3623 Re Biro *Bliyvun ees Two CONCERTI FOR GUITAR & ORCHESTRA C major, RV425 D major, RV93 Christian Reichert, Guitar Taunus String Orchestraleleieicieiciniciniclniciecieieieieieinieeieicicicieieieieieeieieie ANTONIO VIVALDI ome TWO CONCERTI for GUITAR and ORCHESTRA C MAJOR RV425 D MAJOR RV93 MUSIC MINUS ONE ninininininininininininininininininininininininier ini ‘iniaiainia iia ining (sisini —e ‘a SiinatSUGGESTIONS FOR USING THIS MMO EDITION HAVE THIED to create a product that "provide you an easy way to learn and perform these concerti with a full orchestra in the comfort of your own home. Because it involves a fixed orchestral performance, there is an inherent lack of flexibility in tempo and cadenza length. ‘The following wo features and techniques will reduce these inflexibilities and help you maxi- mize the effectiveness of the mvo practice and performance systen Chapter stops on your cb are conveni located throughout the piece at the begin practice seetions, and are ero: ently gs of the referenced, score. This should help you quickly find a desired place in the music as you learn the piece. Where the soloist begins a movement solo, we have provided an introductory measure with subtle taps inserted at the actual tempo before the soloist’s entrance. Additionally, where there is a marked tempo change with no orchestral guide to establ inserted in the right channel to help you synchro- tempo, subtle taps have been nize with the orchestra. These can be reduced during performance by shifting the balance toward the left channel. Chapter stops have also been placed at orches- tra entrances so that, with the help of a second, possible to perform a seamless version, of the concerto alongside your wao co aceompani- person, ment. While we have allotted what i generally con- sidered an average amount of time for a cadenza or solo section, each performer will have a different interpretation and observe individual tempi, Your personal rendition may preclude a perfect “fit” Jin the space provided. Therefore, by having. a second person press the pausell button on your cp player after the start of each eadenza, followed by the next track #button, your cn will be cued to the orchestra’s re-entry. When you as soloist are at the end of the solo passage, the second person can press the play? (or pause button) on the cb remote to allow a synchronized orchestra re-entry. ‘We have observed generally accepted tempi, but some may wish to perform ata different tempo, or to slow down or speed up the accompaniment for practice purposes. You ean purchase from Mo specialized cp players and player/recorders which allow variable speed while maintaining proper pitch. This is an indispensable tool for the serious ‘musician and you may wish to look into purchasing. this usefl piece of equipment for full enjoyment of all your uo editions. We want to provide you with the most useful practice and performance accompa ments possible. If you have any suggestions for improving the vo system, please feel free to contaet us. You can reach us by e-mail at info@musicminusone.com. mately 20%. This will allow you to beg’ ABOUT THE ‘PRACTICE TEMPO’ DISC SAW AID DURING THE EARLY STAGES of learning these concerti, we have ereated a second ‘practice tempo’ compact dise which is and practice dise in layout, but for which the ‘minus’ version has been slowed by approxi- ata comfortably reduced speed until technique is more firmly in grasp, at which time the full-speed dise ean be substituted. tical to the main peformanceMusic Misus Ox (OB) CONTENTS Vension cura 5 Gurran Toxine Nores CONCERTO © MAJOR 3 DO MAGGIORE, VAIS LF. V/b COMPLETE minus Version cova vce DO Bt. Aueca 2 @ Bar 37 (prima volta) .. 9 oO @ Bar 37 (seconda volta} 9 @ Dow. ta 12, 5 @ Bar 13. 13 BW. Auzcro.. 14 a Bar 38 (prima volta): Orchestra entry. 15 a Bar 70 (prima volta) ., 17 a Bar 38 (seconda volta): Orchestra entry. ray a Bar 70 (seconda volta) 17 CONCERTO D MAJOR 3 RE MAGGIORE RV9B(F. XIV/I5) "TRAEK “TRACK ‘secrion Pace Bk. Auuseno, Bar 24 @ Bo. Lanco @ Bar 17 BW. Auscro.. @ Bar 18. ©2003 MMO Musie Group, Ine. All rights reserved. MMO 3623,NOTES ON THE CONCERTI HeSe TWO CouPostT10%s form a very useful introduction to playing the concerto form ‘with orchestral accompaniment. The technical skills required are not too high, yet both possess a very professional level of quality. Because Vivaldi wrote these two concerti not for the guitar but rather for an instrument similar to the mandolin (played with a pleetrum), have tried to arrange the solo part in such a way that the guitar can produce the best sound using today’s classical guitar techniques. Proper articulation is very important and will make your playing much more interesting. For me, musie from 1600 to 1800 speaks with a vivid coloration. Think about “staceato,” “Legato,” “tenuto” and all the possi if what you would like to say swith your music. ‘Ormamentation is also an important point in Baroque music. If you listen (o the complete versions ofthis recording you will hear that I have played some passages differently in the rep- etitions, especially in the slow movements, but also in the first movement from the D-major concerto. added scales, arpeggios, or just played around a certain musical motif. You should first try to pl way. But always keep in mind the m jes you have for expres -my suggestions, but afterward try to make your own changes and find your own ial style. Tells should be played generally from the upper note: If for example, the note “g” has a trill you must always start the trill from “a.” Inthe 17th and 18th century, hierarchy was very important in every aspect of life, and also in music. If we consider a four-over-four bar, the first beat should be the strongest, the second less, the third strong again but not as strong as the first, and the Fourth the weakest of all. ‘You can utilize these hierarchies in all Baroque music. OF course, it would be very boring to play every bar in such a way, and luckily there are other hierarchical elements outweighing this rule. We should consider harmony as the strongest of these elements. Dissonant chords rust always be played with more emphasis. Top notes generally should be played with more strength as well, irrespective of the part of the bar in which they happen to fall. — Christian Reichert, August 2008ANTONIO VIVALDI aes CONCERTO Jor GUITAR az/ ORCHESTRA occu C MAJOR 3 DO MAGGIORE RV425 F.v/lCONCERTO for GUITAR and STRINGS Baiting and fingering Christian Reichert C MAJOR 3 DO MAGGIORE Orchestral reduction yas (F: V(t) Antonio Vivaldi Wieslaw Novak a) (1678-1741) Allegro GUITAR a Allegro MMO 3623,vi Vu | no 3e2sMMO 3623,[prima volta} [EMM ona vita) 4 a MMO 3623MMO 3623 pivot D VMMO 3623IL. (BIB Oneness Largo vu © Largo ° MMO 3623 eeMMO 3623oa Hl. [pitemosso Sf MMO 3623[prima volta] {seconda volta} MMO 362316 MMO 3623 i[ZIBB [prima volta | (SIBH/seconda volta ) ase = 8 MMO 3623MMO 3623MMO 3623ANTONIO VIVALDI aoue CONCERTO Sor GUITAR and ORCHESTRA via D MAJOR 9 RE MAGGIORE RV93 FL XI/1522 CONCERTO _/or GUITAR, STRINGS a/ BASSO CONTINUO D MAJOR 2 RE MAGGIORE Editing and fingering RYV93 (F. XII/15) oo Christian Reicl Antonio Vivaldi Christian Reichert (sa (78 my Allegro m4 GUITAR Mlegro Va Oncurstns ve e MMO 3623 - . -agpeeemsesaiaiamaiiiiiaiaiaitt aMMO 362324 MMO 3623MMO 3623,26 MMO 3623 vu.27 MMO 3623,28 EB oneness nc Largo, ; a» MMO 3623, IL.MMO 3623MMO 3623, ntMMO 3623Mo 3623MMO 362334 MMO 3623,ie Minus One is leased to present these two clasic. Vivald concerti, originally con: ceived for lute, but now classics on that. instru modern counter- ‘par, the guitar. Antonio Vivaldi (1678 1741) was an indefatigable ‘experimenter, and he saw no. boundaries in. instru- “mental and compositional | technique. Probably his F most important eontribu- [tion ep the art of the eon- "como isin his pitting the soloist emphasizing drama and conflict. And, just as impor: tly, for the frst time in the concerto form, the slow movems we the soloist a lyrical prominence—Vivaldi fashioning these Cantabile episodes from the heartfelt aias in his operas. His influence ‘on all music which followed cannot be overestimated. Antanio Vial (1678-1741), inst the orches- tra, the Both of the concerti presented here provide a great introduction for guitarists to the concert r master, They af manageble nth consi ental Bro chess and will transport both player and listener to another time. They embody afl range of Baru technique, an allow fran expres sion of musical feeling and pathos in their slow movements. -necompanimene froma the orchestra. The outer Allegro m The Cmajor concerto, RV25, though originally intended fr mandi, transiats beautflly forthe guia, and has become -patremed in t neve oa 9 both instruments. "on che guitar tris wit a surging wovements are sparkling richly textured, and present many opportunities forthe soloist, This concerto came crashing back into public conscigusn in 1979 with its use in the motion picture Kramer vs, Kramer, ‘The D-major concerto, RVI was, itis believed, written away from Vivaldts native Venice, though exactly where is unknown. The manuscript for this concerto, daring from about 1731, wos originally cived for lute two violins and bass. Icexissalongpide two other evidence indicates they were written in cen- tral Europe, perhops in Bohemia, where Vivaldi is believed to have progression of “echoes pieces in Turin, bu ben during this period. Pottemed once again in an Allro-Lang hamnber concer Allegra design, hi ‘was meant originally for a very small ensemble, and is unique in that itis the only one of its kind not including a leat one wind inserument. The continuo dou- bles the bass in this piece, end lends a unique fee to the concerto. The sump Lage movement liking aia, and reas pee ‘haps one of Vival’s most memorable con : “This Music Minus One learning and performance edition pre auperfect mesh of yuitar and orchestra, tre to Vivld’s unique ‘These Baroque gems are sure to appeal to all guitarists Listen to mas ter guitarist Christian Reichert perform these masterpieces with full chest then you step in and perform it yourself wth the Taunus Suing Orchestra Bravo! to movements. ns =i ii jt