Why should you listen to Vivaldis Four Seasons Betsy Schwarm
Light, bright, and cheerful.
It’s some of the most familiar
of all early 18th century music.
It’s been featured in uncounted films
and television commercials,
but what is it
and why does it sound that way?
This is the opening of “Spring”
from “The Four Seasons,”
by Italian composer Antonio Vivaldi.
“The Four Seasons” are famous in part
because they are a delight to the ear.
However, even more notable
is the fact that
they have stories to tell.
At the time of their publication
in Amsterdam in 1725,
they were accompanied by poems
describing exactly what feature
of that season
Vivaldi intended to capture
in musical terms.
In providing specific plot content
for instrumental music,
Vivaldi was generations ahead of his time.
If one were to read the poems
simultaneously to hearing the music,
one would find the poetic scenes
synchronizing nicely
with the musical imagery.
We are told that the birds welcome
spring with happy song,
and here they are doing exactly that.
Soon, however,
a thunderstorm breaks out.
Not only is there musical thunder
and lightning,
there are also more birds,
wet, frightened, and unhappy.
In “Summer,” the turtle dove sings
her name “tortorella” in Italian,
before a hail storm flattens the fields.
“Autumn” brings eager hunters dashing
out in pursuit of their prey.
The “Winter” concerto begins with teeth
chattering in the cold
before one takes refuge by
a crackling fire.
Then it’s back out into the storm
where there’ll be slips
and falls on the ice.
In these first weeks of winter,
the old year is coming to a close,
and so does Vivaldi’s musical exploration
of the seasons.
Not until the early 19th century
would such expressive instrumental
program music, as it was known,
become popular.
By then, larger, more varied ensembles
were the rule
with woodwinds, brass, and percussion
to help tell the tale.
But Vivaldi pulled it off with just
one violin, strings, and a harpsichord.
Unlike his contemporary Bach,
Vivaldi wasn’t much interested
in complicated fugues.
He preferred to offer readily
accessible entertainment to his listeners
with melodies that pop back up later
in a piece
to remind us of where we’ve been.
So the first movement of the “Spring”
concerto begins with a theme for spring
and ends with it, too, slightly varied
from when it was last heard.
It was an inspired way
to attract listeners,
and Vivaldi,
considered one of the most electrifying
violinists of the early 18th century,
understood the value
of attracting audiences.
Such concerts might feature himself
as the star violinist.
Others presented the young musicians
of the Pietà,
a Venetian girls' school
where Vivaldi was Director of Music.
Most of the students were orphans.
Music training was intended not only
as social skills suitable for young ladies
but also as potential careers
for those who might fail
to make good marriages.
Even in the composer’s own time,
Vivaldi’s music served
as diversion for all,
not just for the wealthy aristocrats.
300 years later, it’s an approach
that still works,
and Vivaldi’s music still sounds
like trotting horses on the move.