ANTONIO VIVALDI’S GROUP OF CONCERTS THE FOUR SEASONS: FROM BAROQUE SYNTHESIS OF ARTS TO NEW 20TH-CENTURY FORMS OF ARTISTIC SYNTHESIS

Abstract:

The article examines Antonio Vivaldi’s The Four Seasons concerts from the perspective of baroque culture. We believe that baroque culture reflects the key general cultural trends characteristic of this era, in particular, such issues as time and the synthesis of arts. These trends manifest themselves in The Four Seasons. The topic of changing seasons is generally very interesting in terms of its choreographic production.

The article discusses two choreographic productions based on the music from Antonio Vivaldi’s The Four Seasons: the ballet by Roland Petit (captured on video in 1984) and the screen ballet by James Kudelka (2003).

Petit’s concept evolves around the idea of ​​eternal repetition. He focuses on the general and the objective, which is in line with the artistic principles of neoclassicism. This becomes manifest in the objectivity of statements and the preference for crowd scenes. The representation of concerts is suite-based with no continuous development between them. Petit’s concept tends towards the epic genus. The ballet is not devoid of certain symmetry due to the repetition of two parts of the concert Spring after the end of Winter. Thus, Petit’s production views time as cyclical, while the correlation between music and choreography indicates a parallelism of texts rather than their synthesis.

The ballet by J. Kudelka is the drama of an individual human life. Here, the artistic time resembles a vector, it is irreversible, which is typical of drama. This is achieved by the acceleration of movement towards the end of the production with the pantomime gradually replacing the dance. The title The Four Seasons allows two possible interpretations and in Kudelka’s case the allegorical one comes to the fore. His concept is the life course of a person from birth to death. The ballet does not reveal a parallelism between music and dance, on the opposite, it is a synthesis of texts, an intertext.

7. Gorschuk article 2021-4

Download the article

ГОРЩУК Александра Андреевна – преподаватель отделения теории музыки Государственного музыкально-педагогического института имени М.М. Ипполитова-Иванова.

Aleksandra A. GORSHCHUK is a lecturer of the Music Theory Department, The State Musical Pedagogical Institute named after M.M. Ippolitov-Ivanov

E-mail: andragor_a@mail.ru

You may also like...