Vivaldi – Concert G-moll for two cellos and piano. You can download the PDF sheet music Vivaldi – Concert G-moll for two cellos and piano on this page. Vivaldi's cello concert g-moll for two cellos and piano RV 531 - is a very interesting composition for cello duo. This dialog of two big cellos is spiritually connected with the piano part.
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Vivaldi probably wrote the cello concertos—like most of his concertos—for his talented young pupils at the "Ospedale délia Pietà", where he became a member of the teaching staff at the age of 25 In September 1703, six months after being ordained as a priest. Vivaldi remained at this institution, a sort of orphanage with a musical arm, for more than thirty-five years. Around 1736 the "Ospedale délia Pietà" was home to the extraordinary number of 1,000 girls. Wars lasting decades—especially with the Turks—were the main cause of the requirement for orphanages in Venice. Thanks to the performances by their excellent orchestra and their outstanding singers, the Pietà pupils were able to augment their state financing through regular Sunday concerts. Vivaldi's promotion at the Ospedale did not run exactly smoothly.. In contrast to some of his colleagues, however, he was able to make a living for himself as a violinist and composer there. Generous increases in salary reflect his growing reputation in the city-state: he was in a position to make demands.
For health reasons (probably due to angina pectoris), he withdrew from his ecclesiastical duties and no longer administered the mass. Nevertheless, he advanced his career in the strenuous and risky business of an opera impresario. Venice was the most prestigious of all opera cities. The very first public opera house had opened there in 1637. In Vivaldi's day there were no less than 8 theatres regularly performing operas over 3 seasons per year. In addition to undertaking the gruelling task of organization, Vivaldi wrote according to his own account a total of 94 operas. He was at the pinnacle of his career. "I have the honour of corresponding with nine high-born counts; my letters travel, hither and thither throughout all Europe." But this steep upward career was to experience a sudden downfall. In 1737 Thomaso Ruffo, the strict cardinal of Ferrara, refused to allow Vivaldi to enter the city where the composer as Impresario was to stage one of his new operas. The reason for this was Vivaldi's refusal to read mass and his liaison with the opera singer Anna Giro, which had become too public, though Vivaldi insisted that there was no relationship between them. The situation was becoming more and more difficult for Vivaldi. He hoped that a trip to Vienna, where he had established good relations with the Imperial court, would be the key to helping him out of his financial straits. When Vivaldi arrived In Vienna, his former benefactor Karl VI had died. Vivaldi himself died as poor as a church mouse on July 28, 1741, In Vienna.
Yet Vivaldi's music remains immortal. The easy-going, lively and excitingly virtuoso Allegros (like the final movement of the A Minor Concerto, RV 419), the clearly defined sequences, the rich spectrum of tonal colours and the heart-rending sighing figures of the slow movements (the Largo of the G Major Concerto, RV 414 is particularly lovely) seem to be the musical declaration of the incredible expressiveness of Titian coupled with the natural touch of Canaletto. In brilliant self-portrayal, Vivaldi's music reflects the unbroken will to live of a city that did not accept that its golden age had passed. No one realized at the time that this enchanting music composed by a priest who had died la a foreign country would one day become Venice's best known musical export hit.
