Description
L’Autunno, Autumn, is the third concerto from Antonio Vivaldi’s famous cycle “The Four Seasons”. This collection is considered one of the most important works of Baroque music and has lost none of its fascination to this day. In our publication “Die vier Jahreszeiten – L’Autunno / Der Herbst – Band 3” for the Brensbacher Tanz- und Instrumentalkurs 2014 we present you a fresh and lively arrangement of this masterpiece by Eva-Maria Rusche and Marco Ambrosini.
The connection to nature
Vivaldi already incorporated the sound of bagpipes into his music when he composed the Spring Concerto, the first of the Four Seasons. The depiction of rural scenes and untouched nature, which played a major role in the 18th century as civilization increased, can be found in all four concerts. These works not only reflect the beauty of nature, but also the human soul and its diverse states. Vivaldi, who played a pioneering role in programmatic music in Italy, used music as a means of telling stories and conveying emotions.
A source of inspiration: Marco Ricci
Vivaldi may have got the idea for the Seasons from his acquaintance with the Venetian painter Marco Ricci, who was known for his landscape paintings and stage sets. This artistic connection between music and painting shows how deeply rooted nature and its depiction were in Baroque culture.
The challenge of processing
The arrangement of “Die vier Jahreszeiten – L’Autunno / Der Herbst – Band 3” for bagpipes (Hümmelchen or Dudey in C/F tuning), viola and basso continuo presented a special challenge. Due to the limited range of the bagpipes, some passages had to be adapted or omitted for technical and harmonic reasons. Despite these adaptations, the arrangers have managed to retain the characteristic structure and emotional content of the work.
Versatility in the instrumentation
The viola part can be flexibly scored with a viola da gamba, a viola or a four-row keyed fiddle (nyckelharpa). A harpsichord or another suitable instrument is ideally suited for the continuo part, giving the ensemble even more tonal depth.
Variety of content and practical tips
In addition to an introductory explanation, the booklet contains everything you need for a performance: the score, individual parts for each instrument and valuable information about the bagpipes used. You are now perfectly equipped to bring this unique arrangement of “L’Autunno” to life.
About Dudey & Hümmelchen
This release not only offers a new musical interpretation, but also the opportunity to learn more about the fascinating world of bagpipes, especially the Hümmelchen and the Dudey. These traditional instruments bring a unique charm to the music and give Vivaldi’s Autumn a very special touch.
With this edition of “The Four Seasons – L’Autunno / The Autumn – Volume 3” we invite you to experience Vivaldi’s masterpiece from a new perspective. The creative arrangement for bagpipes and the additional viola and basso continuo part open up new tonal dimensions and make this arrangement a must for every lover of baroque music and traditional wind instruments.
Foreword
“Spring has arrived!(…) To the solemn sound of the bagpipes, nymphs and the shepherd dance under the canopy of heaven to the glorious appearance of spring.”
(The Four Seasons, Amsterdam 1725)
Vivaldi was clearly thinking of the sound of bagpipes as early as the first concerto of the Four Seasons.
The depiction of rural scenes and untouched nature enjoyed great popularity in times of increasing civilization in the 18th century. The four seasons in particular are a frequently recurring theme in garden architecture, visual and performing arts, poetry and music. According to the Baroque theory of affects and the principle of “imitatio naturae”, the changing manifestations of nature simultaneously reflect the human soul with all its emotional states.
Vivaldi was also imbued with this idea in his musical work, whereby he played a pioneering role in Italy with his programmatic tendencies. From the 1710s he seems to have become increasingly interested in opera, and his instrumental works also show more and more extra-musical references. Il Cimento dell’Armonia e dell’Inventione (“Competition between Harmony and Invention”) – this is the title of his op. 8, a collection of concertos, several of which bear a programmatic title and the first four of which are by far the most famous. Vivaldi probably owes the specific inspiration for the theme of the seasons to four paintings of the same name by his Venetian acquaintance Marco Ricci (1676-1730), a painter of landscape scenes and stage sets.
The fact that the four concertos spread so quickly during Vivaldi’s lifetime is certainly also due to the fact that op. 8 was published in Amsterdam in 1725 by the Roger/Le Cène publishing house, soon followed by several further printings in Paris. In contrast to the other concertos, the four seasons are also characterized by the fact that they are accompanied by four sonnets, which Vivaldi probably wrote during or even after composing the music himself.
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Author:inside
Marco Ambrosini
Marco Ambrosini, born in 1964 in Forlì, Italy, is an outstanding musician, composer and arranger who began his musical journey in the world of classical music. He studied violin and composition and played in various orchestras and ensembles before his career took a fascinating turn.
His passion led him to the nyckelharpa, an almost forgotten but fascinating keyed fiddle. This instrument, which is a kind of violin with keys, inspired Marco, and he became one of the first to use the nyckelharpa outside Scandinavia, not only in Swedish folk music, but also in early and contemporary music.
Ambrosini is known for its artistic diversity. He has worked with renowned ensembles such as L’Arpeggiata, Oni Wytars and Supersonus and has conquered stages around the world. His talent also extends to jazz, where he has played with artists such as Michael Riessler and Jean-Louis Matinier.
With over 160 CDs recorded and released by prestigious labels such as Sony Classical, Deutsche Harmonia Mundi and ECM, Marco Ambrosini has firmly established his influence in the music world.
Marco also shares his passion and knowledge by teaching at various universities in Europe. He has also launched educational initiatives such as the European Nyckelharpa Training Course and is the artistic director of the Summer Master Classes for Early Music.
Marco Ambrosini is a world-class musician and a master of his craft. His music inspires and enriches the world of traditional music, and his influence extends across borders and ages.
Eva-Maria Rusche
Eva-Maria Rusche, born in Tübingen, Germany, is an extraordinary artist whose life has been shaped by a fascination for playing the piano. She began learning to play the piano at the tender age of 5 and continued this passion with dedication and ambition. Her musical journey took her from Tübingen into the wide world of keyboard instruments.
Her musical training included piano, organ and historical keyboard instruments, which she studied at renowned music academies in Lübeck, Vienna and Stuttgart. Her teachers, including professors such as Jürgen Essl, Arvid Gast, Michael Radulescu, Franz Danksagmüller and Jon Laukvik, contributed significantly to her becoming a master of the keyboard. But master classes and international workshops also shaped her artistic development and gave her music a deep and varied dimension.
Eva-Maria Rusche is not only a virtuoso pianist, but also a passionate organist and harpsichordist. Her musical journey regularly takes her all over Europe, where she performs both as a soloist and as a chamber music partner with international ensembles. Whether on the harpsichord, piano, organ or pianoforte, her musicality and technical brilliance delight her audience.
Eva-Maria Rusche is also a committed music teacher. During her studies, she taught harpsichord at the Stuttgart University of Music and passed on her knowledge and passion for keyboard instruments to the next generation. In Constance, she has established herself in the areas of piano, organ and harpsichord and has been inspiring students in the areas of piano, theory, improvisation, ensemble and band playing since 2009.
Her musical versatility is reflected in her collaboration with various ensembles, including Ensemble Supersonus, Ensemble Oni Wytars, Ensemble Metamorphonica, Quatuor Ardeo and many more. Her artistic palette ranges from baroque music to contemporary interpretations. She is in demand as a continuo player and chamber musician and enriches the stage with her virtuosity.
Eva-Maria Rusche is not only a talented musician, but also a researcher and scientist. Her studies include the examination of an organ built in 1700 and research into emotions in the early modern period. Her academic work is further evidence of her deep connection to music and her intellectual curiosity.
As co-author of music editions and as a contributor to research projects such as “Nordhessische Orgellandschaft”, Eva-Maria Rusche has enriched the musical world with her knowledge and skills. Her CDs, including “Resonances” with Ensemble Supersonus and “Alfedans” with Marco Ambrosini, are testimony to her artistic excellence.
