Vivaldi's Life & Works

One of greatest Baroque composers, and famous for his violin concertos The Four Seasons, as well as sonatas, and operas such as Argippo.

(1678 - 1741)

Early Life

Vivaldi's influence on the development of Baroque music was immense. He ignited transformations in music for the church, the opera house and the concert hall. But his most important achievement was in his music for strings. He introduced a range of new styles and techniques to string playing and consolidated one of its most important genres, the concerto. Vivaldi's concertos became a model for his contemporaries, and the form was soon one of the most important in eighteenth century Europe.

Vivaldi played the violin from an early age, probably taking lessons with his father. He trained for the priesthood and was ordained in 1703. His red hair earned him the nickname 'il prete rosso' (the red priest). In the same year as his ordination, he was appointed to the Ospedale della Pietà, a Venetian convent for orphaned or illegitimate girls. He taught the violin there, organised services with music, composed and gave concerts. Publications of his works began appearing in 1705: trio sonatas, violin sonatas and concerto sets. Prior to these, he had disseminated a number of concertos in manuscript form. He also wrote two oratorios for the Pietà, the most significant being Juditha triumphans (1716).

The Four Seasons

Four violin concertos that broke new ground both for theirdetailed depiction of poetic ideas and technical ingenuity,particularly involving rapid string-crossing and high-lyingpassages for the left hand.

Antonio Vivaldi Concerto For Violin And Strings In G Minor, Op.8, No.2, RV 315, "L'estate" 3. Presto (Tempo impetuoso d'estate) Pinchas Zukerman, Israel Philharmonic Orchestra, Zubin Mehta

Gloria, RV589

Incredibly, following the first performance of this resplendentBaroque favourite, it merely gathered dust in a pile of thecomposer's manuscripts until being rediscovered in the 1920s. 

Antonio Vivaldi Gloria in D, R.589 Allegro: Gloria in excelsis The English Concert, Trevor Pinnock, Paul Goodwin, Mark Bennett, The English Concert Choir

Stabat Mater

In contrast to Vivaldi's predominately bright and breezy style, the Stabat Mater, as befits the soulful nature of the text, achieves a rare depth of feeling and powerful sense of melancholy.

Antonio Vivaldi Stabat Mater, R.621 1. "Stabat Mater" (Largo) Michael Chance, The English Concert, Trevor Pinnock


Most celebrated of Vivaldi's operas involving a series of misunderstandings of identity, resulting in a drowning, near-assassination and near-suicide based around the Olympic Games.

Antonio Vivaldi L'Olimpiade, RV725 (adapted by Andrea Marcon) Siam navi all'onde (Act 2) Simone Kermes, Venice Baroque Orchestra, Andrea Marcon

Nulla in mundo pax

Sublime motet tossed off when Vivaldi had to step in at the last minute and provide choral music to cover for a singing master who had gone absent without leave and never returned!

Antonio Vivaldi Nulla in Mundo Pax Sincera Larghetto "Nulla in mundo pax sincera" Simone Kermes, Venice Baroque Orchestra, Andrea Marcon

L'estro armonico

The first publication to fully declare Vivaldi's exuberantlyinventive genius and one which firmly established the popularfast-slow-fast movement format for the greater part of his concertooutput.

Antonio Vivaldi Concerto grosso for 2 violins, strings and continuo in A minor, Op.3/8 , RV 522 3. Allegro Elizabeth Wilcock, Michaela Comberti, The English Concert, Trevor Pinnock

Concerto for Two Trumpets

In this gloriously resplendent work, Vivaldi displays thetypical Venetian love of spatial groupings - 'quadraphony' was anItalian choral invention - and echo effects at its mostbrilliant.

Antonio Vivaldi Concerto for 2 Trumpets, Strings and Continuo in C, RV 537 1. Allegro Maurice André, English Chamber Orchestra, Charles Mackerras, Mauritz Sillem


Opera became an increasingly important part of Vivaldi's output in the second decade of the 18th century. His first opera, Ottone in villa, was premiered in Vicenza in 1713. He also wrote for theatres in Venice and Mantua, where the Habsburg governor, Prince Philip of Hesse-Darmstadt, was a famous music lover. Following the success of Vivaldi's opera Armida al campo d'Egitto there, the prince appointed Vivaldi as maestro di cappella da camera. Vivaldi remained in Mantua for two years from 1718, writing cantatas and serenatas for the court.

Rome was Vivaldi's main base from 1720. Here he composed more operas under the patronage of Cardinal Ottoboni. Further opera work took him back to Venice, where he was involved with the Teatro San Angelo from 1726 to 1728. During his travels, Vivaldi retained a position with the Pietà, regularly providing the school with concertos. From 1730, he visited Vienna and Prague, trying with mixed success to stage his operas in those cities. He hoped to become composer to the Imperial court in Vienna. But the death of Emperor Charles VI in 1740 left him without even a prospective patron.


Vivaldi died in poverty the following year. Among the works he left, the most significant are his concertos, about 500 in all. Around half of these are for solo violin and strings. About forty are for two soloists, and thirty for three or more. The solo instruments in these categories include bassoon, cello, oboe, flute, viola d'amore, recorder, trumpet and mandolin.

Vivaldi had injected the concerto form with a remarkable variety of structure, originality of scoring and imagination of conception. His standard model was the three movement design, with two allegros framing a slow movement in the same, or a closely related, key. These concertos alone show him to be one of the most important composers of the late Baroque. His innovations here anticipate the early Classical style. He has even been credited as a precursor of musical Romanticism.

The pictorial dimensions of Vivaldi's concertos, most notably Le quattro stagioni (The Four Seasons) and La Caccia, RV362, anticipate 19th-century developments. So too do his unusual combinations of instruments, his chromaticism and his use of special effects such as scordatura (in RV348 and RV391). He also composed around 90 sonatas, which maintain traditional formal designs and stylistic traits. The Trio Sonatas op.1 and op. 5 are modelled after those of Corelli and are in a chamber music style. In other sonatas, the previously distinct genres of church and chamber music are subtly merged.

Of the forty or so operas Vivaldi composed, only twenty-one have survived, and many of these are incomplete. Vivaldi's operas are among the few from the period to use obbligato instruments in arias, sometimes borrowing arias from other composers such as Handel and Pergolesi. Sacred genres are also opened up to external influences in his work. Musical ideas from operatic and orchestral music make regular appearances. Most of his cantatas are for solo voice (soprano or alto) and continuo, based on the model established by composer Alessandro Scarlatti. Vivaldi's serenatas, composed to celebrate a particular event or honour a special person, are more expansive works. Among other prominent sacred pieces are his Gloria, RV589, and Magnificat, RV611.

Vivaldi's music suffered a century of neglect after his death. It was rediscovered thanks to a resurgence of interest in the music of JS Bach. While preparing a complete edition of Bach's music in the nineteenth century, scholars came across his transcriptions of ten of Vivaldi's concertos. It is ironic that Vivaldi's 'resurrection' came about via a composer on whom he had been a crucial influence.