There is an evident contrast between the orchestra’s material and that of the solo violin, but the lines are blurred at 2: 54 when the violin plays during the material that the orchestra normally plays by itself.

The cello part drives the orchestra forward and punctuates the solo violin line. In the first movement of RV 235, the tutti sections make effective use of the entire orchestra, using the two violin sections to create suspensions and passages harmonized in thirds. Here’s an example using a different piece (RV 546): Horizontal lines better communicate emotion, because people only exist and think in a forward-moving timeline. The melodies in the solo violin part are very ornate and full of brilliant fast notes, but they develop the horizontal (forward moving) lines rather than the vertical harmonies. In its composition he moves away from material relying on the earlier broken-chord figuration – a method Corelli also used – and embraces the longer melodic lines that were characteristic of the later Baroque and early Classical periods. RV 235 is one of Vivaldi’s later violin concerti. But can it be poignant too? The answer is in one recording of one piece. Vivaldi’s music is generally a fast-paced celebration of strings and harpsichord. Rarely do you seek out a work of Vivaldi as a description of the loneliness or lostness that we all feel at some point. If you want uplifting you can listen to Vivaldi’s choral music, or you can go to his concerti ‘for many instruments’ for a grand orchestral experience. If you want to be dazzled and thrilled you can listen to the last movement of RV 128 or so many others. If you want joyful you can listen to RV 310 if you want intense you can listen to RV 119. The emotion of his music is generally straightforward. Vivaldi’s music is often one of two things – joyful or intense.

Vivaldi's music