Das Posthorn. Concerto in B
Bearbeitung für Blockflötenquartett RV 363
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Composer
Antonio Vivaldi
| 1678-1741Antonio (Lucio) Vivaldi was an Italian composer and violinist of the Baroque period.
It is assumed that his father, who was a musician himself, was responsible for Vivaldi's musical education. However, he began his professional career as a priest, which earned him the nickname Il prete rosso (the red-haired priest).
From 1703, Vivaldi worked intermittently as a violin teacher and composer at the Ospedale della Pietà, an orphanage for girls in Venice, until shortly before his death. Initially, he also worked there as a priest, but relinquished this role after three years. He wrote numerous chamber music works and concertos for his pupils at the Pietà. The famous Four Seasons are particularly well-known and often performed today. Vivaldi also composed sacred and secular vocal music and was an opera composer and director.
Of over 800 works known today, only 135 were published during Vivaldi's lifetime. After his death, Vivaldi's compositions were initially largely forgotten. Many of his works were rediscovered and published, particularly in the 20th century. Among them is the Gloria in D RV 589, the very first sheet music edition published by Carus-Verlag.
Personal details
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Arranger
Conny Campagne
| 1922-2022
Reviews
CONCERTO IN B FLAT MAJOR ”POSTHORN”
CONCERTO IN B FLAT MAJOR ”POSTHORN”
Conny Campagne’s arrangement of the ”Posthorn” Concerto, RV363, is unusual in being set for an ensemble of sopranino, alto, tenor, and bass. The upper part, by design, stands apart from the rest of the ensemble (reaching a high F on occasion), thereby reflecting its rote in carrying the majority of the solo violin part. The leaping octave figure in the first movement, from which the concerto takes its name, is matched by a highly ornamented middle movement and a lively concluding 3/8 Allegro. This work is almost up to the level of difficulty of the Dolmetsch arrangements and would be most suitable for an advanced ensemble.
The level of accuracy is quite high in all of these editions with only an occasional misplaced rest or ornament. They are generally free of unnecessary editorial suggestions, allowing ensembles to find their own solutions to the problems of translating the original string (or organ) textures. The Dolmetsch editions are the most fully marked (including metronome marks), but always clearly and musically. These editions will give pleasure to performers and audiences alike and are a good war for recorder players to experience the Vivaldian concerto style „from the inside” in much the same spirit as Bach’s organ transcriptions.
Quelle: American Recorder, Jan. 2002, S. 22f.
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