Emily Davis

Dr. Naylor
Music Theory III
11/17/14
Vivaldis Violin concerto in g minor, 1st Mvmt.
Biography
Antonio Vivaldi was born March 4, 1678. Though he was known as the Red Priest due
to his red hair and his brief stint as a Catholic minister; he spent the majority of his career life as
a music teacher at an orphanage for girls (Antonio Vivaldi). His preferred instrument was the
violin and he wrote many concertos for it. His style was characterized by strong, concise
rhythms, logical continuation of musical ideas, and repeated patterns normally consisting of
broken chords (Dorak). He differed from Arcangelo Corelli, another Baroque composer, who
preferred more lyrical lines that focused more on the melody than the chords underneath
(Dorak). He was similar to Domenico Scarlotti in that they both focused on the tonality of their
music (Dorak). His student concertos (Antonio Vivald) marked him as an inventive teacher
whose influence on strings could not be matched until the Romantic period.
Analysis of Piece
In 1723, Vivaldi composed Concerto in Sol minore, or Concerto in g minor for violin and
orchestra. The first movement of this three-movement piece is written in sonata form. At
measure 1 we are introduced to the first theme in the tonic. Vivaldi introduces the second theme
at measure 27. In Measure 47 we hear a snippet of the first theme with a slight variation. This
could also be considered a closing theme. The development begins in measure 65, during which
he changes up the feel of the established themes by altering dynamics, rhythms and key areas.

For instance, if a phrase repeats, the first time it is played mp and the next time it is played mf. If
there is a grouping if two sixteenth notes with one eighth note, when it repeats he makes them all
triplets (mm. 133.) At measure 140 we have a feeling of recapitulation as the primary theme is
reintroduced with segments of the secondary theme mixed in with it.
Performance Issue
Vivaldis Violin concerto in g minor, 1st mvmt. provides its own set of challenges to its
performers. The piece is full of different ornamentations like trills and grace notes. As a
performer, on must determine how best to perform the ornamentations to maintain the true style
and purpose of the piece. For example, the trills in measures 39, 40, 44, and so on could either be
started on the note written or on the note above. Traditionally, when playing a Baroque piece,
performers start on the note above the written note and trill down to it. A performer needs to
know what is expected in ornamentation from the period, but be willing to experiment if they
believe that it will enhance the performance of the piece. Also, Baroque performers normally
improvise during repeats of themes. The performer needs to be able to improvise while
remaining in the correct Baroque style. Bowing markings create another challenge for
performers. With multiple editions of the piece available, the performer needs to be able to
determine what bowing markings are the most conducive to the way they play. Finally, the
performer needs to remain conscious to the style he or she is playing in at all times. Baroque
violin music contains a lot of detache passages and each note is distinct. As a performer, one
must be aware of the style and remain as true to it as possible.
Analysis and Performance
Though analyzing a piece when one is performing it isnt necessary, performers can
benefit quite a bit by analyzing the piece theyre working on. In Vivaldis Concerto in g minor,

First Movement, an analysis of the piece shows it to be a rather typical concerto of the time.
Knowing that the concerto is in minor influences the way the performer plays the piece in the
form of emotions. The notes are fast, but its more agitated than happy. The performer must be
aware of the emotions the composer is trying to express through the harmonies and scales that he
uses. The performer can also understand how her part fits in with the harmony after analyzing it.
The performer can understand that the violin solo has the melody the whole time, but gets to see
what makes some of the notes shes playing come alive. Analysis is a technique that allows the
performer to grow in her knowledge and ability to perform her music.
Conclusion
Vivaldis Concerto in g minor Mvmt. I is a very interesting piece, not only to the performer, but
to the analyst. When the performer becomes the analyst, he or she can experience the piece on a
whole new level. The performer knows not only what to do, but why to do so. Analyzing pieces
that one performs can be a useful tool for elevating a performance to a new level.

Works Cited
Antonio Vivaldi. Baroque Composers. Arton Publications, n.d. Web. 16, Nov. 2014.
Dorak, M. Tevfik. Personal Styles of Baroque Composers. Dorak. n.p., n.d. Web. 16, Nov.
2014.