Vivaldi

What Dominique Pagani says

Dominique Pagani mainly cites Vivaldi as an example of Baroque metre, which is regular and constant: from one concerto to the next, the metre stays the same1. He links him to Bach, who as a young man copied his concertos note for note and kept the metre of the great Italians while enriching it melodically and harmonically23. He places this regularity in the same "reign of metre" as rock, going as far as to link Vivaldi with the Sex Pistols4. He also looks at the postwar Baroque vogue: the bourgeoisie then rediscovers The Four Seasons, and the Baroque revivalists reserve this repertoire for period instruments. He cites Vivaldi together with Telemann against the neo-Baroque vogue and notes how little the styles of the period differ, while acknowledging that these concertos are impeccably organised. Finally, he sees The Four Seasons as the origin of programme music: each concerto illustrates a sonnet, yet the music remains autonomous5.

1. 1La Musique de l'Histoire26 Apr 2015 · 34:13
2. 2#5 Libéralisme-libertaire, consommation libidinale et musique...27 Sept 2014 · 22:17
3. 3Musicosophie 5. Bonheur contre pulsion de mort en musique11 Dec 2020 · 41:18
4. 4Avec Clouscard2 Aug 2016 · 1:21:57
5. 5Musicosophie 16. Musique à programme / Musique pure10 Mar 2021 · 36:49

Summary produced automatically from 26 of the passages below, to be reviewed; the numbers link to the moment in the session.