Student Performed the Vivaldi Guitar Concerto RV 93

I am going to take this opportunity to brag that recently a student of mine performed the Vivaldi Guitar Concerto RV 93 in D Major! His name is Eli and took on the challenge and made me extremely proud. Few teachers get the chance to say that a student performed Vivaldi’s concerto or any concerto for that matter. I am often overwhelmed by the success that students have but this is a definite milestone in his life.

He is obviously a great student but what makes this event special is that it was his first true performance…EVER! It is difficult for most to perform in front of others as a solo guitarist without any other instruments dependent on our playing. But a concerto is different, and the entire accompaniment should be moving with you and the conductor’s direction.

About the Concerto

The Vivaldi Concerto RV 93 is a famous classical composition by Italian Baroque composer Antonio Vivaldi. The original is a concerto for lute (or mandolin) and orchestra. Vivaldi composed this work around the early 18th century during his time as a music teacher and composer at the Ospedale della Pietà in Venice.

Instrumentation

The concerto is written for a solo lute (or mandolin) accompanied by a small orchestra. The orchestra typically includes strings, harpsichords, and sometimes a few wind instruments.

Structure

The concerto follows the traditional three-movement structure commonly found in Baroque concertos: a. Allegro: The first movement is usually fast-paced, lively, and full of virtuosic passages for the soloist and engaging interplay between the solo instrument and the orchestra. b. Largo: The second movement is often a slow, lyrical section that provides a contrast to the energetic first movement. It allows the soloist to showcase their expressive abilities. c. Allegro: The final movement is usually another lively and rhythmic section, often featuring intricate ornamentation and a spirited dialogue between the soloist and the orchestra.

Characteristic Features

Like many of Vivaldi’s compositions, RV 93 is characterized by its melodic inventiveness, rhythmic vitality, and brilliant use of contrasting musical ideas. It displays the Baroque style’s typical use of ornamentation and lively dance-like rhythms.

Influence

Vivaldi’s music, including RV 93, had a profound impact on the development of the concerto form and the transition from the Baroque to Classical period. His innovative and virtuosic writing for the solo instrument paved the way for future generations of composers.

Adaptations

The concerto is originally scored for the lute, but it is sometimes performed with other plucked string instruments such as the guitar, as is the case here, or mandolin. Additionally, some arrangements exist for different instruments, allowing for various interpretations of the piece.

RV 93 is one of Vivaldi’s most popular and frequently performed concertos today, showcasing his mastery in writing for both solo instruments and orchestra. Its captivating melodies and lively energy continue to captivate audiences and musicians alike, making it a beloved work in the Baroque concerto repertoire.

Preparation For Vivaldi Concerto

We worked through many different elements of performing leading up to the concert. We worked on visualization for memory, solfege, and singing for musical phrasing, and practice performances for psychological conditioning. Eli put all solo guitar pieces aside leading up to the event. He, of course, maintained his technical studies as the foundation for solid technique and endurance.

Visualization, by far, was the most used method we used during preparation. It is also known as mental practice or mental rehearsal. This technique is used by many musicians to improve their playing skills and musical understanding. It involves mentally imagining or “seeing” oneself playing the guitar without physically touching the instrument. Visualization can be a powerful tool that complements regular practice and performance preparation.

More information about visualization on the classical guitar

1. Enhancing Muscle Memory: When you visualize playing the guitar, your brain activates the same neural pathways as when you physically play. This helps reinforce muscle memory, making it an effective way to practice even when you don’t have access to the instrument.
2. Fingerings and Movements: By mentally going through pieces, scales, or exercises, you can work on fingerings, hand positions, and movements. This can help improve your technique and accuracy.
3. Phrasing and Interpretation: Visualization allows you to focus on the musical expression and phrasing of a piece. You can imagine the dynamics, articulations, and emotional nuances, helping you shape a more expressive performance.
4. Memorization: If you’re working on memorizing a piece, visualization can reinforce your memory and help you become less reliant on sheet music.
5. Rehearsing Difficult Passages: When facing challenging parts in a piece, you can mentally practice those sections repeatedly to build confidence and overcome technical hurdles.
6. Performance Preparation: Visualization can be used as a pre-performance ritual to calm nerves and mentally prepare for a concert or recital. Many successful performers use this technique to manage performance anxiety.
7. Aural Skills: Visualization can also be applied to ear training. You can mentally imagine hearing intervals, chords, or melodies, which can improve your ability to recognize and play music by ear.

Tips for Effective Visualization

• Quiet Environment: Find a quiet space where you can concentrate without distractions.
• Relaxation: Take a few deep breaths and relax your body and mind before starting the visualization session.
• Start Slowly: Begin with simple pieces or exercises before moving on to more complex ones.
• Be Specific: Pay attention to details like finger placements, string changes, and musical expression.
• Regular Practice: Just like physical practice, regularity is essential. Set aside dedicated time for visualization practice.
• Combine with Physical Practice: Visualization works best when combined with regular physical practice. Use it as a supplementary tool, not a replacement.

Remember that while visualization can be beneficial, it should not replace actual physical practice on the guitar. The two methods should complement each other to help you become a more well-rounded and proficient musician.

Performance of the Concerto

His playing was not flawless but it was pretty close. His demeanor and presentation were at a level beyond what I have seen at many collegiate recitals. Many times I find that college-level students treat performing for an audience without enough respect. Their attire and attitude on stage diminish their overall effectiveness as a performer. This concert and presentation respected the audience and the other musicians on stage.

Giants, He Stands On

Many of the most renowned classical guitarists who have recorded Vivaldi’s Concerto RV 93 include:

1. Pepe Romero: A highly respected Spanish guitarist known for his exceptional technique and expressive playing. He has recorded RV 93 on various albums.
2. John Williams: The Australian classical guitarist is known for his extensive discography, and he has also recorded Vivaldi’s Concerto RV 93.
3. Julian Bream: An influential British guitarist known for his significant contributions to the classical guitar repertoire. His interpretation of RV 93 is highly regarded.
4. Sharon Isbin: An American classical guitarist with a diverse and impressive repertoire, including a recording of RV 93.
5. Christopher Parkening: An American classical guitarist who has made significant contributions to the classical guitar world, including his interpretation of RV 93.
6. David Russell: A Scottish classical guitarist with a rich discography, including his rendition of RV 93.

Full Audio Performance of Göran Söllscher

I could not be more proud and am looking forward to where Eli finds success. He may not become a professional musician but the lessons he learns from the guitar will benefit him throughout any field he chooses to enter. Awesome Eli!

Check out some of our other articles on scales:

• 3 Things I Am Learning From Beginner Guitar Scales in Open Position
• The Basics of Music Theory – Part 1 (The Chromatic Scale)
• Learning To Connect Two Guitar Scale Forms – Part 1
• Segovia Scales And Their Hinderances

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Chadwick Becks

I have two degrees in guitar performance and was privileged to study under Aaron Shearer, Tom Kikta, David Skantar, Ken Karsh, Tim Bedner, and currently Christopher Berg. Outside my editorial work on this blog, I teach full-time across many genres including classical, jazz, blues, rock, funk, and metal.