Analysis of: Vivaldi, Violin Concerto in G, Op. 4, No. 12, I and Ii Essay

Composition Analysis Paper On: “Vivaldi, Violin Concerto in G, Op. 4, No. 12, I and II”: As I considered what piece of music I would use for this analysis, I went through all the songs and listened to them to see which would be most appealing to me, and perhaps, quite honestly, the easiest to use. As I finished listening to all the pieces, I chose Vivaldi’s Violin Concerto in G. My choice was no longer based on my perception of what would be easy, but rather based on what would be most challenging! So may I present… Week 3: Composition Analysis Paper on “Vivaldi, Violin Concerto in G, Op. , No. 12, I and II”: This piece is very unique. There is a contrast between part I and part II that greatly compliments the piece as a whole. Concerto 1 acts as in intro for the entire piece. The organ is very beautiful and yet somber, it gives you a sense of longing, longing for the next part to begin. The organ is expressive, but in a very strict way, almost in the sense of a plainchant. It has some texture to it, however the notes that are played are very straight forward, there aren’t drastic crescendos, decrescendos, or accents that move the listener.

That strictness gives the listener a longing for something else, something more. I think it is a very effective beginning to the piece! It acts as a hook that catches the listener and then draws them in, as it leaves them with anticipation for what’s to come. One of the reasons I was hesitant to pick this piece is due to the fact that I only listened to the first part initially. I found it to be rather boring and unappealing. What I found though, as I listened to the entire piece, was that the first part doesn’t have much of an impact until you’ve listened to the second part.

We will write a custom essay sample on
Analysis of: Vivaldi, Violin Concerto in G, Op. 4, No. 12, I and Ii Essay
or any similar topic only for you
Order now

Once you have listened to part two, you will grow much fonder of part one! I really like part II of the Concerto. I think that one of the reasons I enjoyed it so much is due to the first part. To put it simply, I think the second part satisfies what the first part leaves you longing for! It contrasts the first, as it is much more expressive with long crescendos building up the emotional feel that the listener gets. The listener gets to witness the expression of the composer and musicians, by hearing how the rich texture of the piece is woven together.

They witness as the multiple strands get intertwined and woven together, creating a beautiful piece of work. Or book states that (of this piece) “Our first impression of this music is probably of its texture – the gentle throbbing, the ingenious weaving in and out of the orchestral violins and the solo violin, and the delicate, subsidiary continuo sounds” (Ch. 9, page 138). There are many things that make up the strands that are being used to create this piece. Not only is it the types of instruments or their numbers, but also the form of the music.

It’s the style of both the musicians and the composer. It’s also made up of harmony and melody, the development of polyphony. There are so many things that make up this fabric that we call texture, and you really see it all come together in the second piece. The technical term for what is going on between part I and part II is called “Movement”, and our book defines movement as “… a self-contained section of music that is a part of a larger work; movements can be compared to chapters in a book” (Ch. 9, page 133).

Now I think that is definitely the case between the two parts of this piece. To go a little further, a quote taken from the very same page in our book describes what is going on between these two parts even more accurately, it states “Movements in a multimovement work will always show some variety in tempo, meter, key, mood, and musical form” (Ch. 9, page 133). This idea is also proven true between these two. I think the mood changes very much between part I and part II. Part I is much more somber and serious.

Part II is more emotional, and it is more “light hearted” in a sense. I think the words of our text describe it similarly, when speaking of the different movements of this piece, it states “…the first vigorous and brilliant, the second gentle and slow” (Ch. 9, page 138). Overall, what I found most appealing about this piece was the building of the texture over part I and into part II. I like how part I compliments part II. I also found that the more I listened to the two pieces, the more I liked them!

I think that is not the case for a majority of music out there today. So I guess I could say that I’ve learned to appreciate the value and quality of good music. Also, I love having the ability to pick out different points in the music and know what is going on. I love being able to explain to others what I find so beautiful in a particular piece, and why. WORKS CITED: Kerman, Joseph, and Gary Tomlinson. Listen, sixth edition. New York: Boston: Bedford/St. Martin’s, 2008. Print.


Hi there, would you like to get such a paper? How about receiving a customized one? Check it out