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Product Description
Federico Maria Sardelli writes from the perspective of a professional baroque flautist and recorder-player, as well as from that of an experienced and committed scholar, in order to shed light on the bewildering array of sizes and tunings of the recorder and transverse flute families as they relate to Antonio Vivaldi's compositions. Sardelli draws copiously on primary documents to analyse and place in context the prolific and surprisingly progressive instrumental technique displayed in Vivaldi's work. The book includes a discussion of the much-disputed chronology of Vivaldi's works, drawing on both internal and external evidence. Each known piece by him in which the flute or the recorder appears is evaluated fully from historical, biographical, technical and aesthetic standpoints. This book is designed to appeal not only to Vivaldi scholars and lovers of the composer's music, but also to players of the two instruments, students of organology and those with an interest in late baroque music in general. Vivaldi is a composer who constantly springs surprises as, even today, new pieces are discovered or old ones reinterpreted. Much has happened since Sardelli's book was first published in Italian, and this new English version takes full account of all these new discoveries and developments. The reader will be left with a much fuller picture of the composer and his times, and the knowledge and insights gained from minutely examining his music for these two wind instruments will be found to have a wider relevance for his work as a whole. Generous music examples and illustrations bring the book's arguments to life.
About the Author
Signor Federico Sardelli is Head of the Department of Ancient Music at the Musical Academy of Florence, Italy. Professor Michael Talbot is Head of the Department of Music at the University of Liverpool, UK.
Federico Maria Sardelli writes from the perspective of a professional baroque flautist and recorder-player, as well as from that of an experienced and committed scholar, in order to shed light on the bewildering array of sizes and tunings of the recorder and transverse flute families as they relate to Antonio Vivaldi's compositions. Sardelli draws copiously on primary documents to analyse and place in context the prolific and surprisingly progressive instrumental technique displayed in Vivaldi's work. The book includes a discussion of the much-disputed chronology of Vivaldi's works, drawing on both internal and external evidence. Each known piece by him in which the flute or the recorder appears is evaluated fully from historical, biographical, technical and aesthetic standpoints. This book is designed to appeal not only to Vivaldi scholars and lovers of the composer's music, but also to players of the two instruments, students of organology and those with an interest in late baroque music in general. Vivaldi is a composer who constantly springs surprises as, even today, new pieces are discovered or old ones reinterpreted. Much has happened since Sardelli's book was first published in Italian, and this new English version takes full account of all these new discoveries and developments. The reader will be left with a much fuller picture of the composer and his times, and the knowledge and insights gained from minutely examining his music for these two wind instruments will be found to have a wider relevance for his work as a whole. Generous music examples and illustrations bring the book's arguments to life.
About the Author
Signor Federico Sardelli is Head of the Department of Ancient Music at the Musical Academy of Florence, Italy. Professor Michael Talbot is Head of the Department of Music at the University of Liverpool, UK.
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mare concerto, anonymous sonata, descant instrument, concerto for transverse flute, copy with autograph inscriptions, sopranino instrument, flautino concertos, obbligato recorders, luoghi pii diversi, sopranino recorder, autograph directions, fork fingering, recorder concerto, flauto solo, chamber concertos, treble recorder, major recorder, descant recorder, instrumental designations, studi vivaldiani, solo episodes, ensemble concertos, fingering sequences, tromba marina, eleventh scene Key Phrases - Capitalized Phrases (CAPs): (learn more)
Antonio Vivaldi, Michael Talbot, Giovanni Battista, Friedrich August, San Marco, Tito Manlio, Nikolaus Delius, Robert Valentine, Johann Martin Blochwitz, Peter Rvom, Carl Ludwig Friedrich, Eleanor Selfridge-Field, Giuseppe Sammartini, Peter Joachim Fick, Quirino Colombani, Rudolf Rasch, Santa Cecilia, Albert Dunning, Alessandro Scarlatti, Alfredo Bernardini, Critical Notes, Deutscher Verlag, Francesco Degrada, Francesco Gasparini, Ignazio Rion New!
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Front Cover | Front Flap | Table of Contents | First Pages | Index | Back Flap | Back Cover | Surprise Me!
mare concerto, anonymous sonata, descant instrument, concerto for transverse flute, copy with autograph inscriptions, sopranino instrument, flautino concertos, obbligato recorders, luoghi pii diversi, sopranino recorder, autograph directions, fork fingering, recorder concerto, flauto solo, chamber concertos, treble recorder, major recorder, descant recorder, instrumental designations, studi vivaldiani, solo episodes, ensemble concertos, fingering sequences, tromba marina, eleventh scene Key Phrases - Capitalized Phrases (CAPs): (learn more)
Antonio Vivaldi, Michael Talbot, Giovanni Battista, Friedrich August, San Marco, Tito Manlio, Nikolaus Delius, Robert Valentine, Johann Martin Blochwitz, Peter Rvom, Carl Ludwig Friedrich, Eleanor Selfridge-Field, Giuseppe Sammartini, Peter Joachim Fick, Quirino Colombani, Rudolf Rasch, Santa Cecilia, Albert Dunning, Alessandro Scarlatti, Alfredo Bernardini, Critical Notes, Deutscher Verlag, Francesco Degrada, Francesco Gasparini, Ignazio Rion New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Front Flap | Table of Contents | First Pages | Index | Back Flap | Back Cover | Surprise Me!
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