Vivaldi C major concerto

First movement

After the festive introduction, the first solo affirms itself in the tonality of the previous ‘tutti' passage, which stays at least for 6 bars. It is presented in an ascending progression and every bar is repeated: with a general crescendo, it wouldn't be a bad idea, if the repeated bar is played piano. Probably the original solo instrument, wouldn't have played them in this way, however one is encouraged to do dynamics. However this can be made if one is really capable and convinced of doing them. It is important not to fall into the trap of playing flat in the piano and sharp when it comes to the forte. To render a much clearer musical perspective of all the first solo, one must analyze well the musical skeleton (see example 1) and practice that to obtain a musical direction. Personally I think that it's better to apply ‘natural' dynamics that are appropriate with the melodic and harmonic structures. The example below will guide you to follow this structure. Beware of the technical difficulty that is to be found in bars 23 and 24 (E and D, of the third octave). The synchronization between these two notes must be constantly studied, (example 2, can help you to achieve this).

The successive solo is the most difficult and insidious that this 1 st movement presents. It is a virtuoso passage, consisting of arpeggios, that go from A minor towards F Major. Try to make it simple! It isn't a passage of great musical interest. Its aim is to bring us towards the sub dominant brightness. Example 3 will guide you through this. Even the choice of Articulation, must be chosen according to this. Personally I think that the difficulties lie is obtaining regularity, clarity and homogenous sound throughout this passage. I recommend first to study it, slow and slurred, then in a “dolce” staccato. After these have been mastered, one must choose one's articulation. Dynamic changes are important to evidence a series of harmonic changes, and a big crescendo will characterize the passage from bars 62 to 67. In this passage the breathing constitutes a real problem: one mustn't suppose to breathe in all this solo! Study it with this in mind. However, one can take a snitch of breath by omitting the 2 nd or 6 th note in bar 62 and breathe in that space. I find this a good way especially when one performs it in auditions, where one is given an accompanist. A moment of indecision in the breathing can be detrimental to the whole passage!

The next solo, which starts in bar 81, constitutes again by a series of progressions. These will guide for appropriate dynamics to be utilized. It is important to vary the articulations in this passage. Attention must be made to bars 99 and 100: the repetitive bar justifies an immediate piano which leads to bar 100. Beware not to tighten the throat when playing the D sharp and the E. If this is done, the successive forte will be at stake.