Vivaldi and The Four Seasons Interpretat
Vivaldi and The Four Seasons Interpretat
Sarah Jordan 1
Sarah Jordan
05/05/2015
Vivaldi and “The Four Seasons”:
Interpretations of the Music and Sonnets Compared to Societal Views
In the 18th century many things began to change, particularly in music. The
Enlightenment was at its peak and many new concepts were well on their way into development.
In music, new forms, instruments, instrumentation, and the structure of harmony were beginning
to be experimented with again along with other new ideas. One of these new concepts was
program music. One of the first examples of program music and one of the most well known was
Antonio Vivaldi’s “The Four Seasons”. Many focus on this piece for its expressive use of
musical motives to depict the words in different sonnets, but no one has considered it in different
terms Vivaldi does an incredible job of expressing the sonnets, but when compared to the
societal views of the different seasons during this time both the sonnets and music have some
oddities. Vivaldi wrote “The Four Seasons” with the implementation of normal societal views of
the seasons, but he was also clearly influenced by the text and his own interpretations.
To begin it is imperative to discuss the origin and societal views of the different seasons
within the 18th century. What is interesting is Vivaldi’s time was during a three hundred year
long mini ice age within Europe that would end in the beginning of the 19th Century.1 So, during
this time the weather patterns were varied and cooler than what society is used to today;
however, the other interesting fact about this is that these oddities were considered normal
weather to them. It had been so long and with written records being scarce in surviving no one
1
Hubert H. Lamb, Weather, Climate, and Human Affairs (Routlage: New York, NY. 2nd Ed, 2011), 106.
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could recollect a time in which the weather had been different. As an example, hailstorms in
summertime in Italy was not uncommon.2 This did not change society’s perceptions too much
from what we know today as the seasons, but they had a different bases for the different
characteristics for each season besides the behavior of the weather.
During this time and another influencing factor of seasonal perception was that this was
during the heart of the Enlightenment movement of exploration and thinking. Many more
individuals were seeking education, scientific, and/or more physical answers to many of life's
mysteries other than just leaving it at sole belief. This revived an extreme interest in the beliefs
and academic studies of the ancient Greek and Roman societies. This revival touched and
influenced every field including art, music, astronomy, mathematics, and medicine. Strangely
enough out of all these possibilities it was the revival of ancient medicines that influenced the
perception and characteristics of the different seasons the most; particularly in the renewed belief
and study of Humours.3
Humours is a medical term which is meant to describe different bodily fluids. The
medical belief during the ancient Greek times and in the 18th century was that the different
levels of these humours would affect health, mental state, and characteristics. It was believed that
an imbalance of these humours would lead to sudden mood differences, disease, and other
medical issues. It was also believed that if the levels were altered of these different humours it
would correct the disease or character/mental issues the person was being afflicted with. This is
what lead to the extreme medical procedures like bleeding out the patient and other rather
2
Hubert H. Lamb Weather, Climate, and Human Affairs (2011), 106.
3
Bryan Good, Medicine, Rationality and Experience: Anthropological Perspective (Oxford: Oxford University,
1994), 82.
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frightening procedures.4 Below is a list of the different humours and what they were attributed to
in season, bodily fluid, character, etc.:
As can be seen Humours were attributed to many life elements and characteristics. Though
slightly different than modern society’s views of the seasons, it is very similar. The largest
difference between then and now, however, is that these relations were taken quite seriously. It
not only affected medical practices, but it became so widely spread throughout Europe that it
became common knowledge and the societal perspective.6 This expectation would then be
important to understand when artists or musicians attempted to depict the seasons.
“The Four Seasons” was part of Vivaldi’s Opus 8 Il cimento dell’armonia e
dell’inventione (The contest between harmony and invention) published in 1725. This collection
contains twelve different works for solo violin, strings, and basso continuo which are as follows:
4
J. N. Hays, The Burdens of Disease: Epidemics and Human Response in Western History (New Jersey: Rutgers
University Press, 2009), 84.
5
Bryan Good Medicine, Rationality and Experience: Anthropological Perspective (1994), 88 107.
6
J. N. Hays. The Burdens of Disease: Epidemics and Human Response in Western History (2009), 80.
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This work was composed in dedication to one of Vivaldi’s patrons at the time Count
Venceslas von Morzin, who was a part of the Bohemian royal family.8 To give an understanding
of how Vivaldi himself thought of the work below is a segment from a letter he wrote to the
Count concerning his Opus 8;
“Most Illustrious Sir,
While thinking of the many years in which I have had the great good fortune to serve your
Illustrious Grace as Maestro di Musica in Italy, I was embarrassed when I considered that until
now I have not given you any proof of the profound veneration I have for you; therefore I have
decided to engrave the present volume and to submit it to the feet of Your Illustrious Grace; I beg
you not to be surprised if among these few and feeble concert[i], Your Illustrious Grace will find
the Four Seasons, already long since under the indulgent eye of Your Grace, but may you believe
me that I took great pride in publishing them, because they are in any case the same, but enlarged,
apart from the Sonnets, with a detailed explanation of everything in them and I am sure they will
seem new to you….
7
Michael Talbot. Vivaldi, Antonio. Grove Music Online. Oxford Music Online. (Oxford University Press, Web.)
8
H. C. Robbins Landon, Vivaldi: Voice of the Baroque (New York: Thames and Hudson Inc., 1995), 67.
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The great understanding for music possessed by Your Illustrious Grace and the high standard of
your brilliant virtuoso orchestra allow me to rest assured that my poor efforts… will find the echo
they merit. Otherwise it remains for me to implore your Grace to continue your most generous
patronage of one who has the honor to subscribe himself, Your Grace’s most humble, devoted, and
obedient servant,
Antonio Vivaldi” 9
There is no record on what the Count thought or how he responded to the gift, but based
on the popularity of the concerti, particularly “The Four Seasons” later on, it can be assumed that
the count did not think of them with distaste.
“The Four Seasons” are the first four concerti within Opus 8 each being named after the
season they represent (La Primavera = Spring, L’estate = Summer, etc.) Each concerto has three
movements. Each one also contains text written within the music that is either based on or
directly from the correlating sonnet. It can be assumed Vivaldi did this so that the performer
knows what, or what emotion, the music is meant to express. The author of these sonnets is
anonymous to us today, but there is some speculation that Vivaldi wrote the text himself.10
La Primavera is the most wellknown of the four and is still in popular use today. It also
was the most popular of the series during its original publication. Its popularity quickly traveled
around Europe because of its captivating motives and its obvious programmatic elements.
Ducharger, a french music theorist who was friends with King Louis XV wrote about La
Primavera specifically to the king saying “...The author, through the sweetness of sounds,
transports us to groves, he leads us from field to field, guides us through valleys, and shows us
shepherds dancing on verdant fields or perhaps among bursting flowers to the sound of a
9
H. C. Robbins Landon, Vivaldi: Voice of the Baroque (1995), 67.
10
Valerio Morucci, Lecture (March 2015)
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panpipe.”11 Which is what Vivaldi tried to accomplish with not just La Primavera, but all four
of “The Four Seasons”.
La Primavera is a three movement concerto in E Major which include, I. Allegro, II.
Largo, and III. Allegro. Below is the sonnet in which Vivaldi based his work on:
La Primavera (Spring)
Spring has come and with it gaiety, Then does the meadow, in full flower,
The birds salute it with joyous song Ripple with its leafy plants.
and the brooks, caressed by Zephyr’s breath The goatherd dozes,
flow meanwhile with mummerings: guarded by his faithful dog.
The sky is covered with dark clouds, Rejoicing in the pastoral bagpipes,
Announced by lightening and thunder. Nymphs and Shepherds dance, in love,
But when they are silenced, the little birds Their faces glowing with Springtime’s brilliance.
Return to fill the air with their song:
12
The first two stanzas are the bases of I. Allegro, the third stanza Vivaldi used for movement II.
Largo, and the fourth stanza is what he based his movement III. Allegro on.
In this work the sonnet generally follows the societal expectations of the times; however,
Vivaldi seems to have interpreted this text more negatively than most of his contemporaries
would have. In the first movement Vivaldi generally follows the sonnet and societal expectation,
but in the second and third movements he begins to express contradicting views. Movement II.
Largo's material is comprised of three different themes based on the texts “Murmur of the fronds
and plants”, “The sleeping goatherd”, and “The barking dog”13. The dog barks are depicted
brilliantly by using the deeper tone of the viola with harsh, almost sudden, repeating baseline
11
James H. Johnson, Listening in Paris: A Cultural History (Berkeley: University of California Berkeley Press,
1995),
12
H. C. Robbins Landon, Vivaldi: Voice of the Baroque (1995), 59.
13
Antonio Vivaldi, “The Four Seasons” and other Violin Concertos in Full Score Opus 8 Complete, ed. Eleanor
SelfridgeField, (New York: Dover Publications, 1995), 111.
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motive. The murmuring is then depicted in the violins with a low dotted rhythmic pattern which
ascends and descends throughout the movement. Then, the solo violinist begins to play “The
sleeping goatherd”14 melody above these other motives; however, because of the movement
being in C# minor and the length of the notes within the melody it depicts the melody as
hauntingly beautiful. It does not seem to depict a shepherd sleeping peacefully in the happiness
of Spring like the sonnet and society would have believed during the time, it is almost as if the
shepherd sleeps not knowing what is to come or he will not wake from the slumber he currently
resides in.
Movement III. Allegro is also similar in this respect to movement II., but an overall
combination of movements I. and II in terms of following the text and societal views while also
going against them. The third movement is based on the last stanza of the text and begins with
the title “Rustic Dance”15 in 12/8. This continues on for a spell until in measure 22, after a
transition, the dance theme comes back in C# minor. This section does not last and resolves into
B major in measure 34 with new transitional material which leads to the return of E major in
measure 43. This sort of minor moment happens again, but more suddenly and in the parallel
minor (E minor) in measure 61. This continues while all the different motives throughout the
movement come back in the new minor key. Then, beginning in measure 72 with a solo section,
it begins a transition which leads to the final return of the main dance theme in E major to finish
the movement.
This movement back and forth between major and minor compositionally speaking is
very usual and in fact a clever use of harmony, especially for the time; however, if you consider
14
Antonio Vivaldi, “The Four Seasons” and other Violin Concertos in Full Score Opus 8 Complete, ed. Eleanor
SelfridgeField, (1995), 111.
15
Ibid.
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the overall gaiety of the text in which this movement was based upon the minor sections are
puzzling. Two things could explain Vivaldi’s decision to compose this. The first theory is for the
compositional aspect. Instead of following the text religiously throughout this movement Vivaldi
may have decided that the minor sections were necessary for his music to make the work
theoretically and/or auditorily more appealing. Another theory could be gathered because of the
mention that “The nymphs and shepherds dance, in love,...” within the sonnet. Though the
Nymphs were never held as evil creatures in written accounts, they were considered the maidens
of nature who would have sexual encounters with gods and men according to greek mythology.16
Though this may not have been revered as a bad thing during Greek times, in a very Christian,
particularly Catholic, Italy during the 18th century this would have been viewed poorly. In fact,
they may have taken the passage to mean temptations to participate in sinful actions. That being
said, and Vivaldi being a Catholic Priest himself, he may have tried to reflect this sinful view
using the minor sections. Sadly, this is all speculation based on what seemed logical during
Vivaldi’s time. His true intention is not known and will not be until possible documentation is
found; if it exists.
The next concerto in the “Four Seasons” is L’estate. Though not as much documentation
can be found about L’estate and the other two seasons as La Primavera, this piece is well known
for its ferocity. This concerto is a three movement work in the key of G minor which include the
movements I. Allegro non molto, II. Adagio, and III. Presto. Below is the sonnet on which this
concerto is based:
16
Herbert Jennings Rose, A Handbook of Greek Mythology (New York: E.P. Dutton & Co. 1959), 173.
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L’estate (Summer)
Under the harsh season ignited by the sun The repose of his tired limbs is disturbed
Man and flock languish, and the pine burns; By the fear of lightning and fiery thunder,
The cuckoo offers his voice, and, soon heard, And by a furious swarm of flies and wasps.
The young turtledove and Goldfinch sing.
Zephyr blows gently, but suddenly Unfortunately, his fears are justified.
Boreas offers opposition to his neighbor; The sky thunders and fulminates, and hail
And the shepherd weeps, because he fears Flattens ears of corn and majestic grains.
A severe storm in the offing and his destiny.
17
Again, the first two stanzas are used in movement I. Allegro non molto, the third for the second
movement II. Adagio, and the final stanza for the final movement III. Presto.
This concerto is particularly interesting because of the sonnet. Summer, though not
necessarily cheerful, is a season of ambition, strength, and ferocity according to the Humours,
but when reading the text it seems to have a darker and more despairing undertone. This can be
seen in the lines “Under the harsh season ignited by the sun man and flock languish, and the pine
burn…” Summer and heat make an easy coordination and does not seem strange; however, it is
the “languishing” that does not seem to fit the energized and ambitious notion that summer held
in society during that time.
Vivaldi seemed to play off the languishing and despair aspect of the poetry within his
music and as his prevailing theme through all three of the movements though it did not fit the
societal view. An example of this can be seen in his movement II. Adagio. In this movement he
Antonio Vivaldi, “The Four Seasons” and other Violin Concertos in Full Score Opus 8 Complete, ed. Eleanor
17
SelfridgeField, (1995), x.
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has two contrasting themes including the “Thunder” and the “Flies and wasps”18 . These sections
are not only distinguished in contrasting melodic material, but in sudden tempo changes from
adagio to presto. To focus an entire movement on the disturbed and despaired mood does not fit
the societal view of summer; if it did it would of been how the shepherd fought against the
hardships, not worrying in fear. This is an understandable contradiction to society, however,
because Vivaldi made the decision to strictly follow the text.
Though there are many interesting and conflicting sections within this concerto, there are
sections in which Vivaldi was able to take the text and follow what society would have expected.
To discuss this further it is important to note that this sonnet also includes reference to the
ancient Greek influence that was, again, popular during this time. The text mentions the names
Zephyr and Boreas. These are not people, gods, or anything of the like which would be the first
inclination; in fact, they are the names of different directions of the wind. In this case, Zephyr is
the west wind and Boreas the north wind. These directions along with others were the first
compass direction theory which was written and defined by Aristotle.19 Though it is not
necessary to discuss the meteorology behind this theory, it is important to keep this influence in
mind; Vivaldi very much did.
In L’estate I. Allegro non Molto Vivaldi wrote a section titled “Gentle Breezes” in
measure 78 which is meant to represent “Zephyr breathes”20 from the sonnet. This is a more
frantic section than one would attribute to “gentle”, but it fits with the frantic nature that was
known of summer according to societal accounts. This section quickly then moves into a more
18
Antonio Vivaldi, “The Four Seasons” and other Violin Concertos in Full Score Opus 8 Complete, ed. Eleanor
SelfridgeField, (1995), 27.
19
W.D. Ross, The Works of Aristotle (Oxford: Clarendon Press, 1931), 37.
20
Antonio Vivaldi, “The Four Seasons” and other Violin Concertos in Full Score Opus 8 Complete, ed. Eleanor
SelfridgeField, (1995), 22.
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frantic section in measure 90 titled “The North Wind”. This quick movement followed by the
faster and fiercer section makes logical sense based on the text from the sonnet stating “Zephyr
blows gently, but suddenly Boreas offers opposition to his neighbor.”21 The wind section begins
frantic in nature, but then becomes chaotic which represents Boreas fighting against Zephyr. This
fiercer wind also has a logical connection within the poem and music because Boreas was
considered the harshest and strongest of all the directions.22
After L’estate is concerto No. 3 L’autunno. Out of the four this is the least known of
“The Four Seasons”, but it is still known because of the popularity of the collection. Again, this
is a three movement concerto, but in F major. Movements include I. Allegro, II. Adagio Molto,
and III. Allegro. Below is the sonnet in which this concerto is based on:
L’autunno (Autumn)
The countryfolk celebrate, with song and dance The hunters at dawn go to the hunt,
The joy of gathering a bountiful harvest. with horns and guns and dogs they sally forth,
With Bacchus’s liquor, quaffed liberally, The beasts flee, their trail is followed:
Their joy finishes in slumber.
Each one renounce dance and song Already dismay’d and exhausted, from the
The mild air is pleasant greatest noise
And the season invites ever increasingly Of guns and dogs, threaten’d with wounds,
To savor a sweet slumber. They flee, languishing, and die, cowering.
23
Unlike La Primavera and L’estate, L’autunno’s first movement is based on the first stanza, the
second on the second, and the final movement on the third and fourth stanza.
This concerto is interesting because again, like L’estate, the text itself seems to contradict
the societal view of the time. The sonnet seems to mostly focus on the harvesting and hunting
21
Antonio Vivaldi, “The Four Seasons” and other Violin Concertos in Full Score Opus 8 Complete, ed. Eleanor
SelfridgeField, (1995), x.
22
W.D. Ross, The Works of Aristotle (1931), 40.
23
H. C. Robbins Landon, Vivaldi: Voice of the Baroque (1995), 63.
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season, which was in fact a happy and joyous time during the late summer/early autumn;
however, the general societal perception after this small section of Autumn was held to be a sad
and melancholic time, usually associated with depression and anxiety. This sonnet does not seem
to describe this sense of depression; except, in the last two stanzas which describes the plight of
the beasts as the hunters and dogs are pursuing them. Though this may be the case, Vivaldi for
the first time in his series goes against the inclination of the text within this concerto and bases
the music more on the known societal interpretation.
In movement I. Allegro he begins the piece with a pleasant and noble theme titled the
“Villagers’ dance and song”24. This continues until “The Drunkard”25 theme which begins in
measure 32. This is the solo violin theme which begins in F major. This continues with small
snippets of the Villagers’ theme occurring occasionally from the rest of the ensemble until
measure 41 when the theme varies along with the accompaniment. This begins a chromatic
descending pattern, and continues on as a transition to G minor. This keeps progressing through
another statement of the Villagers’ theme until measure 77 in which the Villagers’ theme is
restated again in the key of C major. This quickly transitions into another solo section, this time
in C minor, in which depicts the “The Dozing Drunkard”26 starting at measure 89. This continues
until measure 106 in which the Villagers’ theme repeats for the last time in the original key.
Though the text only depicts happy imagery Vivaldi composes his own personal
interpretation by depicting the drunkard as sad and depressed, and only after he has fallen fast
24
Antonio Vivaldi, “The Four Seasons” and other Violin Concertos in Full Score Opus 8 Complete, ed. Eleanor
SelfridgeField, (1995), 38 47
25
Ibid.
26
Ibid.
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asleep does everything truly go back to being blissful again. This interpretation of Vivaldi’s of
the season and the drunkard correlates directly to both the societal beliefs of the time.
Lastly, the fourth in “The Four Seasons” is L’inverno. As can be guessed this concerto is
again three movements in the key of F minor including, I. Allegro non molto, II. Largo, and III.
Allegro. Below is the sonnet in which the music is based on:
L’inverno (Winter)
Frozen and trembling among the freezing snow, If we move quickly, we fall to earth,
Our breathing hampered by horrid winds, Again walking heavily on the ice,
As we run, we stamp our feet continuously, Until the ice breaks and dissolves;
Our teeth chatter with the frightful cold:
We move to the fire and contented peace, We hear from the closed doors
While the rain outside pours in sheets, Boreas and all the winds at war
Now we walk on the ice, with slow steps, This is winter, but such as brings joy.
Attentive how we walk, for fear of falling;
27
This concerto does not break up the stanzas of the sonnet as cleanly as the previous concerti. The
first movement is based on the first stanza, but then the second movement is based only on the
first two lines of the second stanza, and then the final movement is based on the rest of the two
and a half stanzas.
Finally, the sonnet again seems to fit within the known societal perception of the season.
It depicts the harsh cold with its inconveniences, but it also depicts the calm and peacefulness
that should correlate with it. Though this may be the case it does depict a more active sense of
things when considering all the physical actions this sonnet portrays. Also, what is different from
this sonnet compared to the other three is that it incites more emotional and personal imagery. It
27
H. C. Robbins Landon, Vivaldi: Voice of the Baroque (1995), 6566.
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is not the shepherd, the birds, or the hunters. It is “our” and “we”28. In this concerto it suddenly
switches from a scene the listener observes to a scenario and place the listener has been thrusted
into by the word and thanks to Vivaldi also by the music.
Vivaldi within this concerto finally represents both the text and the societal view in his
music. He first begins the concerto in movement I. Allegro non molto with an expanding line
beginning with the baseline which anxiously builds suspense to the “Horrid Winds”29 in measure
12. From this point the violin solo takes over with a virtuosic line that jumps in tonality and
octave to depict the harshness the text states. This continues until measure 23 when the tonality
returns to F minor and the next theme “To stamp one’s feet from the cold”30 enters. Vivaldi
depicts this stamping by fast octave leaps followed by repetitive thirtysecond and sixteenth
notes. The octaves represent a person picking up and dropping their feet while the repetitive
notes could depict either the stamping or the shaking of someone's boots. Another section of
interest within this movement is at measure 47 in which Vivaldi begins the “Chattering of teeth”
31
theme. This section is again extremely literal in the sense of his interpretation. It is a fast
moving descending line in which the solo violin performs double stop tremolos which alters
from consonant to dissonant. The dissonance is what makes this section truly display the
chattering teeth. It in fact makes the listener themselves reenact the chattering, because when
most people hear the unexpected dissonance they will wince slightly, just as someone would
while chattering their teeth if they accidently bit too hard.
28
Antonio Vivaldi, “The Four Seasons” and other Violin Concertos in Full Score Opus 8 Complete, ed. Eleanor
SelfridgeField, (1995), 57 73
29
Antonio Vivaldi, “The Four Seasons” and other Violin Concertos in Full Score Opus 8 Complete, ed. Eleanor
SelfridgeField, (1995), 5773.
30
Ibid.
31
Ibid.
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One last example away from Vivaldi’s literal interpretation, but instead how he matches
the text with society’s view is his movement II. Largo. This movement oddly is written in Eb
Major. The solo violin has a lyrical melody line as the accompaniment utilizes pizzicato to
represent raindrops or snow falling on the window. Though short, Vivaldi expertly depicts the
imagery he hoped to while giving the listener a sense of peace and calm because of the switch to
major, the lightness of the accompany line, and the slower, but comfortable tempo.
After learning and comparing all the different theories, societal views, and music it is
clear that many different aspects influenced and shaped Vivaldi's perception of the different
seasons depicted in his concerti. Though some of the imagery in the sonnets and what Vivaldi
depicts does not inherently match what society would have expected during the time, “The Four
Seasons” became popular and still remains popular because of his impeccable compositional
skills. Throughout the work Vivaldi uses his own personal style to depict the text and emotions
he wished for; which, thanks to his ability to write so expressively, is easily understood by the
listener. In this way Vivaldi was able to create a work in which society might have judged
harshly compared to their own personal view, but instead embraced its uniqueness.
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