Concerts of antonio vivaldi. Concert "Antonio Vivaldi

Introduction

Chapter I. The role of A. Vivaldi in the formation of the violin concerto in the 18th century

1.1.

1.2.A. Vivaldi's creative contribution to the development of the instrumental concert

Chapter II. A. Vivaldi's creative heritage. Analysis of the most famous works of the composer

1 "Seasons"

2 Violin Concerto "A-moll"

Conclusion

Bibliographic list

Introduction

Antonio Vivaldi is a prolific composer, author of instrumental works and operas, the productions of which he largely directed himself, educating singers, conducting performances, even performing the duties of an impresario. The extraordinary richness of this restless existence, the seemingly inexhaustible creative powers, the rare versatility of interests were combined in Vivaldi with manifestations of a bright, unrestrained temperament.

These personality traits are fully reflected in Vivaldi's art, which is full of a wealth of artistic imagination and the strength of temperament and does not lose vitality over the centuries. If some of his contemporaries saw frivolity in the appearance and actions of Vivaldi, then in his music creative thought is always awake, dynamics does not weaken, the plasticity of form-making is not disturbed. Vivaldi's art is above all a generous art born out of life itself, absorbing its healthy juices. There was nothing far-fetched, far from reality, not tested by practice, and could not be. The composer knew the nature of his instrument perfectly.

The purpose of the course work: to study the interpretation of the genre of the instrumental concert in the works of Antonio Vivaldi.

Objectives of this course work:

.Study literature on a given topic;

2.Consider A. Vivaldi as a representative of the Italian violin school;

3.Analyze the most famous works of the composer.

This course work is relevant today, since the work of the composer A. Vivaldi is interesting to contemporaries, his works are performed in concert halls around the world.

Chapter I. The role of A. Vivaldi in the formation of the violin concerto in the 18th century

1.1.Italian violin school and the development of genres of instrumental and violin music

The early flowering of Italian violin art had its own social, cultural reasons, rooted in the socio-economic development of the country. Due to special historical conditions in Italy, earlier than in other European countries, feudal relations were supplanted by bourgeois ones, more progressive in that era. In the country, which F. Engels called "the first capitalist nation", the national features of culture and art began to take shape at the earliest.

The Renaissance flourished precisely on Italian soil. He led to the emergence of brilliant creations of Italian writers, artists, architects. Italy also gave the world the first opera, the developed art of violin, the emergence of new progressive musical genres, the exceptional achievements of the violin makers who created unsurpassed classical examples of bowed instruments (Amati, Stradivari, Guarneri).

The founders of the Italian school of violin makers were Andrea Amati and Gasparo da Salo, and the most prominent masters during the school's heyday (from the middle of the 17th century to the middle of the 18th century) were Niccolo Amati and his two students, Antonio Stradivari and Giuseppe Guarneri del Gesu.

It is believed that Antonio Stradivari was born in the year 1644, although his exact date of birth is not recorded. He was born in Italy. It is believed that from 1667 to 1679 he served as a free disciple of Amati, i.e. did the rough work.

The young man diligently improved the work of Amati, achieving the melodiousness and flexibility of the voices of his instruments, changing their shape to a more curved one, and decorating the instruments.

The evolution of Stradivari shows the gradual liberation from the influence of the teacher and the desire to create a new type of violin, distinguished by rich timbre and powerful sound. But the period of creative searches, during which Stradivari was looking for his own model, lasted more than 30 years: his instruments reached perfection in form and sound only in the early 1700s.

It is generally accepted that his finest instruments were made from 1698 to 1725, including exceeding in quality those made later from 1725 to 1730. Among the famous Stradivarius violins are Betts, Viotti, Alard and Messiah. ...

In addition to violins, Stradivari also produced guitars, violas, cellos, and at least one harp - over 1,100 instruments are currently estimated.

The great master died at the age of 93 on December 18, 1837. His working tools, drawings, drawings, models, some violins were included in the collection of the famous collector of the 18th century, Count Cozio di Salabue. Today this collection is kept in the Stradivari Museum in Cremona.

Changes in the historical environment, social and cultural needs, spontaneous processes of development of musical art, aesthetics - all this contributed to a change in styles, genres and forms of musical creativity and performing arts, sometimes leading to a motley picture of the coexistence of various styles on the general path of art advancement from the Renaissance to the Baroque. and then to the pre-classicist and early classicist styles of the 18th century.

The art of violin played a significant role in the development of Italian musical culture. The leading role of Italian musicians in the early heyday of violin art as one of the foremost phenomena of European music cannot be underestimated. This is convincingly evidenced by the achievements of the Italian violinists and composers of the 17th-18th centuries, who headed the Italian violin school - Arcangelo Corelli, Antonio Vivaldi and Giuseppe Tartini, whose work retained great artistic significance.

Arcangelo Corelli was born on February 17, 1653 in Fusignano, near Bologna, into an intelligent family. His musical talent was revealed early, and it developed under the direct influence of the Bologna school: the young Corelli mastered playing the violin in Bologna under the guidance of Giovanni Benvenuti. His successes amazed those around him and received high recognition from specialists: at the age of 17, Corelli was elected a member of the Bologna Philharmonic Academy. However, he then did not stay long in Bologna, and in the early 1670s he moved to Rome, where his whole life then passed. In Rome, the young musician expanded his education by studying counterpoint with the help of the experienced organist, singer and composer Matteo Simonelli from the Papal Chapel. Corelli's musical career began first in the church (violinist in the chapel), then at the Capranica opera house (bandmaster). Here he advanced not only as a wonderful violinist, but also as the leader of instrumental ensembles. Since 1681, Corelli began to publish his works: until 1694, four collections of his trio sonatas were published, which brought him wide fame. From 1687 to 1690 he was at the head of the chapel of Cardinal B. Panfili, and then became the head of the chapel of Cardinal P. Ottoboni and the organizer of concerts in his palace.

This means that Corelli communicated with a large circle of art connoisseurs, enlightened art lovers and outstanding musicians of his time. A wealthy and brilliant philanthropist, keen on art, Ottoboni hosted the performance of oratorios, “academy” concerts, attended by a large society. Young Handel, Alessandro Scarlatti and his son Domenico, many other Italian and foreign musicians, artists, poets and scientists visited his house. The first collection of Corelli's trio sonatas is dedicated to Christina of Sweden, the queen without a throne, who lived in Rome. This suggests that Corelli also took part in the musical festivities held in the palace she occupied or under her auspices.

Unlike most Italian musicians of his time, Corelli did not write operas (although he was associated with the opera house) and vocal compositions for the church. He was completely immersed as a composer-performer only in instrumental music and the few genres associated with the leading participation of the violin. In 1700, a collection of his violin sonatas with accompaniment was published. Since 1710, Corelli stopped performing in concerts, two years later he moved from the Ottoboni Palace to his own apartment.

For many years, Corelli studied with students. Among his pupils are composers-performers Pietro Locatelli, Francesco Geminiani, JB Somis. After him, a large collection of paintings remained, among which were paintings by Italian masters, landscapes by Poussin and one painting by Bruegel, highly appreciated by the composer and mentioned in his will. Corelli died in Rome on January 8, 1713. 12 of his concerts were published posthumously, in 1714.

With all its roots, Corelli's art goes back to the tradition of the 17th century, without breaking with polyphony, mastering the heritage of the dance suite, further developing expressive means and, thereby, the technique of his instrument. The work of Bolognese composers, especially based on the models of the trio sonata, has already received significant influence not only within Italy: as you know, it conquered Purcell in its time. Corelli, the founder of the Roman school of violin art, won a truly world-wide fame. In the first decades of the 18th century, his name embodied in the eyes of French or German contemporaries the highest achievements and the very specificity of Italian instrumental music in general. The violin art of the 18th century, represented by such luminaries as Vivaldi and Tartini, and a whole galaxy of other outstanding masters, developed from Corelli.

Corelli's artistic heritage at that time is not so great: 48 trio sonatas, 12 sonatas for violin with accompaniment and 12 "large concertos". Contemporary Corelli Italian composers, as a rule, were much more prolific, creating dozens of operas, hundreds of cantatas, not to mention a huge number of instrumental works. Judging by the music of Corelli itself, it was hardly difficult for him to work creatively. Apparently, being deeply focused on her, not scattering to the sides, he carefully thought out all his plans and did not at all rush to publish ready-made works. There are no traces of obvious immaturity in his early works, just as there are no signs of creative stabilization in later works. It is possible that what was published in 1681 was created over a number of previous years, and the concerts published in 1714 began long before the death of the composer.

2 A. Vivaldi's creative contribution to the development of the instrumental concert

Outstanding violinist and composer Antonio Vivaldi (1678-1741) is one of the brightest representatives of the Italian violin art of the 18th century. Its significance, especially in the creation of a solo violin concerto, goes far beyond the borders of Italy.

A. Vivaldi was born in Venice, in the family of an excellent violinist and teacher, a member of the chapel of the Cathedral of San Marco, Giovanni Battista Vivaldi. From early childhood, his father taught him to play the violin, took him to rehearsals. From the age of 10, the boy began to replace his father, who also worked in one of the city's conservatories.

The head of the chapel, G. Lehrenzi, became interested in the young violinist and studied organ and composition with him. Vivaldi attended Legrantsi's home concerts, where he listened to new compositions by the owner himself, his students - Antonio Lotti, cellist Antonio Caldara, organist Carlo Polarolli and others. Unfortunately, in 1790 Lehrenzi died and his studies ceased.

By this time, Vivaldi had already begun to compose music. His first surviving work is a spiritual work dating from 1791. The father considered it best to give his son a spiritual education, since the dignity and vow of celibacy gave Vivaldi the right to teach at the women's conservatory. This is how spiritual training at the seminary began. In 1693 he was ordained abbot. This provided him with access to the most prestigious conservatory “Ospedale della Piet à ". However, the priesthood proved to be a further obstacle to the deployment of Vivaldi's enormous talent. After the abbot, Vivaldi advanced through the ranks of clergy and finally in 1703 he was ordained to the last lower rank - a priest, which gave him the right to serve an independent service - Mass.

Father fully prepared Vivaldi for teaching, doing the same at the Beggars' Conservatory. Music at the conservatory was the main subject. The girls were taught to sing, play different instruments, and conduct. The Conservatory possessed one of the best orchestras in Italy at that time; 140 female students took part in it. B. Martini, C. Burney, K. Dittersdorf spoke enthusiastically about this orchestra. Together with Vivaldi, a student of Corelli and Lotti, Francesco Gasparini, an experienced violinist and composer, whose operas were staged in Venice, taught here.

At the Conservatory, Vivaldi taught violin and English viola. The Conservatory Orchestra became a kind of laboratory for him, where his ideas could be realized. Already in 1705, his first opus of trio sonatas (chamber), in which Corelli's influence is still felt, was published. Characteristically, however, there is no sign of discipleship in them. These are mature works of fiction, attracting with the freshness and figurativeness of the music.

As if to emphasize a tribute to Corelli's genius, he concludes Sonata No. 12 with the same variations on the theme of Folia. Already next year, the second opus, concerti grossi "Harmonious Inspiration", appeared three years earlier than Torelli's concerts. It is among these concerts that the famous a-moll is located ny.

The service at the conservatory was successful. Vivaldi is entrusted with the leadership of the orchestra, and then the choir. In 1713, in connection with the departure of Gasparini, Vivaldi became the main composer with the obligation to compose two concertos a month. He worked at the conservatory almost until the end of his life. He brought the orchestra of the conservatory to the highest perfection.

The fame of Vivaldi, the composer, is rapidly spreading not only in Italy. His works are published in Amsterdam. In Venice, he meets Handel, A. Scarlatti, his son Domenico, who is studying with Gasparini. Vivaldi also gains fame as a virtuoso violinist, for whom there were no impossible difficulties. His skill was manifested in impromptu cadenza.

One such case, who was present at the production of Vivaldi's opera at the Teatro San Angelo, recalled his performance: “Almost at the end, accompanying the singer splendidly, Vivaldi finally performed a fantasy that really scared me, because it was something incredible, like which no one played and can not play, because with his fingers he climbed so high up that there was no place for the bow, and this was playing a fugu on all four strings with incredible speed ”. Records of several of these cadences remain in manuscripts.

Vivaldi composed rapidly. His solo sonatas and concerts are coming out of print. For the conservatory, he creates his first oratorio "Moses, God of the Pharaoh", prepares the first opera - "Otto in the Villa", which was a success in 1713 in Vicenza. In the next three years he created three more operas. Then there is a break. Vivaldi wrote so easily that he sometimes even noted it himself, as in the manuscript of the opera "Tito Manlio" (1719) - "completed in five days."

In 1716, Vivaldi created one of his best oratorios for the conservatory: "Judith triumphant, conquering Holofernes the barbarians." Music attracts with energy and scope and at the same time with amazing color, poetry. In the same year, during the musical celebrations in honor of the arrival of the Duke of Saxony in Venice, two young violinists, Giuseppe Tartini and Francesco Veracini, were invited to perform. The meeting with Vivaldi had a profound impact on their work, especially on Tartini's concerts and sonatas. Tartini said that Vivaldi is a concert composer, but thinks that he is an opera composer by vocation. Tartini was right. Vivaldi's operas are now forgotten.

Vivaldi's pedagogical activity at the Conservatory gradually brought success. Other violinists also studied with him: J. B. Somis, Luigi Madonis and Giovanni Verocai, who served in St. Petersburg, Carlo Tessarini, Daniel Gottlob Troy - conductor in Prague. A pupil of the Conservatory, Santa Tasca became a concert violinist, then a court musician in Vienna; Hiaretta also performed with the prominent Italian violinist G. Fedeli.

In addition, Vivaldi turned out to be a good vocal teacher. His pupil Faustina Bordoni received the nickname "New Siren" for the beauty of her voice (contralto). The most famous student of Vivaldi was Johann Georg Pisendel, the concertmaster of the Dresden Chapel.

In 1718, Vivaldi unexpectedly accepts an invitation to work as the head of the Landgrave's chapel in Mantua. Here he stages his operas, creates numerous concerts for the chapel, and dedicates a cantata to the Count. In Mantua, he met his former pupil, singer Anna Giraud. He undertook to develop her vocal abilities, succeeded in this, but was seriously carried away by her. Giraud became a famous singer and sang in all Vivaldi operas.

In 1722, Vivaldi returned to Venice. At the conservatory, he must now compose two instrumental concerts a month and conduct 3-4 rehearsals with students to learn them. In case of departure, he had to send concerts by courier.

In the same year, he creates Twelve Concerts, op. 8 - "Experience of Harmony and Fantasy", which includes the famous "Seasons" and some other program concerts. It was published in Amsterdam in 1725. The concerts quickly spread throughout Europe, and The Four Seasons gained immense popularity.

During these years, the intensity of Vivaldi's creativity was exceptional. For the 1726-27 season alone, he creates eight new operas, dozens of concerts, sonatas. Since 1735, Vivaldi has developed a fruitful collaboration with Carlo Goldoni, on whose libretto he creates the operas "Griselda", "Aristide" and many others. This also affected the composer's music, in whose work the features of an opera-buffa, folk elements are more vividly manifested.

Little is known about Vivaldi, the performer. He performed as a violinist very rarely - only at the Conservatory, where he sometimes played his concerts, and sometimes in the opera, where there were violin solos or cadenzas. Judging by the surviving recordings of some of his cadenzas, his compositions, as well as the fragmentary testimonies of his contemporaries that have come down to us about his playing, he was an outstanding violinist who was a virtuoso master of his instrument.

As a composer, he also thought like a violinist. The instrumental style also shines through in his operatic creativity, oratorio compositions. The fact that he was an outstanding violinist is evidenced by the fact that many violinists of Europe strove to study with him. The features of his performing style are certainly reflected in his compositions.

Vivaldi's creative heritage is enormous. More than 530 of his works have already been published. He has written about 450 different concerts, 80 sonatas, about 100 symphonies, more than 50 operas, over 60 sacred works. Many of them still remain in manuscript. The Ricordi Publishing House has released 221 concertos for violin solo, 26 concertos for 2-4 violins, 6 concertos for viol d cupid, 11 cello concertos, 30 violin sonatas, 19 trio sonatas, 9 cello sonatas and other works, including those for wind instruments.

In any genre that Vivaldi's genius touched, new unexplored possibilities opened up. This was already evident in his first composition.

Vivaldi's twelve trio sonatas were first published as op. 1, in Venice in 1705, but were composed long before that; this opus probably includes selected works of this genre. In style, they are close to Corelli, although they show some individual traits. It is interesting that, just as in Op. 5 Corelli, Vivaldi's collection ends with nineteen variations on the popular Spanish folia theme at that time. Noteworthy is the unequal (melodic and rhythmic) presentation of the theme by Corelli and Vivaldi (the latter is more strict). Unlike Corelli, who usually distinguished between chamber and church styles, Vivaldi already in the first opus gives examples of their intertwining and interpenetration.

In terms of genre, these are still rather chamber sonatas. In each of them, the part of the first violin is highlighted, it is given a virtuoso, freer character. The sonatas open with lush preludes of a slow, solemn character, with the exception of Sonata Ten, which begins with a quick dance. The rest of the parts are almost all genre. There are eight allemands, five gigues, six chimes, which are instrumentally rethought. The ceremonial court gavotte, for example, is used five times as a quick finale at the pace of Allegro and Presto.

The form of the sonatas is quite free. The first part gives a psychological attitude to the whole, just as Corelli did. However, Vivaldi refuses further from the fugue part, polyphony and elaboration, strives for a dynamic dance movement. Sometimes all the other parts go at almost the same tempo, thereby violating the old principle of tempo contrast.

Already in these sonatas Vivaldi's rich imagination is felt: no repetitions of traditional formulas, inexhaustible melody, a striving for convexity, characteristic intonations, which will then be developed both by Vivaldi himself and by other authors. So, the beginning of the Grave second sonata will then appear in The Seasons. The melody of the prelude of the eleventh sonata will be reflected in the main theme of Bach's Concerto for Two Violins. Wide movements of figuration, repetition of intonations, as if fixing the main material in the listener's mind, and the consistent implementation of the principle of sequential development also become characteristic features.

The strength and ingenuity of Vivaldi's creative spirit in the concert genre was especially clearly manifested. It is in this genre that most of his works are written. At the same time, the concert heritage of the Italian master freely combines works written in the form of concerto grosso and in the form of a recital. But even in those of his concerts that gravitate towards the concerto grosso genre, the individualization of the concert parts is clearly felt: they often acquire a concert character, and then it is not easy to draw the line between concerto grosso and a recital.

violin composer vivaldi

Chapter II. A. Vivaldi's creative heritage. Analysis of the most famous works of the composer

1 "Seasons"

A cycle of four concertos for solo violin, string orchestra and harpsichord "The Seasons" was supposedly written in 1720-1725. Later, these concerts were included in Opus 8 "The Dispute of Harmony with Invention". As N. Arnoncourt writes, the composer collected and published those of his concerts that could be combined with such a sonorous name.

The Spring Concert, like the other three Seasons Concerts, is written in a three-part form, the approval of which in the history of music is associated precisely with the name of A. Vivaldi. The extreme parts are fast, written in an old concert form. The second movement is slow, with a melodic melody, written in the old two-part form.

For the composition of the first part of the concert, the activity, the energy of movement, inherent in its title theme, is of paramount importance. Repeating in Allegro more than once, as if returning in a circle, it seems to spur the general movement within the form and at the same time holds it together, keeping the main impression.

The dynamic activity of the first parts of the cycle is contrasted with the concentration of the slow parts with the inner unity of their themes and greater simplicity of composition. Within this framework, the numerous Largo, Adagio and Andante in Vivaldi's concerts are far from the same type. They can be calmly idyllic in various versions, in particular, pastoral, stand out for the breadth of lyricism, they can even convey constrained tension of feelings in the Sicilian genre, or, in the form of passacaglia, embody the acuteness of sorrow. The movement of music in the lyric centers is more one-sided (internal contrasts are not characteristic of either thematism or the structure as a whole), more calm, but it is undoubtedly present here in Vivaldi - in a wide deployment of lyrical melodism, in an expressive counterpoint of the upper voices, as if in a duet ( called Siciliana), in the variational development of the Passacaglia.

The thematicism of the finals, as a rule, is simpler, internally homogeneous, closer to the folk-genre origins than the thematism of the first Allegros. Fast movement by 3/8 or 2/4, short phrases, sharp rhythms (dance, syncopated), fiery intonations "in Lombard taste" - everything here is provocatively vital, sometimes fun, sometimes scurry, sometimes buffoon, sometimes violent, sometimes dynamic. picturesquely.

However, not all the finals in Vivaldi's concerts are dynamic in this sense. Final in concerto grosso op. 3 No. 11, preceded by the aforementioned Siciliana, is permeated with anxiety and unusual in its acuteness. Solo violins begin to lead in an imitative presentation an alarming, evenly pulsating theme, and then, from the fourth bar in the bass, a chromatic descent in the same pulsating rhythm is marked.

This immediately imparts a gloomy and even somewhat nervous character to the dynamics of the concert finale.

In all parts of the cycle, Vivaldi's music moves in different ways, but its movement occurs naturally both within each part and in the ratio of parts. This is due to the very nature of thematicism, and the oncoming maturity of harmonic thinking in a new homophonic warehouse, when the clarity of the modal functions and the clarity of gravitations activate musical development. This is also entirely connected with the classical sense of form inherent in the composer, who, without avoiding even a sharp intrusion of local folk-genre intonations, always strives to maintain the highest harmony of the whole in the alternation of contrasting samples, on the scale of parts of the cycle (without lengths), in the plasticity of their intonation. deployment, in the general drama of the cycle.

As for the program subtitles, they only outlined the nature of the image or images, but did not touch the form of the whole, did not predetermine the development within its limits. A relatively detailed program is provided with scores of four concerts from the "Seasons" series: each of them corresponds to a sonnet that reveals the content of the parts of the cycle. It is possible that the sonnets were composed by the composer himself. In any case, the program declared in them by no means requires any rethinking of the form of the concert, but rather “bends” in this form. The imagery of the slow part and the ending, with the peculiarities of their structure and development, was generally easier to express in verse: it was enough to name the images themselves. But even the first part of the cycle, the concert rondo, received such a programmatic interpretation that did not prevent it from retaining its usual form and naturally embodying the chosen "plot" in it. This happened in each of the four concerts.

In the concert "Spring" the program of the first part is revealed in the sonnet in this way: "Spring has come, and the cheerful birds greet it with their singing, and the streams are running, murmuring. The sky is covered with dark clouds, lightning and thunder also herald spring. And again the birds return to their sweet songs. A light, strong, chord and dance theme (tutti) defines the emotional tone of the whole Allegro: “Spring has come”. Concert violins (episode) imitate birdsong. The "theme of spring" sounds again. The new passage episode is a short spring thunderstorm. And again the main theme of the rondo "Spring has come" returns. So she always dominates in the first part of the concert, embodying the joyful feeling of spring, and pictorial episodes appear as a kind of details of the general picture of the spring renewal of nature. As you can see, the rondo form remains in full force here, and the program can be easily "expanded" into its sections. It seems that the sonnet "Spring" was indeed composed by a composer who foresaw the structural possibilities of its musical embodiment in advance.

In all the second parts of The Seasons, there is a unity of texture throughout the entire part (although the size of the part does not allow for special contrasts). The part is written in the old two-part form.

In total, there are three layers in the texture: the upper - melodic - melodious, canted. Medium - harmonic filling - "rustling of grass and foliage", very quiet, written in small dotted lengths, conducting echoes in parallel thirds. The movement of the middle voices is mostly trill-shaped, whirling. Moreover, the first two beats of a measure are static movement - a trill "trill", which, although monotonous, but moving, thanks to an exquisite dotted line. On the third beat, the melodic movement is activated - thus it prepares, as it were, the sound pitch of the next bar, creating a slight "shift" or "wiggle" of the texture. And the bass one - emphasizing the harmonic basis - is rhythmically characteristic, depicting the "barking of a dog".

It is interesting to trace exactly how Vivaldi thought of the figurative structure of the slow parts in the concert cycle. The music of Largo (cis-moll) from the concert "Spring" corresponds to the following lines of the sonnet: "On a flowering lawn, under the rustle of oak groves, a goat shepherd boy is sleeping with a faithful dog beside him." Naturally, this is a pastoral in which a single idyllic image unfolds. Octave violins sing a peaceful, simple, dreamy melody against a poetic background of waving thirds - and all this is set off after the major Allegro by a soft parallel minor, which is natural for the slow part of the cycle.

For the finale, the program also does not provide for any variety and does not even detail its content in the least: "Nymphs are dancing to the sound of a shepherd's bagpipes."

Easy movement, dance rhythms, stylization of a folk instrument - everything here might not depend on the program, since it is usually for the finals.

In each concert from "The Seasons" the slow part is monotonous and stands out with a calm picture after the dynamic Allegro: a picture of the languor of nature and all living things in the summer heat; restful sleep settled after the autumn harvest festival; “It’s good to sit by the fireside and listen to the rain beating through the window behind the wall” - when the icy winter wind is fierce.

The finale of Summer is the picture of the storm, the finale of Autumn is The Hunt. In essence, the three parts of the programmed concert cycle remain in the usual proportions in terms of their figurative structure, the nature of internal development and contrasting comparisons between Allegro, Largo (Adagio) and the finale. Nevertheless, the poetic programs revealed in the four sonnets are interesting in that they seem to confirm with the author's word the general impressions of the imagery of Vivaldi's art and its possible expression in the main genre of the concert for him.

Of course, the cycle "Seasons", somewhat idyllic in character of images, reveals only little in the composer's work. However, his idyllic character was very much in the spirit of his contemporaries and over time caused repeated imitations of The Four Seasons, up to individual curiosities. Many years passed, and Haydn, at a different stage in the development of musical art, embodied the theme of the “seasons” in a monumental oratorio. As expected, his concept turned out to be deeper, more serious, more epic than that of Vivaldi; she touched upon ethical problems in connection with the work and life of ordinary people close to nature. However, the poetic and pictorial sides of the plot, which once inspired Vivaldi, also attracted Haydn's creative attention: he also has a picture of a storm and a thunderstorm in "Summer", "Harvest Festival" and "Hunt" in "Autumn", contrasts of a difficult winter road and a home coziness in the "Winter".

2. Violin concert "A-moll"

The theme of the famous concert a-moll (op. 3 no. 6) could open the fugue according to the first intonation, but the stream of further repetitions and sequences imparts dancing dynamics to it, in spite of the minor and acutely memorable appearance.

Such a naturalness of movement even within the first theme, such an ease of combining various intonational origins is a striking property of Vivaldi, which does not leave him on a larger scale. Among his "title" themes there are, of course, more homogeneous intonational composition.

In the a-moll concert, the opening tutti is built on bright fanfare intonations, repetitions of sounds and phrases. Already the initial formula, characterized by the "hammering" of one sound, becomes typical for the composer. The principle prevails: "no lengths". Extreme dynamics, strong-willed pressure help to embody a courageous, aspiring image.

Strengthening the competitive character, which gives special brightness to the music of Vivaldi's concerts, their genre and programmatic nature, the contrast not only between the individual parts of the cycle, but also within the main, first part of it (in Vivaldi it usually takes on a round shape) with a pointed opposition of tutti and soli, subtle use timbre, dynamic and rhythmic means of expressiveness - all these features in their harmonious combination contributed to the strengthening of concert features, an increase in the strength of the emotional impact on the listener. Already contemporaries emphasized in Vivaldi's concerts their special expressiveness, passion, widespread use of the so-called "Lombard style".

If in his sonatas Vivaldi shifts the center of gravity to the middle parts, then in the concert there is a clear tendency to single out the first movement as the main and most weighty. In this regard, the composer somewhat complicates its traditional structure: he dynamizes successively episodes from the first to the third, increasing the significance, scale and developmental and improvisational character of the last episode, which is interpreted as an expanded and dynamized reprise; comes close to two-dark, which has a contrasting character.

In the middle parts, it enhances the psychological depth of the disclosure of the inner world of a person; introduces lyrical elements into the genre finale, as if extending a single lyrical line. All these features outlined here will be fully revealed in the following concerts.

In total, about 450 Vivaldi concerts have survived; about half of them are concertos written for solo violin and orchestra. Vivaldi's contemporaries (I. Kvants and others) could not help but pay attention to the new features he introduced into the concert style of the 18th century, which attracted their creative interest. Suffice it to recall that J.S.Bach highly appreciated Vivaldi's music and made several clavier and organ transcriptions of his concerts.

Conclusion

In their totality, the instrumental genres of the 17th - early 18th centuries, with their various compositional principles and special methods of presentation and development, embodied a wide range of musical images previously unavailable to instrumental music, and thereby raised it to the first high level, on a par with other genres of synthetic origin.

Most important of all, undoubtedly, was the fact that the achievements of instrumental music by the beginning of the 18th century (and partly in its first decades) opened up great prospects for its further movement along one line to the classical Bach polyphony, on the other, more extended, to the classical symphony of the end century.

In general, both the figurative content of Vivaldi's music and its main genres, no doubt, reflected with great fullness the leading artistic aspirations of their time - and not only for Italy alone. Spreading across Europe, Vivaldi's concerts had a fruitful influence on many composers, served as models of the concert genre in general for his contemporaries.

When completing the course work, the set goal was achieved, namely, the interpretation of the genre of the instrumental concert in the work of Antonio Vivaldi was studied.

The tasks were also completed: the literature on a given topic was studied, A. Vivaldi was considered as a representative of the Italian violin school, the most famous works of the composer were analyzed.

Vivaldi's style is the uniformity of intonations repeated from concert to concert with some changes, "twists", but always recognizable as typically "Vivaldi's".

New in the concert genre of Vivaldi was determined by the deepening of the musical content, its expressiveness and imagery, the introduction of programmatic elements, the establishment, as a rule, of the three-part cycle (with the sequence quickly - slowly-quickly), the strengthening of the concert itself, the concert interpretation of the solo part, the development of a melodic language, a wide motive-thematic development, rhythmic and harmonic enrichment. All this was permeated and united by the creative imagination and ingenuity of Vivaldi as a composer and performer.

Bibliographic list

1.Barbier P. Venice Vivaldi: Music and Holidays of the Epoch St. Petersburg, 2009.280 p.

2.Bockardi V. Vivaldi. Moscow, 2007.272 p.

.Grigoriev V. History of the violin art. Moscow, 1991.285 p.

4.Livanova T. History of Western European Music before 1789. Volume 1.Moscow, 1983.696 p.

.Panfilov A. Vivaldi. Life and work // Great composers. No. 21. Moscow, 2006.168 p.

6.Panfilov A. Vivaldi. Life and work // Great composers. No. 4. Moscow, 2006. 32 p.

.V.F. Tretyachenko Violin "schools": the history of formation // Music and time. No. 3. Moscow, 2006. 71 p.

Works of the outstanding Italian composer and violinist A. Corelli had a huge impact on European instrumental music of the late 17th - first half of the 18th century, he is rightfully considered the founder of the Italian violin school. Many of the greatest composers of the subsequent era, including J.S.Bach and G.F.Handel, highly regarded Corelli's instrumental works. He proved himself not only as a composer and a wonderful violinist-performer, but also as a teacher (the Corelli school has a whole galaxy of brilliant masters) and a conductor (he was the leader of various instrumental ensembles). Corelli's work and his diverse activities have opened a new page in the history of music and musical genres.

Little is known about Corelli's early life. He received his first music lessons from a priest. After changing several teachers, Corelli finally finds himself in Bologna. This city was the birthplace of a number of remarkable Italian composers, and their stay there apparently had a decisive influence on the future fate of the young musician. In Bologna, Corelli studies under the guidance of the renowned teacher G. Benvenuti. The fact that even in his youth Corelli achieved outstanding success in the field of violin playing is evidenced by the fact that in 1670 at the age of 17 he was admitted to the famous Bologna Academy. In the 1670s. Corelli moves to Rome. Here he plays in various orchestral and chamber ensembles, directs some ensembles, becomes a church bandmaster. It is known from Corelli's letters that in 1679 he entered the service of Queen Christina of Sweden. As a musician of the orchestra, he also deals with composition - he composes sonatas for his patroness. Corelli's first work (12 church trio sonatas) appeared in 1681. Corelli entered the service of the Roman cardinal P. Ottoboni, where he remained until the end of his life. After 1708, he retired from public speaking and concentrated all his energies on creativity.

Corelli's works are relatively few in number: in 1685, following the first opus, his chamber trio sonatas, Op. 2, in 1689 - 12 church trio sonatas, op. 3, in 1694 - chamber trio sonatas, op. 4, in 1700 - chamber trio sonatas, op. 5, Finally, in 1714, after Corelli's death, his concerti grossi op. 6. These collections, as well as several individual plays, constitute Corelli's legacy. His compositions are intended for stringed instruments (violin, viola da gamba) with the harpsichord or organ as accompanying instruments.

Corelli's work includes 2 main genres: sonatas and concerts. It was in Corelli's work that the genre of the sonata was formed in the form in which it is characteristic of the pre-classical era. Corelli's sonatas are divided into 2 groups: church and chamber. They differ both in the performing composition (in the church sonata it is accompanied by the organ, in the chamber sonata - the harpsichord), and in the content (the church one is distinguished by its strictness and depth of content, the chamber one is close to the dance suite). The instrumental composition for which such sonatas were composed included 2 melodic voices (2 violins) and accompaniment (organ, harpsichord, viola da gamba). Therefore they are called trio sonatas.

Corelli's concerts have also become an outstanding event in this genre. The concerto grosso genre existed long before Corelli. He was one of the forerunners of symphonic music. The idea of ​​the genre was a kind of competition between a group of solo instruments (in Corelli's concerts this role is played by 2 violins and a cello) with an orchestra: the concert, thus, was built as an alternation of solo and tutti. Corelli's 12 concerts, written in the last years of the composer's life, became one of the brightest pages in instrumental music of the early 18th century. They are now perhaps the most popular work of Corelli.

One of the largest representatives of the Baroque era A. Vivaldi went down in the history of musical culture as the creator of the genre of the instrumental concert, the founder of orchestral program music. Vivaldi's childhood is connected with Venice, where his father worked as a violinist in St. Mark's Cathedral. The family had 6 children, of which Antonio was the eldest. There are almost no details about the composer's childhood years. It is only known that he studied violin and harpsichord. On September 18, 1693, Vivaldi was tonsured a monk, and on March 23, 1703, he was ordained. At the same time, the young man continued to live at home (presumably due to a serious illness), which made it possible for him not to leave musical studies. For the color of his hair, Vivaldi was nicknamed "the red-haired monk." It is believed that already in these years he was not too jealous of his duties as a clergyman. Many sources retell the story (perhaps unreliable, but revealing) about how one day during the service the "red-headed monk" hastily left the altar to record the theme of the fugue, which suddenly occurred to him. In any case, Vivaldi's relationship with clerical circles continued to heat up, and soon, citing his poor health, he publicly refused to celebrate Mass.

In September 1703, Vivaldi began working as a teacher (maestro di violino) at the Pio Ospedale delia Pieta, a Venetian charity orphanage. His duties included teaching the violin and viola d'amour, as well as overseeing the safety of stringed instruments and buying new violins. The "services" in "Pieta" (they can rightfully be called concerts) were in the center of attention of the enlightened Venetian public. For reasons of economy in 1709, Vivaldi was fired, but in 1711-16. reinstated in the same position, and since May 1716 he was already concertmaster of the "Pieta" orchestra. Even before the new appointment, Vivaldi established himself not only as a teacher, but also as a composer (mainly the author of sacred music). In parallel with his work at Pieta, Vivaldi is looking for opportunities to publish his secular works. 12 trio sonatas, op. 1 were published in 1706; in 1711 the famous collection of violin concertos "Harmonious inspiration", op. 3; in 1714 - another collection entitled "Extravagance" op. 4. Vivaldi's violin concertos soon became widely known in Western Europe and especially in Germany. I. Kvants, I. Mattezon showed great interest in them, the great JS Bach “for pleasure and instruction” transcribed 9 Vivaldi's violin concertos for clavier and organ with his own hand. During these years, Vivaldi wrote his first operas "Otton" (1713), "Orlando" (1714), "Nero" (1715). In 1718-20. he lives in Mantua, where he writes mainly operas for the carnival season, as well as instrumental compositions for the Mantua ducal court. In 1725, one of the composer's most famous opuses was published, bearing the subtitle "The Experience of Harmony and Invention" (op. 8). Like the previous ones, the collection is made up of violin concertos (there are 12 of them here). The first 4 concerts of this opus are named by the composer, respectively, "Spring", "Summer", "Autumn" and "Winter". In modern performing practice, they are often combined into the "Seasons" cycle (there is no such title in the original). Apparently, Vivaldi was not satisfied with the income from the publications of his concerts, and in 1733 he announced to a certain English traveler E. Holdsworth about his intention to refuse further publications, since, unlike printed copies, handwritten copies were more expensive. Indeed, since then, no new original opuses by Vivaldi have appeared.

Late 20s - 30s often called the "years of travel" (preferable to Vienna and Prague). In August 1735, Vivaldi returned to the post of bandmaster of the Pieta Orchestra, but the governing committee did not like the subordinate's passion for travel, and in 1738 the composer was fired. At the same time, Vivaldi continued to work hard in the genre of opera (one of his librettists was the famous K. Goldoni), while he preferred to personally participate in the production. However, Vivaldi's opera performances did not have much success, especially after the composer was deprived of the opportunity to act as a director of his operas at the Ferrara theater due to the cardinal's ban on entering the city (the composer was charged with a love affair with Anna Giraud, his former student, and refusal "Red-haired monk" to celebrate Mass). As a result, the opera premiere in Ferrara failed.

In 1740, shortly before his death, Vivaldi set off on his last trip to Vienna. The reasons for his sudden departure are unclear. He died in the house of the widow of a Viennese saddler by the name of Waller and was buried beggarly. Soon after his death, the name of the outstanding master was forgotten. Almost 200 years later, in the 20s. XX century the Italian musicologist A. Gentili discovered a unique collection of the composer's manuscripts (300 concerts, 19 operas, sacred and secular vocal compositions). Since that time, a true revival of Vivaldi's former glory begins. In 1947, the Rikordi music publishing house began to publish the complete collection of the composer's works, and the Philips company recently began to implement an equally ambitious idea - the publication of “all” of Vivaldi in the record. In our country, Vivaldi is one of the most frequently performed and most beloved composers. Vivaldi's creative heritage is great. According to the authoritative thematic-systematic catalog of Peter Riom (international designation - RV), it covers more than 700 titles. The main place in Vivaldi's work was occupied by an instrumental concert (in total, about 500 preserved). The composer's favorite instrument was the violin (about 230 concerts). In addition, he wrote concertos for two, three and four violins and orchestra and basso continue, concertos for viola d'amour, cello, mandolin, longitudinal and transverse flutes, oboe, bassoon. More than 60 concerts for string orchestra and basso continue, sonatas for various instruments are known. Of more than 40 operas (the authorship of Vivaldi in respect of which has been accurately established), only half of them have survived. Less popular (but no less interesting) are his numerous vocal compositions - cantatas, oratorios, compositions on spiritual texts (psalms, litanies, "Gloria", etc.).

Many of Vivaldi's instrumental works have programmatic subtitles. Some of them refer to the first performer (Concerto "Carbonelli", RV 366), others - to the holiday during which this or that work was performed for the first time ("For the Feast of St. Lorenzo", RV 286). A number of subtitles indicate some unusual detail in the performing technique (in a concert titled "L'ottavina", RV 763, all solo violins must be played in the upper octave). The most typical titles characterizing the prevailing mood are “Rest”, “Anxiety”, “Suspicion” or “Harmonious Inspiration”, “Citra” (the last two are the names of collections of violin concertos). At the same time, even in those works whose titles seem to indicate external pictorial moments ("Storm at Sea", "Goldfinch", "Hunt", etc.), the main thing for the composer is always the transmission of the general lyrical mood. The score "The Four Seasons" is provided with a relatively detailed program. Already during his lifetime, Vivaldi became famous as an outstanding expert on the orchestra, the inventor of many color effects, he did a lot to develop the technique of playing the violin.

Giuseppe Tartini belongs to the luminaries of the Italian violin school of the 18th century, whose art retains its artistic significance to our time. D. Oistrakh

The outstanding Italian composer, teacher, violin virtuoso and music theorist G. Tartini occupied one of the most important places in the violin culture of Italy in the first half of the 18th century. In his art, the traditions originating from A. Corelli, A. Vivaldi, F. Veracini and other great predecessors and contemporaries have merged.

Tartini was born into a noble family. The parents intended their son for the career of a clergyman. Therefore, first he studied at the parish school in Pirano, and then at the Capo d "Istria, where Tartini began to play the violin.

The life of a musician is divided into 2 sharply opposite periods. Windy, incontinent in character, looking for danger - such is he in his youth. Tartini's willfulness made his parents abandon the idea of ​​sending their son along the spiritual path. He goes to Padua to study law. But Tartini also prefers fencing to them, dreaming of the activities of a fencer. In parallel with fencing, he continues to make music more and more purposefully.

A secret marriage to his student, the niece of a prominent clergyman, dramatically changed all of Tartini's plans. The marriage provoked the indignation of his wife's aristocratic relatives, Tartini was persecuted by Cardinal Cornaro and had to go into hiding. His refuge was a Minorite monastery in Assisi.

From this moment began the second period of Tartini's life. The monastery not only sheltered the young rake and became his refuge during the years of exile. Here the moral and spiritual transformation of Tartini took place, and here his true development as a composer began. At the monastery, he studied music theory and composition under the guidance of the Czech composer and theorist B. Chernogorski; he studied the violin on his own, having achieved genuine perfection in mastering the instrument, which, according to his contemporaries, even surpassed the playing of the famous Corelli.

He stayed in the Tartini monastery for 2 years, then for another 2 years he played at the opera house in Ancona. There, the musician met with Veracini, who had a noticeable influence on his work.

Tartini's exile ended in 1716. From that time until the end of his life, with the exception of short breaks, he lived in Padua, leading the orchestra of the chapel in the Basilica of St. Antonio and performing as solo violinist in various cities of Italy. In 1723, Tartini received an invitation to visit Prague to participate in the musical celebrations of the coronation of Charles VI. This visit, however, lasted until 1726: Tartini accepted an offer to take the position of chamber musician in the Prague chapel of Count F. Kinsky.

Returning to Padua (1727), the composer organized a music academy there, giving a lot of energy to teaching. Contemporaries called him "teacher of nations". Among Tartini's students are such outstanding violinists of the 18th century as P. Nardini, G. Pugnani, D. Ferrari, I. Naumann, P. Lausse, F. Rust and others.

The musician made a great contribution to the further development of the art of playing the violin. He changed the design of the bow, lengthening it. Tartini's own bow mastery, his extraordinary violin singing began to be considered exemplary. The composer has created a huge number of works. Among them are numerous trio sonatas, about 125 concertos, 175 sonatas for violin and harpsichord. It was in the work of Tartini that the latter received further genre and stylistic development.

The vivid imagery of the composer's musical thinking manifested itself in the desire to give programmatic subtitles to his works. The Sonatas "Abandoned Dido" and "The Devil's Trill" became especially famous. The latter was considered by the outstanding Russian music critic V. Odoevsky to be the beginning of a new era in the art of violin. Along with these works, the monumental cycle "The Art of the Bow" is of great importance. Consisting of 50 variations on the theme of Corelli's gavotte, it is a kind of collection of techniques that has not only pedagogical value, but also a high artistic value. Tartini was one of the inquisitive musicians and thinkers of the 18th century, his theoretical views found expression not only in various treatises on music, but also in correspondence with major musical scholars of that time, being the most valuable documents of his era.

20. Suitness as a principle of musical thinking in music of the 17-18 centuries. The structure of the classical suite. (Take any suite and disassemble); (Read the work of Yavorsky).

Suite (French suite, "sequence"). The title implies a sequence of instrumental pieces (stylized dances) or instrumental fragments from opera, ballet, drama music, etc.

Antonio Vivaldi (1678-1741) - one of the most prominent representatives of the Baroque era. He was born in Venice, where he first studied with his father, the violinist of the St. Mark, then trained by Giovanni Legrenzi. He gave concerts in various European countries, with great enthusiasm he was engaged in teaching and staging his own operas. For a long time he was a violin teacher in one of the Venetian orphanages.

For the color of his hair, Vivaldi was nicknamed the "red priest" (Prete rosso). Indeed, he combined the profession of a musician with the duties of a clergyman, but then was dismissed from him for "unlawful" behavior during a church service. The composer spent his last years in Vienna, where he died in poverty.

Vivaldi's creative heritage covers more than 700 titles: 465 instrumental concerts (of which fifty are grossi), 76 sonatas (including trio sonatas), about 40 operas (one of his librettists was the famous K. Goldoni), cantata and oratorio compositions, including spiritual texts. The main historical significance of his work lies in the creation of a solo instrumental concert.

One of the most sensitive artists of his time, Vivaldi was among the first composers to bring to the fore in art open emotionality, passion (affect), individual lyrical feeling. Under his undoubted influence, the concerto grosso, which was extremely typical of baroque music, faded into the background in the classical era, giving way to recital. The replacement of a group of soloists with one part was an expression of homophonic tendencies.

It was Vivaldi who developed the structure and themes of the late baroque recital. Influenced by the Italian opera overture, he establishes a three-part concert cycle (fast - slow - fast) and arranges the succession of tutti and solo on the basis of a baroque concert form.

The concert form of the Baroque era was based on the alternation of the riturnal (main theme), repeatedly recurring and transposed, with episodes based on new melodic themes, figurative material or the motivational development of the main theme. This principle gave it a resemblance to a rondo. The texture is characterized by the contrasts of orchestral tutti and solo, corresponding to the appearance of the ritornelle and episodes.

The first parts of Vivaldi's concerts are energetic, energetic, varied in texture and contrasts. The second parts take the listener to the area of ​​lyrics. It is dominated by song, endowed with features of improvisation. The texture is predominantly homophonic. The finals are brilliant, full of energy, they complete the cycle in rapid, lively movement.

The dynamic 3-part cyclical form of Vivaldi's concerts expressed the artistic ideals of the art of "well-organized contrast". The logic of their figurative development traces the influence of the general aesthetic concept of the Baroque era, which divided the human world, as it were, into three hypostases: Action - Contemplation - Play.

Vivaldi's solo instrumental concert is focused on a small composition of bowed instruments led by a soloist. This can be a cello, viol damour, a longitudinal or transverse flute, an oboe, a bassoon, a trumpet, and even a mandolin or shalme. Nevertheless, the violin is most often the soloist (about 230 concerts). The violin technique of Vivaldi's concerts is diverse: impetuous passages, arpeggios, tremolo, pizzicato, double notes (up to the most difficult decimas), scordatura, the use of the highest register (up to 12th position).

Vivaldi became famous as an outstanding connoisseur of the orchestra, the inventor of many color effects. With a keen sense of sonic flavor, he freely turned to many instruments and their combinations. He used oboes, French horns, bassoons, trumpets, the English horn not as duplicate voices, but as independent melodic instruments.
Vivaldi's music absorbed the elements of colorful Venetian musical folklore, rich in melodious canzones, barcaroles, incendiary dance rhythms. The composer especially willingly relied on the Sicilian, making extensive use of the 6/8 size typical for Italian folk dances. Applying often the chord-harmonic warehouse, he skillfully used polyphonic methods of development.

Releasing his concerts in series of 12 or 6 pieces, Vivaldi also gave general designations for each of the series: “Harmonious Inspiration” (op. 3), “Extravagance” (op. 4), “Citra” (op. 9).

Vivaldi can be called the founder of programmed orchestral music. Most of his concerts have a specific program. For example: "Hunt", "Storm at Sea", "Shepherdess", "Rest", "Night", "Favorite", "Goldfinch".
Vivaldi's violin concertos soon became widely known in Western Europe and especially in Germany. The great JS Bach “for pleasure and instruction” transcribed nine Vivaldi's violin concertos for clavier and organ with his own hand. Thanks to these musicians, Vivaldi, who had never been to the North German lands, turned out to be in the full sense of the word the "father" of German instrumentalism in the 18th century. Spreading across Europe, Vivaldi's concerts served as examples of the concert genre for contemporaries. Thus, the concerto for the clavier took shape under the undoubted artistic influence of the violin concerto (a convincing example).

One of the largest representatives of the Baroque era, A. Vivaldi, went down in the history of musical culture as the creator of the instrumental concert genre, the founder of orchestral program music. Vivaldi's childhood is connected with Venice, where his father worked as a violinist in St. Mark's Cathedral. The family had 6 children, of which Antonio was the eldest. There are almost no details about the composer's childhood years. It is only known that he studied violin and harpsichord.

On September 18, 1693, Vivaldi was tonsured a monk, and on March 23, 1703, he was ordained. At the same time, the young man continued to live at home (presumably due to a serious illness), which made it possible for him not to leave musical studies. For the color of his hair, Vivaldi was nicknamed "the red-haired monk." It is believed that already in these years he was not too jealous of his duties as a clergyman. Many sources retell the story (perhaps unreliable, but revealing) about how one day during the service the "red-headed monk" hastily left the altar to record the theme of the fugue, which suddenly occurred to him. In any case, Vivaldi's relationship with clerical circles continued to heat up, and soon, citing his poor health, he publicly refused to celebrate Mass.

In September 1703, Vivaldi began working as a teacher (maestro di violino) at the Pio Ospedale delia Pieta, a Venetian charity orphanage. His duties included teaching the violin and viola d'amour, as well as overseeing the safety of stringed instruments and buying new violins. The "services" in "Pieta" (they can rightfully be called concerts) were in the center of attention of the enlightened Venetian public. For reasons of economy in 1709, Vivaldi was fired, but in 1711-16. reinstated in the same position, and since May 1716 he was already concertmaster of the "Pieta" orchestra.

Even before the new appointment, Vivaldi established himself not only as a teacher, but also as a composer (mainly the author of sacred music). In parallel with his work at Pieta, Vivaldi is looking for opportunities to publish his secular works. 12 trio sonatas, op. 1 were published in 1706; in 1711 the famous collection of violin concertos "Harmonious inspiration", op. 3; in 1714 - another collection entitled "Extravagance" op. 4. Vivaldi's violin concertos soon became widely known in Western Europe and especially in Germany. I. Kvants, I. Mattezon showed great interest in them, the great JS Bach “for pleasure and instruction” transcribed 9 Vivaldi's violin concertos for clavier and organ with his own hand. During these years, Vivaldi wrote his first operas "Otton" (1713), "Orlando" (1714), "Nero" (1715). In 1718-20. he lives in Mantua, where he writes mainly operas for the carnival season, as well as instrumental compositions for the Mantua ducal court.

In 1725, one of the composer's most famous opuses was published, bearing the subtitle "The Experience of Harmony and Invention" (op. 8). Like the previous ones, the collection is made up of violin concertos (there are 12 of them here). The first 4 concerts of this opus are named by the composer, respectively, "Spring", "Summer", "Autumn" and "Winter". In modern performing practice, they are often combined into the "Seasons" cycle (there is no such title in the original). Apparently, Vivaldi was not satisfied with the income from the publications of his concerts, and in 1733 he announced to a certain English traveler E. Holdsworth about his intention to refuse further publications, since, unlike printed copies, handwritten copies were more expensive. Indeed, since then, no new original opuses by Vivaldi have appeared.

Late 20s - 30s often called the "years of travel" (preferable to Vienna and Prague). In August 1735, Vivaldi returned to the post of bandmaster of the Pieta Orchestra, but the governing committee did not like the subordinate's passion for travel, and in 1738 the composer was fired. At the same time, Vivaldi continued to work hard in the genre of opera (one of his librettists was the famous K. Goldoni), while he preferred to personally participate in the production. However, Vivaldi's opera performances did not have much success, especially after the composer was deprived of the opportunity to act as a director of his operas at the Ferrara theater due to the cardinal's ban on entering the city (the composer was charged with a love affair with Anna Giraud, his former student, and refusal "Red-haired monk" to celebrate Mass). As a result, the opera premiere in Ferrara failed.

In 1740, shortly before his death, Vivaldi set off on his last trip to Vienna. The reasons for his sudden departure are unclear. He died in the house of the widow of a Viennese saddler by the name of Waller and was buried beggarly. Soon after his death, the name of the outstanding master was forgotten. Almost 200 years later, in the 20s. XX century the Italian musicologist A. Gentili discovered a unique collection of the composer's manuscripts (300 concerts, 19 operas, sacred and secular vocal compositions). Since that time, a true revival of Vivaldi's former glory begins. In 1947, the Rikordi music publishing house began to publish the complete collection of the composer's works, and the Philips company recently began to implement an equally ambitious idea - the publication of “all” of Vivaldi in the record. In our country, Vivaldi is one of the most frequently performed and most beloved composers. Vivaldi's creative heritage is great. According to the authoritative thematic-systematic catalog of Peter Riom (international designation - RV), it covers more than 700 titles. The main place in Vivaldi's work was occupied by an instrumental concert (in total, about 500 preserved). The composer's favorite instrument was the violin (about 230 concerts). In addition, he wrote concertos for two, three and four violins and orchestra and basso continue, concertos for viola d'amour, cello, mandolin, longitudinal and transverse flutes, oboe, bassoon. More than 60 concerts for string orchestra and basso continue, sonatas for various instruments are known. Of more than 40 operas (the authorship of Vivaldi in respect of which has been accurately established), only half of them have survived. Less popular (but no less interesting) are his numerous vocal compositions - cantatas, oratorios, compositions on spiritual texts (psalms, litanies, "Gloria", etc.).

Many of Vivaldi's instrumental works have programmatic subtitles. Some of them refer to the first performer (Concerto "Carbonelli", RV 366), others - to the holiday during which this or that work was performed for the first time ("For the Feast of St. Lorenzo", RV 286). A number of subtitles indicate some unusual detail in the performing technique (in a concert titled "L'ottavina", RV 763, all solo violins must be played in the upper octave). The most typical titles characterizing the prevailing mood are “Rest”, “Anxiety”, “Suspicion” or “Harmonious Inspiration”, “Citra” (the last two are the names of collections of violin concertos). At the same time, even in those works whose titles seem to indicate external pictorial moments ("Storm at Sea", "Goldfinch", "Hunt", etc.), the main thing for the composer is always the transmission of the general lyrical mood. The score "The Four Seasons" is provided with a relatively detailed program. Already during his lifetime, Vivaldi became famous as an outstanding expert on the orchestra, the inventor of many color effects, he did a lot to develop the technique of playing the violin.

S. Lebedev

The remarkable works of A. Vivaldi are of immense, worldwide fame. Famous modern ensembles (the Moscow Chamber Orchestra conducted by R. Barshai, “Roman Virtuosos”, etc.) devote evenings to his work, and, perhaps, after Bach and Handel, Vivaldi is the most popular among composers of the musical baroque era. Nowadays, it seems like he got a second life.

He was widely known during his lifetime, he was the creator of a solo instrumental concert. The development of this genre in all countries during the entire pre-classical period is associated with the work of Vivaldi. Vivaldi's concerts served as a model for Bach, Locatelli, Tartini, Leclair, Benda and others. Bach transcribed 6 violin concertos for the clavier by Vivaldi, made organ concertos of 2, and reworked one for 4 claviers.

“At the time when Bach was in Weimar, the entire musical world admired the originality of the concerts of the latter (ie Vivaldi - L.R.). Bach rearranged Vivaldi's concerts not in order to make them accessible to wide circles, and not in order to learn from them, but only because it gave him pleasure. Undoubtedly he benefited from Vivaldi. He learned from him the clarity and harmony of construction. perfect violin technique based on melodiousness ... "

However, being quite popular during the first half of the 18th century, Vivaldi was later almost forgotten. “While after the death of Corelli,” writes Pensherl, “the memory of him grew stronger and more embellished over the years, Vivaldi, almost less famous during his lifetime, literally disappeared after a few five years, both materially and spiritually. His creations leave the programs, even the features of his appearance are erased from memory. There were only guesses about the place and date of his death. For a long time, dictionaries repeat about him only meager information, filled with commonplaces and abounding in errors ... ".

Until recently, Vivaldi was only interested in historians. In music schools, at the initial stages of training, they studied 1-2 of his concerts. In the middle of the 20th century, attention to his work rapidly increased, and interest in the facts of his biography increased. And yet we still know very little about him.

The ideas about his legacy, of which most remained in obscurity, were completely wrong. In 1927-1930 alone, the Turin composer and explorer Alberto Gentili managed to find about 300 (!) Vivaldi's autographs, which were the property of the Durazzo family and were kept in their Genoese villa. These manuscripts include 19 operas, an oratorio and several volumes of Vivaldi's church and instrumental compositions. This collection was founded by Prince Giacomo Durazzo, a philanthropist, since 1764 by the Austrian envoy in Venice, where, in addition to his political activities, he was engaged in collecting samples of art.

According to Vivaldi's will, they were not subject to publication, but Gentile achieved their transfer to the National Library and thereby made public. The Austrian scientist Walter Collender began to study them, claiming that Vivaldi was ahead of the development of European music by several decades in the use of dynamics and purely technical techniques of violin playing.

According to the latest data, it is known that Vivaldi wrote 39 operas, 23 cantatas, 23 symphonies, many church compositions, 43 arias, 73 sonatas (trios and solos), 40 concerti grossi; 447 recitals for a variety of instruments: 221 for violin, 20 for cello, 6 for viola damour, 16 for flute, 11 for oboe, 38 for bassoon, concertos for mandolin, horn, trumpet and for mixed compositions: wooden with violin, for 2 -x violins and lutes, 2 flutes, oboe, English horn, 2 trumpets, violin, 2 violas, bow quartet, 2 violas, etc.

The exact birthday of Vivaldi is unknown. Penscherl gives only an approximate date - a little earlier than 1678. His father, Giovanni Battista Vivaldi, was a violinist in the ducal chapel of St. Mark in Venice, and a first-class performer. In all likelihood, the son received a violin education from his father, while he studied composition with Giovanni Lehrenzi, who headed the Venetian violin school in the second half of the 17th century, was an outstanding composer, especially in the field of orchestral music. Obviously from him Vivaldi inherited a passion for experimentation with instrumental compositions.

At a young age, Vivaldi entered the same chapel where his father worked as a leader, and later replaced him in this position.

However, a professional musical career was soon supplemented by a spiritual one - Vivaldi became a priest. This happened on September 18, 1693. Until 1696, he was a junior clergyman, and received full priestly rights on March 23, 1703. "Red-haired pop" - mockingly called Vivaldi in Venice, and this nickname remained with him throughout his life.

Having received the ordination of a priest, Vivaldi did not stop his musical studies. In general, he did not do church service for long - only one year, after which he was forbidden to serve Mass. Biographers give an amusing explanation of this fact: “Once Vivaldi was celebrating mass, and suddenly the theme of a fugue came to his mind; leaving the altar, he goes to the sacristy to write down this theme, and then returns to the altar. A denunciation followed, but the Inquisition, considering him a musician, that is, like a madman, only limited itself to forbidding him to continue to serve Mass. "

Vivaldi denied such cases and explained the prohibition of church services by his painful condition. By 1737, when he was due to arrive in Ferrara to stage one of his operas, the papal nuncio Ruffo prohibited him from entering the city, stating, among other reasons, that he did not serve mass. Then Vivaldi wrote a letter (November 16, 1737) to his patron the Marquis Guido Bentivoglio: “For 25 years now I have not served Mass and will never serve it in the future, but not by prohibition, as it may have been reported to your grace, but as a result my own decision, caused by a disease that has oppressed me since the day I was born. When I was ordained by a priest, I served a year or a year with a little Mass, then I stopped doing it, I was forced to leave the altar three times without finishing it due to illness. As a result, I almost always live at home and travel only in a carriage or gondola, because I cannot walk because of a chest disease, or rather chest tightness. Not a single nobleman calls me into his house, not even our prince, since everyone knows about my illness. After a meal, I can usually go for a walk, but never on foot. This is the reason why I do not send mass. " The letter is curious in that it contains some everyday details of Vivaldi's life, apparently flowing closed within the confines of his own home.

Forced to give up his church career, in September 1703, Vivaldi entered one of the Venetian conservatories, which bore the name of the Music Seminary of the Hospice House of Piety, for the position of “maestro of the violin,” with a salary of 60 ducats a year. Orphanages (hospitals) at churches were called conservatories in those days. In Venice there were four for girls, in Naples four for boys.

The famous French traveler de Brosse left the following description of the Venetian conservatories: “The music of the hospitals is excellent here. There are four of them, and they are filled with illegitimate girls, as well as orphans or those who cannot be raised by their parents. They are raised with state funds and are taught mainly music. They sing like angels, play the violin, flute, organ, oboe, cello, bassoon, in a word, there is no such bulky instrument that would make them intimidated. Each concert is attended by 40 girls. I swear to you, there is nothing more attractive than to see a young and beautiful nun, in white clothes, with bouquets of pomegranate flowers on her ears, beating time with all grace and precision. "

He wrote enthusiastically about the music of the conservatories (especially under the Mendicanti - the Church of the Mendicants) J.-J. Rousseau: “On Sundays in the churches of each of these four Scuole during Vespers, the full choir and orchestra perform motets composed by the greatest composers of Italy, under their personal direction, performed exclusively by young girls, the oldest of whom is not even twenty years old. They are in the stands behind bars. Neither Carrio nor I have ever missed these evenings at Mendicanti. But I was driven to despair by these accursed gratings, which only let through the sounds and hid the faces of the angels of beauty worthy of these sounds. I just talked about it. I once said the same thing to Mr. de Blona. "

De Blon, who belonged to the administration of the conservatory, introduced Rousseau to the singers. “Come on, Sophia,” she was terrible. “Come on, Cattina,” she was crooked in one eye. "Come, Bettina," - her face was disfigured by smallpox. " However, "ugliness does not exclude charm, and they had it," adds Rousseau.

Having entered the Conservatory of Piety, Vivaldi got the opportunity to work with the full orchestra (with brass and organ), which was considered the best in Venice.

Venice, its musical and theatrical life and conservatories can be judged by the following heartfelt lines of Romain Rolland: “Venice was at that time the musical capital of Italy. There, during the carnival, performances were held every evening in seven opera houses. Every evening the Academy of Music met, that is, there was a musical meeting, sometimes there were two or three such meetings in the evening. In the churches, musical celebrations took place every day, concerts lasting for several hours with the participation of several orchestras, several organs and several echoing choirs. On Saturdays and Sundays, the famous Vespers were held in hospitals, these women's conservatories, where they taught music to orphans, girls-foundlings, or just girls with beautiful voices; they gave orchestral and vocal concerts, for which all Venice went crazy .. ".

By the end of the first year of service, Vivaldi received the title of "maestro of the choir", his further promotion is not known, there is no doubt that he served as a teacher of violin and singing, as well as, intermittently, as the leader of the orchestra and composer.

In 1713 he received leave and, according to a number of biographers, traveled to Darmstadt, where he worked for three years in the chapel of the Duke of Darmstadt. However, Penscherl claims that Vivaldi did not travel to Germany, but worked in Mantua, in the duke's chapel, and not in 1713, but from 1720 to 1723. Penscherl proves this by referring to a letter from Vivaldi, who wrote: "In Mantua I was in the service of the pious prince of Darmstadt", and the time spent there is determined by the fact that the title of maestro of the duke's chapel appears on the title pages of Vivaldi's printed works only after 1720 of the year.

From 1713 to 1718, Vivaldi lived in Venice almost continuously. At this time, his operas were staged almost every year, with the first in 1713.

By 1717, Vivaldi's fame had grown enormously. The famous German violinist Johann Georg Piesendel comes to study with him. In general, Vivaldi taught mainly performers for the orchestra of the conservatory, and not only instrumentalists, but also singers.

Suffice it to say that he was the tutor of such major opera singers as Anna Giraud and Faustina Bodoni. "He prepared a singer named Faustina, whom he made to imitate with her voice everything that could be performed in his time on the violin, flute, oboe."

Vivaldi became very friendly with Pisendel. Penscherl cites the following story by I. Hiller. Once, Pisendel was walking around St. Brand with "Red-haired pop". Suddenly he interrupted the conversation and quietly ordered to return home at once. Once at home, he explained the reason for the sudden return: for a long time four collectors followed and watched the young Pisendel. Vivaldi asked if his student had spoken any reprehensible words somewhere, and demanded that he not leave the house until he clarified the matter himself. Vivaldi saw the inquisitor and learned that Pisendel was mistaken for some suspicious person with whom he bore a resemblance.

From 1718 to 1722, Vivaldi is not listed in the documents of the Conservatory of Piety, which confirms the possibility of his departure to Mantua. At the same time, he periodically appeared in his hometown, where they continued to stage his operas. He returned to the conservatory in 1723, but already as a famous composer. Under the new conditions, he was obliged to write 2 concerts a month, with a fee per concert and conduct 3-4 rehearsals for them. In carrying out these duties, Vivaldi combined them with long and distant trips. “For 14 years,” wrote Vivaldi in 1737, “I have been traveling with Anna Giraud to numerous cities in Europe. I spent three carnival seasons in Rome because of the opera. I was invited to Vienna. " In Rome, he is the most popular composer, everyone imitates his operatic style. In Venice in 1726 he performed as an orchestra conductor at the Theater of St. Angelo, apparently in 1728, goes to Vienna. This is followed by three years devoid of any data. And again, some introductions about the staging of his operas in Venice, Florence, Verona, Ancona shed scant light on the circumstances of his life. In parallel, from 1735 to 1740, his service continued at the Conservatory of Piety.

The exact date of Vivaldi's death is unknown. Most sources indicate 1743.

Five portraits of the great composer have survived. The earliest and most reliable, apparently, belongs to P. Ghezzi and dates back to 1723. "Red-haired pop" is depicted chest-deep in profile. The forehead is slightly sloping, the long hair is curled, the chin is pointed, the lively look is full of will and curiosity.

Vivaldi was very sickly. In a letter to the Marquis Guido Bentivoglio (November 16, 1737), he writes that he is forced to make his travels accompanied by 4-5 persons - and all because of a painful condition. However, illness did not prevent him from being extremely active. He travels endlessly, directs opera productions himself, discusses roles with singers, fights against their whims, maintains extensive correspondence, conducts orchestras and manages to write an incredible number of works. He is very practical and knows how to arrange his affairs. De Bross says ironically: "Vivaldi became one of my close friends in order to sell me his concerts at a higher price." He bows down to the mighty of this world, prudently choosing patrons, sanctimoniously religious, although he is not at all inclined to deprive himself of worldly pleasures. As a Catholic priest, and according to the laws of this religion, deprived of the opportunity to marry, he was for many years in love with his pupil, singer Anna Giraud. Their closeness caused Vivaldi a lot of trouble. Thus, the papal legate in Ferrara in 1737 refused Vivaldi entry into the city, not only because he was prohibited from performing church services, but largely because of this reprehensible proximity. The famous Italian playwright Carlo Goldoni wrote that Giraud was ugly, but attractive - she had a thin waist, beautiful eyes and hair, a charming mouth, had a weak voice and undoubted stage talent.

The best description of Vivaldi's personality is found in Goldoni's Memoirs.

Goldoni once suggested making some changes to the libretto of the opera Griselda with music by Vivaldi, which was being staged in Venice. For this purpose, he went to Vivaldi's apartment. The composer received him with a prayer book in his hands, in a room littered with notes. He was very surprised that instead of the old librettist Lally, Goldoni should make the changes.

“- I well know, my dear sir, that you have a poetic talent; I watched your "Belisarius", which I liked very much, but here it is completely different: you can create a tragedy, an epic poem, if you like, and still cannot cope with a quatrain to be transposed to music.
“Give me the pleasure of reading your play.
- Please, please, enjoy. Where did I put the Griselda? She was here. Deus, in adjutorium meum intende, Domine, Domine, Domine. (God, come down to me! Lord, Lord, Lord). She was just at hand. Domine adjuvandum (Lord help). Ah, here it is, look, sir, this scene between Gualtier and Griselda, it is a very captivating, touching scene. The author ended it with a pathetic aria, but Signorina Giraud does not like dull songs, she would like something expressive, exciting, an aria that expresses passion in different ways, for example, words interrupted by sighs, with action, movement. I don’t know if you understand me?
- Yes, sir, I already understood, besides, I already had the honor to hear Signorina Giraud, and I know that her voice is not strong.
- How, sir, do you insult my student? Everything is available to her, she sings everything.
- Yes, sir, you are right; give me the book and let me get to work.
- No, sir, I cannot, I need her, I am very concerned.
- Well, if, sir, you are so busy, then give it to me for one minute and I will immediately satisfy you.
- Immediately?
- Yes, sir, immediately.
The abbot, chuckling, gives me a play, paper and an inkwell, takes up his prayer book again and, walking, reads his psalms and hymns. I read a scene already known to me, recalled the wishes of the musician, and less than a quarter of an hour later I sketched on paper an aria of 8 verses, divided into two parts. I call my spiritual person and show the work. Vivaldi reads, his forehead is smoothed, he rereads, publishes joyful exclamations, throws his missal on the floor and calls Signorina Giraud. She appears; well, he says, here is a rare person, here is an excellent poet: read this aria; the signor made it without getting up in a quarter of an hour; then turning to me: ah, sir, excuse me. "And he hugs me, swearing that from now on I will be his only poet."

Penscherl ends the work dedicated to Vivaldi with the following words: “This is how Vivaldi is pictured to us when we combine all the individual information about him: created from contrasts, weak, sick, and nevertheless alive like gunpowder, ready to get irritated and immediately calm down, move from the mundane fuss to superstitious piety, stubborn and at the same time accommodating when needed, a mystic, but ready to go down to earth when it comes to his interests, and not a fool at all when organizing his affairs. "

And how it all fits into his music! In it, the sublime pathos of the church style is combined with an irrepressible zeal for life, the lofty is mixed with the everyday, the abstract with the concrete. In his concerts, harsh fugues, mournful majestic adagios sound and along with them - songs of common people, lyrics coming from the heart, cheerful dance. He writes programmatic works - the famous cycle "The Seasons" and provides each concert with bucolic stanzas that are frivolous for the abbot:

Spring has come, solemnly announces.
Her merry round dance, and the song sounds in the mountains.
And the brook murmurs welcomingly towards her.
Zephyr caresses the whole nature.

But it got dark suddenly, the lightning shone,
Harbinger of spring - thunder swept through the mountains
And soon fell silent; and the lark of the song,
Throwing out in the blue, they rush along the valleys.

Where the carpet of flowers covers the valley,
Where a tree and a leaf tremble in the breeze,
With the dog at his feet, the shepherd boy dreams.

And again Pan can heed the magic flute
The nymphs dance to the sound of her again,
Welcoming the Sorceress Spring.

In Lethe, Vivaldi makes a cuckoo crow, a turtle dove, a goldfinch chirp; in "Autumn" the concert begins with the songs of the villagers returning from the fields. He also creates poetic pictures of nature in other program concerts, such as "Storm at Sea", "Night", "Pastoral". He also has concerts depicting the state of mind: "Suspicion", "Rest", "Anxiety". His two concerts on the theme "Night" can be considered the first symphonic nocturnes in world music.

His works are striking in the richness of fantasy. With an orchestra at his disposal, Vivaldi is constantly experimenting. The solo instruments in his compositions are sometimes severely ascetic, sometimes frivolous and virtuoso. The motor in some concerts gives way to generous song, melodic - in others. The colorful effects, the playing of timbres, such as in the middle section of the Concerto for Three Violins with a charming pizzicato sound, are almost "impressionistic".

Vivaldi worked with phenomenal speed: “He is ready to bet that he will be able to compose a concert with all his parts faster than a scribe can rewrite it,” wrote de Brosse. Perhaps this is where the spontaneity and freshness of Vivaldi's music stems from, which has delighted listeners for more than two centuries.

L. Raaben, 1967

Antonio Vivaldi is a virtuoso violinist, conductor and teacher, one of the greatest composers of the 17th - 18th centuries. He lived and worked in the Baroque era. He was the creator of the genre - the instrumental concert. An instrumental concert is a concert for musical instruments alone, without singing.

About 450 Vivaldi concerts are known. The drama in music, the contrast between the chorus and the soloist, voices and instruments amazed the audience: saturation gave way to calmness, tenderness to power, the solo was interrupted by the orchestra. In the compositions of Vivaldi's concerts, solo and orchestral parts alternated.

"The Four Seasons" The pinnacle of Vivaldi's creativity. This cycle brought together four concertos for solo violin and string orchestra. In them, the development of the musical image is based on the comparison of the sound of * violin - solo * orchestra - tutti (translated from Italian means everything)

The theme of the seasons has always been popular in art. This is explained by several factors. firstly, it made it possible with the means of this particular art to capture the events and deeds that are most characteristic of a particular season of the year. secondly, it was always endowed with a certain philosophical meaning: the change of seasons was considered in the aspect of the change of periods of human life * spring, that is, the awakening of natural forces, personified the beginning and symbolized youth * winter - the end of the path - old age.

The cycle of concerts "The Seasons" is a program composition based on poetic sonnets, with the help of which the composer reveals the content of each of the concerts of the cycle: "Spring" "Summer" "Autumn" "Winter" It is assumed that the sonnets were written by the composer himself

Spring is coming! And nature is full of joyful songs. The sun and warmth, The streams murmur. And Zephyr carries the holiday news, Like magic. Suddenly velvet clouds come rushing in, As heavenly thunder sounds like the gospel. But the mighty whirlwind quickly dries up, And the chirping again floats in the blue space. The breath of flowers, the rustle of herbs, The nature of dreams is full. The shepherd sleeps, tired of the day, And the dog yaps barely audibly. The sound of the shepherd's bagpipes Drones over the meadows, And the nymphs dancing the magic circle of Spring is colored with wondrous rays. March April May

Listen to the Spring concert. What feelings does this music express? How does the main melody of the first part of the concert sound? What can you call it? What did the composer portray in the episodes? By what means of music did he convey the singing of birds, the murmur of brooks, flashes of lightning? In what form is part 1 written (rondo, variations)?

List of sources used: 1. Sergeeva G.P., Kritskaya E.D. Textbook "Music" grade 6 (page). Moscow, "Education", Sergeeva G.P., Kritskaya E.D. Methodical recommendations for the textbook "Music" Grade 6. Moscow, "Prsveshenie", na.shtml http://na.shtml