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The interrelationship between music and program in Vivaldi’s Violin

TOPIC
Discuss the interrelationship between music and program in Vivaldi’s Violin Concerto in F
minor, Op. 8, no. 4 “Winter.” Does Vivaldi adapt/alter any of the conventions of either the
concerto or Baroque style in response to the poem that inspires this particular work? Must
the listener be familiar with the poem in order to understand Vivaldi’s music?
THE POEM
a. The complete poem
Frozen and shivering in the icy snow,
In the strong blasts of a terrible wind
To run stamping one’s feet at every step
With one’s teeth chattering through the cold.
To spend the quiet and happy days by the fire
Whilst outside the rain soaks everyone.
To walk on the ice with slow step
And go carefully for fear of falling.
To go in haste, slide and fall down:
To go again on the ice and run,
Until the ice cracks and opens.
To hear leaving their iron-gated house Sirocco,*
Boreas* and the winds in battle:
This is winter, but it brings joy.
*NOTE: Sirocco and Boreas are personifications of winds.
b. Indications (given by Vivaldi) for the first movement
Frozen shivering in the icy snow
Dreadful storm
Running and foot stamping because of the cold
Winds
Chattering of teeth
c. Indications (given by Vivaldi) for the second movement
Rain
d. Indications (given by Vivaldi) for the third movement
Crossing the ice
Moving carefully and anxiously
Falling to the ground
Striding boldly on
The sirocco
The north wind and all other winds
METHODOLOGY
a. The following presents a sample outline for the paper
•
o
▪ The first page (approximately) of the paper should be devoted
to defining/describing the concerto, ritornello form, and
Baroque style.
▪ The second page should be devoted to examination of the work
(in terms of fundamentals) in light of the
definitions/descriptions given on the previous page. In other
words, this page needs to consider how well Vivaldi’s “Winter”
concerto follows the conventions of the Baroque concerto (in
terms of performing forces, sequence of movements, ritornello
form, continuity, etc.
▪ The final page should consider the music in light of the poem
(without restating the poem verbatim). Consider what aspects
of “Winter” reflect ideas and imagery from the poem, justifying
each by specifically describing the music in terms of
fundamentals. Pay special attention to the places/aspects of
the piece that do not conform to the norms of the Baroque
concerto, as well as how the poem might have prompted
Vivaldi to “break the rules” of Baroque style
b. 3-5 typed pages, double-spaced
c. This is a listening assignment, NOT a research paper. Between the textbook, notes taken
during lecture, and your ears, you have all of the materials you need.
•
o
▪ Emphasis should be given to musical analysis and
interpretation. The paper should be a discussion of the
assigned composition in terms of melody, harmony, rhythm,
texture, form, etc. This analysis should (mostly) be your own
observations based on attentive listening. I would rather see
incorrect/inaccurate analysis by you than a regurgitation of an
analysis you read in a book.
▪ If you nevertheless insist on researching the topic, the
following sources are
unacceptable: wikipedia.org, classical.net, classicalarchives.co
m, answers.com, classicalmusic.about.com, scholastic.com, any
personal blogs (regardless of the web address), wisegeek.com,
STUDENT papers appearing on university web sites, AND many
other sites (too plentiful to list here).
▪ If you use unscholarly/inappropriate sources (like those
enumerated above), your grade will be no higher than a
C. As a general rule, sources either a) need to be books checked
out from a university library, or b) can be accessed online only
after logging into a university library’s database system. Please
don’t try to get away with using these sources by neglecting to
cite them—Dr. Basinger can google “Vivaldi Four Seasons” just
as easily as you can. . . .
d. You may access a recording of the work here
•
o
▪ first movement
▪ second movement
▪ third movement
e. In order to receive full credit, you must submit papers by 9:40 am on 4/12. Any paper
turned in after this (even five minutes past this time) is late. Late papers will receive a
grade penalty amounting to a full letter grade for each week late. Students must turn in
late papers on (or before) April 27; Canvas (and Dr. Basinger) will not accept any course
work after this date
HINTS AND SUGGESTIONS
a. A well-organized paper will have an introduction, body paragraphs, and a conclusion.
b. Your paper should have a point (i.e., an original thesis statement that is a product of your
own thought)! This point should be clearly expressed in your introduction and supported
in the remainder of your argument. On the most basic level, there are three possible thesis
statements (which should be restated in your own words)
•
o
▪ Because the “Winter” concerto closely follows the conventions
of a Baroque concerto, the music makes sense on its own,
without the poem.
▪ Because the “Winter” concerto violates the conventions of the
Baroque concerto, the music does not make sense without the
poem.
▪ Because the “Winter” concerto closely follows the conventions
of a Baroque concerto, the music makes sense on its own;
however, the poem adds an additional level of meaning.
c. You don’t need to discuss all 3 movements if it’s going to make your paper longer than 5
pages. However, you must acknowledge that there is a total of 3 movements (as well as
whether they follow the standardized sequence associated with concerti).
BIBLIOGRAPHIC CONCERNS
a. If you use any reference material (this includes the textbook), you must include a
bibliography. Please refer to The Chicago Manual of Style or the MLA Handbook for the
correct bibliographic format. Bibliographies do not count towards the 3-page minimum
length!
b. If you draw upon any outside information, you must include footnotes, endnotes, or
parenthetical citations. The style manuals listed above will show you the correct format for
these all of these.
c. Obviously, all direct quotation must be cited. Indirect quotation, paraphrase, and
reference to the work of others must also be cited. Because the instructor is well read, she
can always tell when ideas are not the student’s (and she can often recognize the original
source of the information).

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