The Instarmental Variation Sets of Antonio Vivaldi

169 Pages·2007·4.71 MB·English

The Instarmental Variation Sets of Antonio Vivaldi:
Old Forms in New Genres
Nicholas Scott Lockey
B,M., Pacitic Lutheran University, 2002
A Thesis Submitted in Partial Fulfilherit of the
Requirements for the Degree of
MASTER OF ARTS
in the School of Music
O Nicholas Scott Lockey, 2004
University of Victoria
All rights reserved. This thesis may not be reproduced in whole or in part, by
photocopy or other means, without the permission of the author.
Sup-r: Dr. Susan Lewis Haanmond (School of Music)
Abstract
Studies of variation form generally overlook the works of Antonio Vivaldi due to the
lack of sufficient bibliographic resources and assumptions downplaying the
significance of Vivaldi's variation sets. This study, however, argues that Vivaldi's
sets represent innovative contributions to the h m It begins by cataloguing the
twenty instrumental variation sets published in the &st critical edition of Vivaidits
works (Milan: Ricordi, 1947-72). It then examines the sequence of vatiations and
manner of conclusion in each set, issues crucial to the reception of variation form
ever since late eighteenth-century writers such as Koch and Vogler expanded
discussions of variation technique to address variation sets as a musical farm.
Vivakli's examples are compared to those by Corelli, Rarneau, and Handel,
highlighting Vivaldi's greater emphasis on coherent progressions and f'lrm
conclusions. Additionally, reeent chronological studies are combined to propose that
Vivaldi was among the first composers to use variation form hs olo concertos.
Contents
Abstract ii
Contents iii
List of Tables iv
List of Figures v
List of Abbreviations vii
Acknowledgements viii
Dedication ix
Introduction: Vivaldi's Neglected Formal Type 1
Chapter 1: Identifying Vivddi's Variation Sets 10
Authentic@ 17, Chronology 2 1
Interlude I: Assessing Coherence and Closure in Variation Sets 28
Chapter 2: Structure in Vivaldi's Instrumental Variation Sets 35
Themes in Vivatdi 's ViationS ets 35, Construction ofIndividuaZ Yiriations
50, Linking Variations on the Surface Level: Overcoming Segmentation
Between Variations 59, Coherence and Closure in Background Structures 63
Chapter 3: Coherence and Chme in Variation Sets by Vivaldi's Contemporaries 97
Corelli 98, Rameau 106, Handel 1 09
Interlude 11: Variation Forms and Their In’(cid:129)lvence on Vivddi's I n s m t a l
Works 131
Ostinato 13 1 , Variations 139
Conclusion: Vivaldi as Innovator 149
Bibliography 152
Appendix: Sources and Authenticity of Vivaldi's Variation Sets 156
Tables
1. Catalogue of Variation Sets in Vivaldi's Instrumental Works
2. Chronology of Vivaldi's Variation Sets
3. Components of Vivaldi's Ostinato Variation Formulas
4. Scoring and Texture in Variation Sets with a Soloist and
Ritornello
5. Structure via Texture in RV 107
6. Background Structure of Corelli's Op. 2 No. 12
7. Background Structure in Rameau's Gavotte in A Minor
8. Handel's Variation Sets
9. Background Structure of HWV 30611
10. Background Structure of HWV 3 1013
1 1. Structure of RV 1 56, 1 Sf movement
12. Structure of RV 223,2* movement
Figures
1. Bass Formulae in Vivaldi's Ostinato-Variation Sets
2. Components of Vivaldi's Basso Ostinato Themes
3. Fundamental Theme Common to Vivaldi's Ostinato Variation Sets
4. Harmonic Patterns in Vivaldi's Constant-Harmony Variation Sets
5. RV 101, Recorder part
6. RV 19 , Violin part
7. Repetition of Short Ideas in Individual Variations
8. RV 447, 3d ~ovementS, olo Oboe, Measures 214-216
9. RV 406, 3d~ovementS, olo Cello, Measures 217-221
10. Examples of Figuration in Multiple Voices
11 . Figuration Alternating Between Voices
12. Interpretations of Phrasing in RV 172, Measures 179-18 1
13. Solo Phrase Extension in RV 222, Measures 142-144
14. Foreshadowed Figuration in RV 1 14, Measures 97-99
15. Incipits of Statements 1-5 in RV 298, Solo Violin Part
16. RV 222, 2ndM ovement, Measures 174-1 78
(End of Statement 9 and Solo Codetta)
17. Free Material, RV 3 34, 2nd~ ovementM, easures 104-1 09
18 . Organization of RV 334
19. Structural Divisions of RV 387
20. Figurations in RV 107, Statements 14 & 15
2 1. Rhythmic Texture in RV 175, Measures 16 & 17
22. Rhythmic Texture in RV 157, Measures 46-48
P
23. Corelli's Op. 1 No. 12, Movement, Measures 24-26
24. Corelli's Op. 5 No. 5,4&M ovement, Measues 1-4
25. Corelli's Op. 1 No. 12,2* Movement, Measures 18 & 19
26. HWV 432, Statements 12 & 13
27. Sequence of Statements 9-16, HWV 43216
28. HWV 435, Endings of the 4& and 5& Versions
29. Structure of HWV 33013
30. Structure of Section 3 of H W 3 06/1
3 1. Accompaniment Ostbti in RV 269,2* Movement, Measures 5-7
32. Rhythmic Ostinato in RV 522,2* Movements, Measures 1-4
33. Bass Pattern of RV 1 13,~"'M ovement
34. Structural Units of RV 302,2& Movement
35. Begioning of Tutti and First Solo Episode, RV 356,3* Movement
36. Varied Material in Solo Episodes, RV 236,lS Movement
vii
Abbreviations
Bn Bassoon
Cont. Basso Continuo
Fl Flute
HHA Hallische Hundel-Ausgabe: Kritische Gesamtausgabe. Edited by the
Georg-Friedrich-Hhdel-Gesellschaft. Serie IV: Instmentalmusik.
Kassel: Barenreiter, 1955-.
HWV Reks to the catalogue nunber of a Handel work, as found in Bernd Baselt,
Yerzeichnis der Werkz Georg Friedrich Handels: Kleine Ausgabe. Leipzig:
Deutscher Verlag fiir Musik, 1986.
ISV Infrmazione e Studi Vivaldiuni. Milan: Ricordi, 1980-.
Mvt Movement (ix. 2& mvt= 2MLm ovement)
Ob Oboe
Orck Orchestra
Org. Organ
Rec. Alto Recorder
RV Refas to the catalogue number of a Viddi work, as found in Peter Ryom,
Vemeichnis der Werke Antozlio VivaZdis: kleine Awgube. Leipzig: VEB
Deutscher Verlag fZir Musik, 1974.
Str. Strings
Va Viola
Vc Cello
Vn Violin
The author wishes to thank Susan Lewis Hamrnond for her guidance and tireless
supervision of the many stages of preparation for this thesis. Thanks also to Michelle
Fillion, James Young, and Alexander Fisher for enthusiastically critiquing the final
drafts. Additionally, I'd like to thank my famiEy and fiiends, particularly my parents
Michael and C ML ockey, for their unrelenting support and encouragement
throughout this process.
In memory ofJumes Dale HolZoway
Introduction: Vivaldi's Neglected Fomal Type
In 1988 the editorial committee of the Informazione e Studi Vivaldiani (Mitan.
Ricordi, 1980-), placed variation fonns at the top of a list of suggestions for future
research topics. A substantial study addressing this topic has yet to appear, despite
recent enthusiastic interest in Vivaldi's sonatas, sinfonias, fupl movements, sacred
music, sereriatas, and operas. This omission stems fiom the barriers posed by a lack
of bibfiographical tools and a tradition of negative critical attitudes that downplay the
si&caflce of early eighteenth-centtuy variation sets,
One of the major obstacles to assessing the stature of Vivaldi's variation
forms is the lack of a single, complete listing of them. Michael Talht (2000) devotes
three paragraphs to Vivddi's variation movements, mentioning the existence of
sonatas and concerto movements in variation form but only identifjring four specific
works (RV 63,107,114,447).* Karl Hetler (1997) gives a similarly brief list of
variation sets (RV 63, 11 4, 15 7).2 Peter Ryom's thematic cstalogue, the Rkpertoire
des tzuvres d'Antonio VivaIdi: Les compositions instrumentales (1986), is still the
most comprehensive listing of Vivaldi's instrumental works, but the thematic incipits
are too brief to provide information on the structure of the pieces.3 Since Vivaldi and
his copyists did not use terms such as "variation" or "partite" in the manuscript
sources, the indications at the head of each moverhent, transcribed in Ryom's
Michael Talbot, Vivaidi, Pde d., Master Musicians Series, ed. Stanley Sadie (Otrfbrd: Oxford
University Press, 2000).
Karl Iieller, Antonio Yivcrldi: The Red Priest of Venice, trans. fiom the German by David Marinelli
(Portland, Oregon: Amadeus, 1397).
Peter Ryom, Rdpertoire des GEwes dJAnfonioV iiaZdi:L es compositions imtrumentales
(Copenhagen: Engstrm & SBdring, 19 86).