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How Recitatives End and Arias Begin in the Solo Cantatas of Antonio Vivaldi

Michael Talbot
Journal of the Royal Musical Association
Vol. 126, No. 2 (2001), pp. 169-192
Published by: Taylor & Francis, Ltd. on behalf of the Royal Musical Association
Stable URL: http://www.jstor.org/stable/3557480
Page Count: 24
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How Recitatives End and Arias Begin in the Solo Cantatas of Antonio Vivaldi
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Abstract

Whereas earlier Italian baroque cantatas usually began arias in the key in which the preceding recitative had ended, there was an increasing tendency after 1700 to create a tonal disjunction between recitative and aria and to utilize for affective purposes the harmonic progression linking the last chord of the former to the first chord of the latter. Vivaldi, who almost invariably placed his arias in a contrasting key, was a leading exponent of this technique and employed a surprisingly large variety of key relationships at the recitative-aria interface. For illustration, the article draws on cantatas by Vinaccesi, Albinoni and Vivaldi.

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