Dixon, Susan M., Between the Real and the Ideal: The Accademia degli Arcadi and Its Garden in Eighteenth-Century Rome (Newark: University of Delaware Press, 2006), 29 6 Vivaldi's division of background and foreground elements between ritornellos and episodes in these concertos is also noted by Talbot, Vivaldi, 122. Likewise, although the set, as Op. Long before commentators began to identify and discuss the concept of orchestration, these early eighteenth-century products demonstrated the orchestra's ability to capture the listener's imagination in ways that powerfully translate experiences of the changing seasons into a sonic experience of profound artistic value. Bella Brover-Lubovsky notes that while the use of the flattened seventh degree (with major third) in minor keys was common in the seventeenth century, it is rare in Vivaldi's works. Vivaldi, Spring (La Primavera) 1st Movement, Allegro, The Four Seasons The nervous, jumpy and even menacing tension of the piece is enhanced by the repeated use of suspensions in the harmonic texturethe delay of the. 3 The suspense is shattered by powerful gestures opening the finale of the Summer concerto: bold downward leaps followed by repeated semiquavers. Morgan, Luke, The Monster in the Garden: The Grotesque and the Gigantic in Renaissance Landscape Design (Philadelphia: University of Pennsylvania Press, 2016), 164171 9 . The final, brief appearance of FEPM in Winter, and indeed in the entire cycle, is cross-referential in character. 20 Likewise, winter is no longer focused entirely on pleasant domestic interiors or amusements such as ice-skating; in Vivaldi's theatre it has become a setting of extreme physical conditions: bitter cold, fierce winds and violently rifting ice. Medieval and early modern cyclic representations in illuminations, paintings, sculptures, tapestries and literature tended to focus on the seasons as personified deities (popular choices including Flora or Venus for spring, Vertumnus or Ceres for summer, Bacchus for autumn and Aeolus for winter), or as a cycle of humanity's relationship with the fruits of working the land, which might also be used as an allegory of the stages of human life or as a consequence of the biblical story of the fall of Adam and Eve.Footnote How might a composer in the early eighteenth century use music to convey the excitement of the hunt, the oppression of summer heat, the terror of a thunderstorm or the joys of the harvest? They are all violin concerti. Vivaldi's sonnets are a tool to assist his listeners in this act of translating musical figures into a narrative framework. Levy, Janet M., Texture as a Sign in Classic and Early Romantic Music, Journal of the American Musicological Society His set of violin concertos known as The Four Seasons (Italian: Le quattro stagioni, 1725) are the most famous. Roberts, Helene E. (Chicago: Fitzroy Dearborn, 1998), volume 2, 793795 Spitzer, John and Zaslaw, Neal, The Birth of the Orchestra: History of an Institution, 16501815 (New York: Oxford University Press, 2004), 447450 47, Spring and Autumn are given a much gentler treatment that is aided by a sparing use of the sharply focused textures found in the Summer and Winter concertos, and through frequent sonorities that balance richer harmonizations of individual lines with more relaxed levels of rhythmic activity. The birds appear with the first solo episode, which requires two violinists from the orchestra to join with the soloist in imitating avian calls.
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