composition. The Luxembourg scholar Walter Kolneder has discerned the inu1

LIFE

ence of Legrenzis style in Vivaldis early liturgical work

Laetatus sum (RV Anh 31), written in 1691 at the age
of thirteen. Vivaldis father may have been a composer
himself: in 1689, an opera titled La Fedelt sfortunata
was composed by a Giovanni Battista Rossi the name
under which Vivaldis father had joined the Sovvegno di
Santa Cecilia.[8]

There were four similar institutions in Venice; their purpose was to give shelter and education to children who
were abandoned or orphaned, or whose families could not
support them. They were nanced by funds provided by
the Republic.[13] The boys learned a trade and had to leave
when they reached 15. The girls received a musical education, and the most talented stayed and became members
Vivaldis health was problematic. His symptoms, stret- of the Ospedales renowned orchestra and choir.
tezza di petto (tightness of the chest), have been inter- Shortly after Vivaldis appointment, the orphans began to
preted as a form of asthma.[3] 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.[14]
in musical activities,[3] 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.[9] He was ordained for soloists, double chorus, and orchestra.[15] 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.[10] (Rosso is Italian for red, and would duties as violin instructor.[16] 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
both music
pensation from celebrating Mass because of his ill health. concerto at every feast and teach the orphans
[17]
theory
and
how
to
play
certain
instruments.
Vivaldi only said Mass as a priest a few times and appeared to have withdrawn from priestly duties, though he His relationship with the board of directors of the Osremained 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
1.2 At the Conservatorio dell'Ospedale della him in 1709.[18] 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
In September 1703, Vivaldi became maestro di violino the importance of his role.[18] He became responsible for
(master of violin) at an orphanage called the Pio Ospedale all of the musical activity of the institution[19] when he
della Piet (Devout Hospital of Mercy) in Venice.[1] was promoted to maestro de' concerti (music director) in
While Vivaldi is most famous as a composer, he was re- 1716.[20]
garded as an exceptional technical violinist as well. The In 1705, the rst collection (Connor Cassara) of his works
German architect Johann Friedrich Armand von Uen- was published by Giuseppe Sala:[21] his Opus 1 is a colbach referred to Vivaldi as the famous composer and lection of 12 sonatas for two violins and basso continuo,
violinist and said that Vivaldi played a solo accom- in a conventional style.[16] In 1709, a second collection
paniment excellently, and at the conclusion he added a of 12 sonatas for violin and basso continuo appeared, his
free fantasy [an improvised cadenza] which absolutely as- Opus 2.[22] 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.[11]
violins with strings, L'estro armonico Opus 3, which was
published in Amsterdam in 1711 by Estienne Roger,[23]
dedicated to Grand Prince Ferdinand of Tuscany. The
prince sponsored many musicians including Alessandro
Scarlatti and George Frideric Handel. He was a musician himself, and Vivaldi probably met him in Venice.[24]
L'estro armonico was a resounding success all over Europe. It was followed in 1714 by La stravaganza Opus 4,
a collection of concerti for solo violin and strings,[25] dedicated to an old violin student of Vivaldis, the Venetian
noble Vettor Doln.[26]
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
Commemorative plaque beside the Ospedale della Piet.
to have been written in haste: the string parts are simple, the music of the rst three movements is repeated in
Vivaldi was only 25 when he started working at the Os- the next three, and not all the text is set. Nevertheless,
pedale della Piet. Over the next thirty years he com- perhaps in part because of the forced essentiality of the
posed most of his major works while working there.[12]

1.3

Opera impresario

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 orchestra 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

3
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 performance. The main character, Arsilda, falls in love with
another woman, Lisea, who is pretending to be a man.[24]
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 triumphans (RV 644), celebrates the victory of the Republic
of Venice against the Turks and the recapture of the island 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.[29]
Also in 1716, Vivaldi wrote and produced two more operas, 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.

First edition of Juditha triumphans[27]

In early 18th-century Venice, opera was the most popular 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.[28] The following year, Vivaldi 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
a repeat of a dierent work already given the previous
year.[24]

His progressive operatic style caused him some trouble

with more conservative musicians, like Benedetto Marcello, a magistrate and amateur musician who wrote a
pamphlet denouncing him and his operas. The pamphlet, Il teatro alla moda, attacks Vivaldi without mentioning 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 writing 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 Bentivoglio 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 exists. 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 production of as many as 94 operas during a career which
by then had spanned almost 25 years.[30] 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
Leo, and Baldassare Galuppi, as evidenced by his inability to keep a production running for any extended period
of time in any major opera house.[31]

In 1715, he presented Nerone fatto Cesare (RV 724, now

His most successful operas were La costanza trionfante
lost), with music by seven dierent composers, of which
and Farnace which garnered six revivals each.[31]
he was the leader. The opera contained eleven arias, and

1.4

Mantua and the Four Seasons

LIFE

the scenes depicted in the music. They were published

as the rst four concertos in a collection of twelve, Il cimento dell'armonia e dell'inventione, Opus 8, published in
Amsterdam by Michel-Charles Le Cne in 1725.
During his time in Mantua, Vivaldi became acquainted
with an aspiring young singer Anna Tessieri Gir who
was to become his student, protge, and favorite prima
donna.[34] Anna, along with her older half-sister Paolina,
became part of Vivaldis entourage and regularly accompanied him on his many travels. There was speculation
about the nature of Vivaldis and Giros relationship, but
no evidence to indicate anything beyond friendship and
professional collaboration. Although Vivaldis relationship with Anna Gir was questioned, he adamantly denied any romantic relationship in a letter to his patron
Bentivoglio dated 16 November 1737.[35]

1.5 Later life and death

Caricature by P. L. Ghezzi, Rome (1723)[32]

At the height of his career, Vivaldi received commissions from European nobility and royalty. The serenata
(cantata) Gloria e Imeneo (RV 687) was commissioned in
1725 by the French ambassador to Venice in celebration
of the marriage of Louis XV. The following year, another
serenata, La Sena festeggiante (RV 694), was written for
and premiered at the French embassy as well, celebrating
the birth of the French royal princesses, Henriette and
Louise lisabeth. Vivaldis Opus 9, La Cetra, was dedicated to Emperor Charles VI. In 1728, Vivaldi met the
emperor while the emperor was visiting Trieste to oversee 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 meeting than he spoke to his ministers in over two years. He
gave Vivaldi the title of knight, a gold medal and an invitation 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.

In 1717 or 1718, Vivaldi was oered a new prestigious

position as Maestro di Cappella of the court of prince
Philip of Hesse-Darmstadt, governor of Mantua.[33] He
moved there for three years and produced several operas,
among which was Tito Manlio (RV 738). In 1721, he
was in Milan, where he presented the pastoral drama La
Silvia (RV 734, 9 arias survive). He visited Milan again
the following year with the oratorio L'adorazione delli tre
re magi al bambino Ges (RV 645, also lost). In 1722
he moved to Rome, where he introduced his operas new
style. The new pope Benedict XIII invited Vivaldi to play
for him. In 1725, Vivaldi returned to Venice, where he
Accompanied by his father, Vivaldi traveled to Vienna
produced four operas in the same year.
where his opera Farnace (RV 711)
During this period Vivaldi wrote the Four Seasons, four and Prague in 1730,
[36]
was
presented.
Some
of his later operas were creviolin concertos depicting scenes appropriate for each
ated
in
collaboration
with
two of Italys major writers of
season. Three of the concerti are of original concepL'Olimpiade
and
Catone in Utica were writthe
time.
tion, while the rst, Spring, borrows motifs from a SinPietro
Metastasio,
the
major representative of
ten
by
fonia in the rst act of his contemporaneous opera "Il
the
Arcadian
movement
and
court
poet in Vienna. La
Giustino". The inspiration for the concertos was probGriselda
was
rewritten
by
the
young
Carlo Goldoni from
ably the countryside around Mantua. They were a revApostolo
Zeno.
an
earlier
libretto
by
olution in musical conception: in them Vivaldi represented owing creeks, singing birds (of dierent species,
each specically characterized), barking dogs, buzzing
mosquitoes, crying shepherds, storms, drunken dancers,
silent nights, hunting parties from both the hunters and
the preys point of view, frozen landscapes, ice-skating
children, and warming winter res. Each concerto is associated with a sonnet, possibly by Vivaldi, describing

Like many composers of the time, the nal years of Vivaldis life found him in nancial diculties. His compositions were no longer held in such high esteem as
they once were in Venice; changing musical tastes quickly
made them outmoded. In response, Vivaldi chose to sell
o sizeable numbers of his manuscripts at paltry prices to
nance his migration to Vienna.[37] The reasons for Vi-

5
engraving, an ink sketch and an oil painting. The engraving, by Francois Morellon La Cave, was made in 1725 and
shows Vivaldi holding a sheet of music. The ink sketch,
a caricature, was done by Ghezzi in 1723 and shows Vivaldis head and shoulders in prole. The oil painting,
which can be seen in the Liceo Musicale of Bologna, gives
what is possibly the most accurate picture and shows Vivaldis red hair under his blonde wig.[43]

2 Style and inuence

Vivaldis music was innovative. He brightened the formal and rhythmic structure of the concerto, in which he
looked for harmonic contrasts and innovative melodies
and themes; many of his compositions are amboyantly,
almost playfully, exuberant.
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).
Frontispiece of Il teatro alla moda

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 composer in the imperial court. On his way to Vienna, Vivaldi
may have stopped in Graz to see Anna Gir.[38]
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 afterwards, Vivaldi became impoverished[39][40] and died during the night of 27/28 July 1741, aged 63,[41] 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 hospital 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.[42] 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.

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 relatively unknown and were largely ignored. Even Vivaldis
most famous work, The Four Seasons, was unknown in its
original edition during the Classical and Romantic periods.

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 begin 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
He was buried next to Karlskirche, in an area which is Louis Kaufman, all of whom were instrumental in the Vinow part of the site of the Technical Institute. The house valdi revival of the 20th century.
where he lived in Vienna has since been destroyed; the In 1926, in a monastery in Piedmont, researchers disHotel Sacher is built on part of the site. Memorial plaques covered fourteen folios of Vivaldis work that were prehave been placed at both locations, as well as a Vivaldi viously thought to have been lost during the Napoleonic
star in the Viennese Musikmeile and a monument at Wars. Some missing volumes in the numbered set were
the Rooseveltplatz.
discovered in the collections of the descendants of the
Only three portraits of Vivaldi are known to survive: an Grand Duke Durazzo, who had acquired the monastery

6 IN POPULAR CULTURE

complex in the 18th century. The volumes contained 5 Catalogs of Vivaldi works
300 concertos, 19 operas and over 100 vocal-instrumental
works.[44]
Vivaldis works attracted cataloging eorts betting a maThe resurrection of Vivaldis unpublished works in the jor composer. Scholarly work intended to increase the
20th century is mostly due to the eorts of Alfredo accuracy and variety of Vivaldi performances also supCasella, who in 1939 organized the historic Vivaldi ported new discoveries which made old catalogs incomWeek, in which the rediscovered Gloria (RV 589) and plete. Works still in circulation today may be numbered
l'Olimpiade were revived. Since World War II, Vivaldis under several dierent systems (some earlier catalogs are
compositions have enjoyed wide success. Historically in- mentioned here).
formed performances, often on original instruments, Because the simply consecutive Complete Edition (CE)
have increased Vivaldis fame still further.
numbers did not reect the individual works (Opus numRecent rediscoveries of works by Vivaldi include two
psalm settings of Nisi Dominus (RV 803, in eight movements) and Dixit Dominus (RV 807, in eleven movements). These were identied in 2003 and 2005 respectively, by the Australian scholar Janice Stockigt. The Vivaldi scholar Michael Talbot described RV 807 as arguably the best nonoperatic work from Vivaldis pen to
come to light since... ...the 1920s.[45] Vivaldis lost 1730
opera Argippo (RV 697) was rediscovered in 2006 by the
harpsichordist and conductor Ondej Macek, whose Hofmusici orchestra performed the work at Prague Castle on
3 May 2008, its rst performance since 1730.

bers) into which compositions were grouped, Fanna numbers were often used in conjunction with CE numbers.
Combined Complete Edition (CE)/Fanna numbering was
especially common in the work of Italian groups driving
the mid-20th century revival of Vivaldi, such as Gli Accademici di Milano under Piero Santi. For example, the
Bassoon Concerto in B major, La Notte RV 501, became CE 12, F. VIII,1
Despite the awkwardness of having to overlay Fanna
numbers onto the Complete Edition number for meaningful grouping of Vivaldis oeuvre, these numbers displaced
the older Pincherle numbers as the (re-)discovery of more
manuscripts had rendered older catalogs obsolete.

This cataloging work was led by the Istituto Italiano

Antonio Vivaldi, where Gian Francesco Malipiero was
both the Director and the editor of the published scores
4 Works
(Edizioni G. Ricordi). His work built on that of Antonio Fanna, a Venetian businessman and the Institutes
Main articles: List of compositions by Antonio Vivaldi founder, and thus formed a bridge to the scholarly cataand List of operas by Vivaldi
log dominant today.
Compositions by Vivaldi are identied today by RV number, the number assigned by Danish musicologist Peter
Ryom in works published mostly in the 1970s, such
as the Ryom-Verzeichnis or Rpertoire des oeuvres
d'Antonio Vivaldi. Like the Complete Edition before
it, the RV does not typically assign its single, consecutive
Le quattro stagioni (The Four Seasons) of 1723 is his numbers to adjacent works that occupy one of the commost famous work. Part of Il cimento dell'armonia e posers single opus numbers. Its goal as a modern catalog
dell'inventione (The Contest between Harmony and In- is to index the manuscripts and sources that establish the
vention), it depicts moods and scenes from each of the existence and nature of all known works. These several
four seasons. This work has been described as an out- numbering systems are cross-referenced at classical.net.
standing instance of pre-19th century program music.[46]
A composition by Vivaldi is identied by RV number,
which refers to its place in the Ryom-Verzeichnis or
Rpertoire des oeuvres d'Antonio Vivaldi, a catalog
created in the 20th century by the musicologist Peter
Ryom.

Vivaldi wrote more than 500 other concertos. About 350

of these are for solo instrument and strings, of which 230 6 In popular culture
are for violin, the others being for bassoon, cello, oboe,
ute, viola d'amore, recorder, lute, or mandolin. About The movie Vivaldi, a Prince in Venice was completed in
forty concertos are for two instruments and strings and 2005 as an Italian-French co-production under the direcabout thirty are for three or more instruments and strings. tion of Jean-Louis Guillermou.[47] In 2005, ABC Radio
As well as about 46 operas, Vivaldi composed a large National commissioned a radio play about Vivaldi, which
body of sacred choral music. Other works include was written by Sean Riley. Entitled The Angel and the
sinfonias, about 90 sonatas and chamber music.
Red Priest, the play was later adapted for the stage and
[48]
Some sonatas for ute, published as Il Pastor Fido, have was performed at the Adelaide Festival of the Arts.
been erroneously attributed to Vivaldi, but were com- Janice Jordan Shefelman wrote a childrens book detailing the life of Vivaldi entitled I, Vivaldi.[49]
posed by Nicolas Chdeville.

References

Notes
[1] Michael Talbot, "Vivaldi, Antonio", Grove Music Online
(subscription required)

[27] Baroque Music As far as his theatrical 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 oratorio, Juditha Triumphans devicta Holofernis barbaric. [sic] This work was an allegorical description of the victory of the Venetians over the
Turks in August 1716.

[2] Walter Kolneder, Antonio Vivaldi: Documents of his life

and works (Amsterdam: Heinrichshofens Verlag, Wilhelmshaven, Locarno, 1982), 46.

[28] Heller, p. 98

[3] Michael Talbot, Vivaldi (London: J.M. Dent & Sons, Ltd.,
1978), 39.

[30] Heller, p. 97

[4] Landon, p. 15
[5] Michael Talbot, Vivaldi (London: J.M. Dent & Sons, Ltd,
1978), 37.
[6] Heller, p. 41
[7] Michael Talbot, Vivaldi (London: J.M. Dent & Sons, Ltd.,
1978), 36.
[8] Heller, P. 40
[9] Landon, p. 16
[10] Marc Pincherle, Vivaldi: Genius of the Baroque (Paris:
W. W. Norton & Company, Inc., 1957), 16
[11] Landon, p. 49
[12] Heller, p. 51
[13] Marc Pincherle, Vivaldi: Genius of the Baroque (Paris:
W. W. Norton & Company, Inc., 1957), 18.
[14] Heller, p. 77
[15] Heller, p. 78
[16] Landon, p. 26
[17] Marc Pincherle, Vivaldi: Genius of the Baroque (Paris:
W. W. Norton & Company, Inc., 1957), 24.
[18] Michael Talbot, Vivaldi (London: J.M. Dent & Sons, Ltd,
1978), 48.
[19] Heller, p. 54.
[20] Michael Talbot, Vivaldi (London: J.M. Dent & Sons, Ltd,
1978), 59.
[21] Marc Pincherle, Vivaldi: Genius of the Baroque (Paris:
W. W. Norton & Company, Inc., 1957), 38.
[22] Landon, p. 31
[23] Landon, p. 42
[24] Michael Talbot, Vivaldi (London: J.M. Dent & Sons, Ltd,
1978), 54.
[25] Michael Talbot, Vivaldi (London: J.M. Dent & Sons, Ltd,
1978), 58.
[26] Michael Talbot, Vivaldi (London: J.M. Dent & Sons, Ltd,
1978), 71.

[29] Landon, p. 52

[31] Heller, p. 114

[32] There are only three known surviving depictions of Vivaldi 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.
[33] Michael Talbot, Vivaldi (London: J.M. Dent & Sons, Ltd,
1978), 64.
[34] Michael Talbot, Vivaldi (London: J. M. Dent & Sons, Ltd,
1978), 66.
[35] Michael Talbot, Vivaldi (London: J.M. Dent & Sons, Ltd,
1978), 67.
[36] 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. Freeman, The Opera Theater of Count Franz Anton von Sporck
in Prague (Stuyvesant, N.Y.: Pendragon Press, 1992).
[37] Walter Kolneder, Antonio Vivaldi: Documents of his life
and works (Amsterdam: Heinrichshofens Verlag, Wilhelmshaven, Locarno, 1982), 179.
[38] Walter Kolneder, Antonio Vivaldi: Documents of his life
and works (Amsterdam: Heinrichshofens Verlag, Wilhelmshaven, Locarno, 1982), 180.
[39] 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 concertos, 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
[40] Marc Pincherle, Vivaldi: Genius of the Baroque (Paris:
W. W. Norton & Company, Inc., 1957), 53.
[41] 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.

EXTERNAL LINKS

[42] Michael Lorenz, Haydn Singing at Vivaldis Exequies:

An Ineradicable Myth (Vienna 2014)

Talbot, Michael, Antonio Vivaldi, Insel Verlag

(1998), ISBN 3-458-33917-5 (German)

[43] Michael Talbot, Vivaldi (London: J.M. Dent & Sons, Ltd,
1978), 93.

Talbot, Michael: Antonio Vivaldi, Grove Music

Online, ed. L. Macy (Accessed 26 August 2006),
(subscription access)

[44] Antonio Vivaldi biography by Alexander Kuznetsov and

Louise Thomas, a booklet attached to the CD The best
of Vivaldi, published and recorded by Madacy Entertainment Group Inc, St. Laurent Quebec Canada
[45] Michael Talbot, liner notes to the CD Vivaldi: Dixit
Dominus, Krnerscher Sing-Verein Dresden (Dresdner
Instrumental-Concert), Peter Kopp, Deutsche Grammophon 2006, catalogue number 4776145

8 External links
Catalog of instrumental works
Complete works catalog

[46] Gerard Schwarz, Musically Speaking The Great Works

Collection: Vivaldi (CVP, Inc., 1995), 13.

Free scores by Antonio Vivaldi at the International

Music Score Library Project

[47] Antonio Vivaldi, un prince Venise at the Internet Movie

Database

Free scores by Antonio Vivaldi in the Choral Public

Domain Library (ChoralWiki)

[48] Angel and the Red Priest by Sean Riley. Airplay.

Australian Broadcasting Corporation Radio National. Retrieved 4 July 2011.
[49] Bush, Elizabeth (2008). I, Vivaldi (review)". Bulletin of
the Center for Childrens Books.

Sources and further reading

Brizi, Bruno, Maria Grazia Pensa in Music & Letters, Vol. 65, No. 1 (January 1984), pp. 6264
Bukofzer, Manfred (1947). Music in the Baroque
Era. New York, W. W. Norton & Co. ISBN 0-39309745-5.
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 violino. Vita di Antonio Vivaldi, Bompiani (2006),
ISBN 88-452-5640-5.
Heller, Karl Antonio Vivaldi: The Red Priest of
Venice, Amadeus Press (1997), ISBN 1-57467-0158
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 Instrumental Music, from Gabrieli to Vivaldi. New York,
Dover Publications. ISBN 0-486-28151-5.

Antonio Vivaldi material in the 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 Vivaldi: 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 domain audiobooks)

Text and image sources, contributors, and licenses

9.1

Text

Antonio Vivaldi Source: https://en.wikipedia.org/wiki/Antonio_Vivaldi?oldid=693557526 Contributors: MichaelTinkler, Mav, Wesley,

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10

9 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

Pawelzu, Flightx52, Palosirkka, BartlebytheScrivener, GrayFullbuster, Matkatamiba, DASHBotAV, 28bot, Petrb, Helpsome, ClueBot
NG, Prioryman, Gareth Grith-Jones, Andrei S, MelbourneStar, This lousy T-shirt, Joefromrandb, Chester Markel, ScottSteiner, Awfulbastard, Teecono, Lashuto, Widr, Savziwavzi, Helpful Pixie Bot, Calabe1992, 2001:db8, Tharwen, Trunks ishida, BG19bot, Xtfcr7,
Juro2351, Metricopolus, Min.neel, Tudorcfr90, Lucienboo, Sensesfail123, Rivajus, Glacialfox, Shaun, Morpheus360, Baby Monkey
99, Miszatomic, Riley Huntley, Pratyya Ghosh, Haymouse, ChrisGualtieri, Basemetal, AntonioLucioVivaldi, Khazar2, Harpsichord246,
Whitewine17, 2Flows, MadGuy7023, JYBot, Dana566789, Dexbot, Negative y, Lugia2453, WroteOddly, Cocolinmichela, Leemon2010,
Nathanperrier1960, Heavenlier, Islandluke, Lekoren, Nonsenseferret, Hemnson20, Shugurim, Everymorning, SonPhanGreat, Paul Gazman, Ginsuloft, George8211, Jianhui67, Abdulpoonawala34, Xenxax, PabloOsvaldo17, Waes3746575674378, JaconaFrere, Ofwgktacake, BOBRULESYOFACE, A PIE carl, Cancina5645, Feisty gator, Vivaldimusiclovervenice, Jackylow123, TedRo, Figgly17, Amortias,
WekaBirdy, 115ash, Whistlemethis, Asdfjkl;;lkj, Anamadianyoutuber, Rogerdp59, Qwerwpsofmejfmejdj, Atvelonis, Goldbob, Antonio
Bononcini, KasparBot, Dickshadows, IanPlaysTheFlute, Chris2223565768 and Anonymous: 1314

9.2

Images

File:'A'_(PSF).png Source: https://upload.wikimedia.org/wikipedia/commons/6/68/%27A%27_%28PSF%29.png License: Public domain Contributors: Archives of Pearson Scott Foresman, donated to the Wikimedia Foundation Original artist: Pearson Scott Foresman
File:01_-_Vivaldi_Spring_mvt_1_Allegro_-_John_Harrison_violin.ogg Source: https://upload.wikimedia.org/wikipedia/commons/
3/3c/01_-_Vivaldi_Spring_mvt_1_Allegro_-_John_Harrison_violin.ogg License: CC BY-SA 1.0 Contributors: Own work Original artist:
Antonio Vivaldi
File:8106_-_Venezia_-_Calle_della_Piet_-_Lapide_Vivaldi_-_Foto_Giovanni_Dall'Orto_8-Aug-2007.jpg
Source:
https://upload.wikimedia.org/wikipedia/commons/e/e3/8106_-_Venezia_-_Calle_della_Piet%C3%A0_-_Lapide_Vivaldi_-_Foto_
Giovanni_Dall%27Orto_8-Aug-2007.jpg License: CC BY-SA 2.5 it Contributors: Own work Original artist: G.dallorto
File:Chiesa_di_San_Giovanni_in_Bragora_-_Venezia.jpg Source: https://upload.wikimedia.org/wikipedia/commons/e/ef/Chiesa_
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File:Vivaldi.jpg Source: https://upload.wikimedia.org/wikipedia/commons/b/bd/Vivaldi.jpg License: Public domain Contributors: (Old
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File:Vivaldi_caricature.png Source: https://upload.wikimedia.org/wikipedia/commons/a/ab/Vivaldi_caricature.png License: Public domain Contributors: Unknown Original artist: Pier Leone Ghezzi
File:Vivaldis_first_edition_of_Juditha_triumphnas.jpg Source: https://upload.wikimedia.org/wikipedia/commons/b/b4/Vivaldis_
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9.3

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