ANTONIO VIVALDI_AUTUMN

ANTONIO VIVALDI

Le Quattro Stagioni - THE FOUR SEASONS

"L'autunno" – „Autumn”

Even the ones which aren't listening to the classical music, know Vivaldi .
For the ones, which would like of something more to learn about it, I am enclosing the note lower down.

The picture is my visual interpretation of the Concerto No.3 in F Major - under the title Autumn.
It is also personal interpretation

The autumn looks differently, in every climatic zones.
In Centre and Centre-Eastern Europe, looks exactly this way
In September we are finishing collecting remaining crops from tails and meadows, whereas the approaching autumn is coloring leaves to all shades of gold and red.
On fields flocks of birds are gather together, and preparing for the migration, to the south.
We are saying goodbye to cranes flying away, wild geese and...... our beloved storks.

Poland is a European anchor of the white stork. Every year to us c 41 thousands of couples of around 160 thousands living in world, are flying in. Villages are happening, where of stork's nests it is more than of households.
It is worthwhile going on Podlasie in eastern Poland in order to see with one's own eyes the life of storks nesting on the land of the European Stork's Village in Tykocin - of village lying on the route of the stork's trail of the Podlasie region.

The title of the European Stork's Village has prestigious character and it proves exceptional ecological advantages of this place. Tykocin villages on Podlasie and the Pentowo colony being found close by in 2001 a German environment-friendly Euronatur organization granted it. In harmony with assumptions of the Euronatur project in the given country one thing can only be honored by the place with diploma. Pentowo put picturesquely above overflow areas of the Narwia river, was chosen when in one of local households it settled as many as 19 stork's couple. Birds built nests in all possible places - on roofs, poles and nearby trees. Last year in Pentowo they settled and 23 stork's couple reproduced.

Why storks so much like our country, of it even ornithologists don't know
But perhaps the reply is very simple
Polish people are loving storks very much.
From time immemorial a superstition exists that if near the house a stork settles, this house will never be burnt.
The history of my country was....... tough. Such centuries were that foreign armies repeatedly had marched through our country, by the way burning our villages and small towns.
Therefore our country inhabitants, from time immemorial built for storks of the nest, and invited them for settling in them.
Whether really storks, houses are protecting from fire, it I don't know
But it is a very nice superstition and it isn't necessary to change it.
The stork gearing up for the migration to the south is a symbol of the approaching autumn for us, whereas when he is returning to us at the beginning of the spring,
we know that there from now on will already be no unexpected frost.

And from this reason, the stork had to be found in my picture


CS2, 68 layers, 10 working hours
Not commercial only, the link, credit


I am thanking:

~AlicelefayStock for the Autumn [link]

*Drezdany-stocks for beautiful September landscape [link]

~Sweetpepper-stock for the stork [link]

~gankis for beautiful autumn tree [link]

~otaish-stock for the crown from leaves, for my autumn violinist [link]

*TW3DSTOCK for grass [link]

=Shoofly-Stock for wild plants [link] , [link]

*midnightstouch [link] , =flordelys-stock [link] and *anodyne-stock [link] for brushes of birds.

~OIlusionista-brushes [link] , ~firebug-stock [link] and ~trisste-brushes [link] for brushes of hair.

~LunaNYXlivingstock [link] and ~Fooblued [link] for brushes of clouds.


"I give my permission to and to display my work in the club's gallery".

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ANTONIO VIVALDI
Born in Venice on March 4th, 1678, Vivaldi was employed for most of his working life by the Ospedale della Pietà. Often termed an "orphanage", this Ospedale was in fact a home for the female offspring of noblemen and their numerous dalliances with their mistresses. The Ospedale was thus well endowed by the "anonymous" fathers; its furnishings bordered on the opulent, the young ladies were well looked-after, and the musical standards among the highest in Venice. Most of Vivaldi's concerti were intended for performance with his many talented pupils. He was also deeply involved with opera, both in composition and staging, mainly at Venice's Teatro Sant' Angelo.
At the end of 1717 Vivaldi moved to Mantua for two years in order to take up his post as Chamber Capellmeister at the court of Landgrave Philips van Hessen-Darmstadt. His task there was to provide operas, cantatas, and perhaps concert music, too. Here he made the acquaintance of the singer Anna Giraud (or Giro), who moved in to live with him, and they stayed together until Vivaldi's death.
Vivaldi also wrote works on commission from foreign rulers, such as the French king, Louis XV - the serenade La Sena festeggiante (Festival on the Seine), for example. This work cannot be dated precisely, but it was certainly written after 1720. In Rome Vivaldi found a patron in the person of Cardinal Pietro Ottoboni, a great music lover, who earlier had been the patron of Arcangelo Corelli. And if we can believe Vivaldi himself, the Pope asked him to come and play the violin for him at a private audience.
Despite his stay in Rome and other cities, Vivaldi remained in the service of the Ospedale della Pietà, which nominated him "Maestro di concerti." He was required only to send two concertos per month to Venice (transport costs were to the account of the client) for which he received a ducat per concerto. His presence was never required. He also remained director of the Teatro Sant' Angelo.
In 1725 the publication Il Cimento dell' Armenia e dell'invenzione (The trial of harmony and invention), opus 8, appeared in Amsterdam. This consisted of twelve concertos, seven of which were descriptive: The Four Seasons, Storm at Sea, Pleasure and The Hunt. Vivaldi transformed the tradition of descriptive music into a typically Italian musical style with its unmistakable timbre in which the strings play a major role.
These concertos were enormously successful, particularly in France. In the second half of the 18th century there even appeared some remarkable adaptations of the Spring concerto: Michel Corrette (1709-1795) based his motet Laudate Dominum de coelis of 1765 on this concerto and, in 1775, Jean-Jacques Rousseau reworked it into a version for solo flute. "Spring" was also a firm favorite of King Louis XV, who would order it to be performed at the most unexpected moments, and Vivaldi received various commissions for further compositions from the court at Versailles.
In 1738 Vivaldi was in Amsterdam where he conducted a festive opening concert for the 100th Anniversary of the Schouwburg Theater. Returning to Venice, which was at that time suffering a severe economic downturn, he resigned from the Ospedale in 1740, planning to move to Vienna under the patronage of his admirer Charles VI. His stay in Vienna was to be shortlived however, for he died on July 28th 1741 "of internal fire" (probably the asthmatic bronchitis from which he suffered all his life) and, like Mozart fifty years later, received a modest burial. Anna Giraud returned to Venice, where she died in 1750.

THE FOUR SEASONS:
1: Concerto No.1 in E Major, RV 269, "SPRING"
Allegro / Largo / Allegro (Pastorale dance)

2: Concerto No.2 in g minor, RV 315, "SUMMER"
Allegro non molto - Allegro / Adagio Presto Adagio / Presto (Summer Storm)

3: Concerto No.3 in F Major, RV 293, "AUTUMN"
Allegro (Peasant Dance and Song) / Adagio molto (Sleeping Drunkards) / Allegro (The Hunt)

4: Concerto No.4 in f minor, RV 297, "WINTER"
Allegro non molto / Largo / Allegro