Title : The Art Of The Baroque Trumpet Vol.1 From that point onward he appears to have withdrawn from active practice, but did remain a priest. Not long after his ordination, in 1704, he was given a dispensation from celebrating the Holy Mass because of his ill health. In 1703, at the age of 25, Vivaldi was ordained a priest, and soon nicknamed Il Prete Rosso, "The Red Priest", probably because of his red hair. At the age of 15 (1693), he began studying to become a priest. His medical problem, however, did not prevent him from learning to play the violin, composing or taking part in many musical activities. Vivaldi had a medical problem which he called the tightening of the chest (probably some form of asthma). Interestingly Vivaldi never again made concerts for Trumpet, probably because of their limited range, and that is possibly why the Orchestra is as important here, as a way for Vivaldi to minimise the shortcomings of the trumpet. And actually makes for a more interesting piece, it isn't as heavenly as Telemann, the trumpets have a lot more fun here, as they would in Vivaldi's hands. Vivaldi uses the orchestra as completely complementary to the solo trumpets, almost at the same level of importance in terms of sound. The main difference from yesterday's Telemann concerto is in the use that Vivaldi makes of the orchestra. Yet another small trumpet concerto, this time by two trumpets and this time by Vivaldi. Performers : Mark Bennett, Michael Harrison, The English Concert Bach later transcribed concertos from this work for harpsichord solo (no.9, no.12), for organ solo (no.8, no.11) and for four harpsichords and strings (no.10). The collections were mostly put together in a chronological order. It largely augmented the reputation of Vivaldi as Il Prete Rosso (The Red Priest). 3 ("Harmonic Inspiration" in Italian) is a collection of twelve concertos for 1, 2 and 4 violins written by Antonio Vivaldi in 1711. You can see a definite evolution since Corelli's set of concertos at the beginning of the century, the solo instruments although not exactly 'fighting' the orchestra or dialoguing with it have a place here which they didn't in Corelli. Other than that there are also moments of menace, for example at the beginning of the second concerto in a way very reminiscent of Vivaldi's Winter in the Four Seasons. There are moments in these concertos where the orchestra attacks a chord in an almost aggressive way which works great. Vivaldi shows a lot of his range here, the concertos aren't simply lively Vivaldiesque things, they are also surprisingly sad in their slow movements or even menacing.
Performer: Frederico Guglielmo, L'Arte dell'ArcoĪfter a couple of very short concertos we get a set of 12 Vivaldi concertos for strings, and they are great.