Anna Pastushkova

Opera-Based Instrumental Parodies in Antonio Vivaldi’s Concertos

This article is written in Russian. You can read it here.

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DOI 10.34690/112

Author Anna S. Pastushkova

Affiliation Tchaikovsky Moscow State Conservatory, Moscow, Russia

Email anna.pastuschkova@gmail.com

ORCID

0000-0001-9984-717X

Abstract

The article deals with thematic concordances between instrumental concertos and operatic arias by Antonio Vivaldi. New terms are proposed in order to describe the types of ‘operatic’ ritornello form and sections of musical compositions. Comparative analysis of the music material of arias and corresponding concertos shows the influence of operatic aria’s features to musical form and genre of concerto’s movements. Based on various types of such influence, new classification of all presently known cases of the operatic arias reworked by Vivaldi for his instrumental concertos and vice versa is delivered. Proposed classification includes previously unknown cases of self-borrowing discovered by the author of this article in the instrumental concertos RV 139, RV 159 and RV 189.

Keywords Vivaldi, self-borrowing, musical parody, ritornello form, aria da capo

For citation

Pastushkova, A. S. “Opera-Based Instrumental Parodies in Antonio Vivaldi’s Concertos.” Muzykal’naya akademiya [Music Academy], 2020, no. 4, pp. 46–67, doi:10.34690/112. (In Russ.)