Antonio Vivaldi – “La Primavera in E Major, Op. 8 No.1” From the “Four Seasons.
Lior Wainshtein
One of the most prolific composers of the 17th century was Antonio Lucio Vivaldi.
Prominent in Italian scenes, Vivaldi transformed the instrumental music of the baroque period
specifically regarding the solo and trio concerto style and forms. His most recognized work is “La
Primavera,” a concerto piece apart of a larger set entitled the “Four Seasons.” As the name
implies, Vivaldi wrote four violin concertos themed around the characteristics which define each
of the four seasons throughout the calendar year (spring, summer, autumn, and winter.) Through
both a harmonic and critical listening analysis, a greater understanding of why this is regarded as
Antonio Vivaldi’s greatest work.
Vivaldi’s use of imagery through aspects of instrumentation, ostinatos, imitation, and use
of extended techniques create an incredibly immersive experience without the need for imagery to
be physically depicted. In “La Primavera,” Vivaldi had written this piece for three violins, a viola,
cello, contrabass, and organ/harpsichord. The opening ritornello features a repeated motif outlining
e-major which is countered by repeated quarter notes in the basso-continuo. This effect creates a
very interesting polyrhythm against the main motif. Vivaldi’s use of arpeggiation creates the effect
that a bird is taking flight, adding to the imagery of the movement.
As Vivaldi paints the scene of birds flying, various bird calls are represented through the
section of violins, often conveyed using imitative dialogue and rhythmic contrast in other voices.
For example, the first violin may have rapid 16th note lines over a quarter note figure in the cello,
or viola. The starting theme is then returned to, followed by a constant enclosing figure harmonized
in the violins to represent the sound of a flowing stream. Vivaldi, in this instance, is a master of
scene painting, everything which is described in the sonnet is perfectly portrayed by the ensemble.
Vivaldi’s use of dynamics is another key aspect of this movement which defines his style. Past the
stream, the first violin is large jumps in range contrasted by the orchestra creating a truly powerful
moment.
Moving to the largo (the slower section), Vivaldi shifts the scene to portray a darker tone
of voice, the basso continuo is restrained while the first violin is leading with an incredibly lyrical
melody. It is important to note that the entirety of the second section is grounded entirely in C#m,
using the relative minor to create not only a harmonic change but also greater dissonances.
The ostinato figure in the viola represents the barking of a dog, which is also told in the program
to help build scenery. The figure is played behind the beat which is important in reference to
creating an uneasy tone.
As Vivaldi exists the scene of a sleeping shepherd, he moves into the final allegro. The
main theme is yet to be returned to although the beginning section brings the audience back to the
bright home key of E major. This final section is dance-like and represents a celebration echoed in
the short driving rhythms played by the violins. As opposed to the first and second sections, Vivaldi
begins the basso-continuo with long whole notes representing the sound of a horn and further
emphasizing the theme of a celebration. The use of imitation mixed with extraordinary virtuosic
writing further immerses the listener in the narrative that Vivaldi is building.
Truly a masterpiece of baroque writing, “La Primavera” tells a story set in the springtime
following a group of birds as they flow through streams and valleys, through farmland, and finally
resolving on the beginning theme bringing this story full circle. It is without a doubt that Vivaldi’s
storytelling, harmonic and melodic understanding, as well as instrumentation truly set him apart
from other baroque composers.