Vivaldi's similar quest for verisimilitude explains why his narrative includes intense experiences of awe-inspiring, uncontrollable power that subsequent writers associated with an emotional and psychological response to the sublime. CIRCLE OF 5THS 3. They are all violin concerti. The uncontrollable quality of nature is evoked not only in the lengthy focus on explosive summer storms, but also in the great rift between the devastation of summer and the mirth that precedes and follows it. The first of these occurs in bars 4850, where a scalar plunge of almost two octaves signifies slipping on the ice and falling to the ground. In blending ideas publicly discussed by Arcadian reformers with his own fondness for descriptive representation, as seen in numerous works, Vivaldi expanded his vision of the seasons to encompass both hardships and joys, presenting them as less of an idealized allegory than a cycle of physical encounters between humankind and the natural world. This marks the beginning of an adverse turn of events, the first such downturn in the entire cycle. Led by the festive sound of rustic bagpipes, nymphs and shepherds lightly dance beneath the brilliant canopy of spring. Members of high society came from across the region to hear the girls, who were physically isolated from the visitors to further ensure their chastity. Yet he could also use texture and sonority effectively in works lacking overt extramusical references. )%2F02%253A_Music_for_Storytelling%2F06%253A_Stories_without_Words%2F6.04%253A_Antonio_Vivaldi_-_The_Four_Seasons_Spring, \( \newcommand{\vecs}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}}}\) \( \newcommand{\vecd}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash{#1}}} \)\(\newcommand{\id}{\mathrm{id}}\) \( \newcommand{\Span}{\mathrm{span}}\) \( \newcommand{\kernel}{\mathrm{null}\,}\) \( \newcommand{\range}{\mathrm{range}\,}\) \( \newcommand{\RealPart}{\mathrm{Re}}\) \( \newcommand{\ImaginaryPart}{\mathrm{Im}}\) \( \newcommand{\Argument}{\mathrm{Arg}}\) \( \newcommand{\norm}[1]{\| #1 \|}\) \( \newcommand{\inner}[2]{\langle #1, #2 \rangle}\) \( \newcommand{\Span}{\mathrm{span}}\) \(\newcommand{\id}{\mathrm{id}}\) \( \newcommand{\Span}{\mathrm{span}}\) \( \newcommand{\kernel}{\mathrm{null}\,}\) \( \newcommand{\range}{\mathrm{range}\,}\) \( \newcommand{\RealPart}{\mathrm{Re}}\) \( \newcommand{\ImaginaryPart}{\mathrm{Im}}\) \( \newcommand{\Argument}{\mathrm{Arg}}\) \( \newcommand{\norm}[1]{\| #1 \|}\) \( \newcommand{\inner}[2]{\langle #1, #2 \rangle}\) \( \newcommand{\Span}{\mathrm{span}}\)\(\newcommand{\AA}{\unicode[.8,0]{x212B}}\), 6.3: Modest Mussorgsky - Pictures at an Exhibition, 6.5: Chinese Solo Repertoire - Attack on All Sides and Spring River in the Flower Moon Night, Esther M. Morgan-Ellis with Contributing Authors.
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