Both the fiery opening movement and the jovial finale demand great dexterity from the soloist, in particular during the scintillating and exceptional cadenzas. The title of Vivaldi’s Concerto in D major, ‘ll Grosso Mogul’, RV 208, alludes to the Indian court of the Grand Mughal, Akbar, whose reign saw the Mughal Empire grow considerably. The commanding opening movement is followed by a Largo, which features stately, rather French material pervaded by dotted rhythms, preceding an effervescent finale. This concerto demonstrates Vivaldi’s innovation in exploring the violin’s colouristic potential, articulating a range of techniques. In Marc Pincherle’s words: ‘He glorified a personal feeling, a new lyricism, the vogue for which was as widespread as it was sudden’. The works introduce a more individualistic approach, a greater distinction between solo and accompaniment. 3 concertos L’estro armonico (‘Harmonious Inspiration’), published in 1711, represented a turning point in Vivaldi’s style. 3 No.10 (RV 580), that he transcribed it to produce the Concerto for Four Harpsichords in A minor, BWV 1065. Bach was so impressed by Vivaldi’s Concerto for Four Violins in B minor, Op. For this collection Viktoria Mullova and Giovanni Antonini have drawn together some of the composer’s finest and most demanding concertos for the instrument. He pioneered a plethora of colouristic effects for the violin, including pizzicato and muting, and did much to develop the solo concerto, influencing Tartini and Leclair, and aiding the evolution of ritornello form - in which the tuttimaterial recurs, usually four to five times, interspersed with passages in which the soloist can display. Antonio Lucio Vivaldi (1678-1741) was a virtuoso violinist, a fact borne out by his prolific output for the instrument: of nearly 640 instrumental works, 253 are violin concertos.
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