Dynamics Reflections for Baroque Concertos

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Dynamics Reflections for Baroque Concertos

Vivaldi’s The Four Seasons: Summer

Abstract

The amount of dynamics in the baroque scores is substantially less existing compared to latest eras as classicism or romanticism. Despite the fact of the first assumption of flatter possible performances in terms of dynamics, this music is enriched by the use of many dynamic changes and a careful treatment of the balance. In addition, the baroque invention of the concerto and its specificities requirements for dynamics and balance, with a soloist against a bigger group, redefines the way that the dynamics should be approached. Therefore, this lack of dynamics marks does not mean that the music should be performed without them. To understand this treatment, this paper analyzes possible solutions for dynamics treatments using Vivaldi’s The Four Seasons Summer Op. 8 No. 2 as an example. The revision of different scores and selected performances and its solutions clarify those possibilities. Furthermore, the paper review the performance practices researches of Donington and Duffin to create a stronger understanding of the possibilities in dynamic approaches.

©Barbosa-Vásquez/Academic


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