VIVALDI’S FIVE HUNDRED
The main protagonist and establisher of the three-movement soloistic concerto, as already mentioned, was Antonio Vivaldi, a Venetian priest who from 1703 to 1740 supervised the music program at the Pio Ospedale della Pietà, one of the city’s four orphanages. The word ospedale (cf. hospital), originally meant the same thing as conservatorio (whence “conservatory”); both were institutions that maintained and educated indigent children (orphans, foundlings, bastards) at public expense, and both emphasized vocational training in music. The Pietà housed only girls, and thanks to Vivaldi’s extraordinary talent and energy, its program was outstandingly successful. The Sunday vespers concerts performed by its massed bands and choirs of budding maidens under Vivaldi’s direction were regarded as something of a phenomenon and became one of the city’s major tourist attractions.
- Citation (MLA):
- Richard Taruskin. "Chapter 5 The Italian Concerto Style and the Rise of Tonality-driven Form." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 30 Nov. 2023. <https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-05007.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 5 The Italian Concerto Style and the Rise of Tonality-driven Form. In Oxford University Press, Music In The Seventeenth And Eighteenth Centuries. New York, USA. Retrieved 30 Nov. 2023, from https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-05007.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 5 The Italian Concerto Style and the Rise of Tonality-driven Form." In Music In The Seventeenth And Eighteenth Centuries, Oxford University Press. (New York, USA, n.d.). Retrieved 30 Nov. 2023, from https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-05007.xml
