А. Vivaldi’s Serenade «Gloria e Imeneo»: genre‑performing analysis

Abstract

Formulation of the problem. The article is devoted to the serenade genre, popular in the 17th–18th centuries, which is an example, on the one hand, of a composition that was written «on demand», for the occasion, and, on the other hand, it is an intermediate genre between a cantata and a small opera. In terms of genre and specifics of performance, an analysis of one of the examples of the genre of baroque serenade is offered – that is of Antonio Vivaldi’s «Gloria e Imeneo» RV687. Analysis of recent research and publications. The article includes studies of the solo cantata genre (G. Omelchenko Aghai-Kuhi), the development of the serenade genre in Venice of the 18th century (Tabolt), Rome (Tcharos), at the court of the Austrian Habsburgs (Tabulina); the problems of baroque art, opera and creative work of A. Vivaldi (Durante, Martelotti), the principles of baroque figurative singing (Machinni; Tosi). Kintzel’s article and A. Borin’s preface and annotations to the score (Ricordi edition) are directly devoted to A. Vivaldi’s serenades. The purpose of the article is to formulate the basic principles of the baroque serenade genre and to define typical and individual features on the example of «Gloria e Imeneo» by A. Vivaldi. The scientific novelty is connected with an attempt to trace the development of the serenade genre of the Baroque era in Italy (Rome and Venice) and the formulation of the genre-stylistic and performing parameters of the serenade in the creative work of A. Vivaldi using the example of «Gloria e Imeneo». The research methodology combines genre-intonation and performing types of analysis. The results of the study contain a detailed analysis of the relationship between the text-instrumental accompaniment and the vocal part, which allows us to identify the individual features of A. Vivaldi’s style, which were used by him in operas. The duality of the genre features of the serenade is emphasized: from the opera, it can have a simple plot, images of the heroes of the compositions, from the cantata – a small instrumental composition and the basic «static» of the characters (while the opera is characterized by dynamics according to the plot action). The main genre principles are formulated in the conclusions, including: a small orchestra composition, a small number of performers, alternation of arias (according to the principle of contrast), recitatives and duets. It is indicated that the main form in which arias are written is da capo, within which A. Vivaldi demonstrates the sophistication of the melody, emotionality, character, which gives the genre the desired individualization. From the point of view of performance (the analysis was carried out on the example of Gloria’s part), virtuosic technique, the presence of various types of melismas, the need to master the breathing technique (necessary for performing long phrases), the ability to use the necessary timbre of the voice (vocal plasticity) have been singled out. From a communicative point of view, the attractiveness of serenades for today’s listeners is marked by the fact that they are a fairly mobile genre and excite with vocal technique on a par with baroque opera, although they do not require large resources for staging.