Name	Accordion
Names	Danish (free-bass): ''Accordeon''. Danish (standard-bass), Hungarian & Icelandic: ''Harmonika'' Portuguese:''Acordeão'' or ''Sanfona'' French:''Accordéon'' German:''Akkordeon'' Greek:''Ακορντεον'' Italian:''Fisarmonica'' Norwegian:''Trekkspill'' Polish:''Akordeon, harmonia'' Catalan:''Acordió'' Dutch:''Accordeon'' Russian:''Bajan'' Castillian:''Acordeón'' Croatian: ''Harmonika'' Slovenian:''Frajtonarca'' Swedish:''Dragspel
Image capt	A piano accordion (top) and a Russian bayan (bottom)
Background	keyboard
Hornbostel sachs	412.132
Hornbostel sachs desc	Free-reed aerophone
Developed	Early 19th century
Range	Depends on configuration: Right-hand manual Chromatic button accordion Diatonic button accordion Piano accordion Left-hand manual Stradella bass system Free-bass system
Related	Hand-pumped: Bandoneón, Concertina, Flutina, Garmon, Trikitixa, Indian harmonium Foot-pumped: Harmonium, Reed organ Mouth-blown: Melodica, Harmonica, Laotian Khene, Chinese Shēng, Japanese Shō Electronic reedless instruments: Electronium, MIDI accordion, Roland Virtual Accordion
Musicians	Accordionists (list of accordionists).
Midi	021/022023/024 (Tango Accordion)
Articles	Accordion, Chromatic button accordion, Bayan, Diatonic button accordion, Piano accordion, Stradella bass system, Free-bass system, Accordion reed ranks & switches }}

The accordion is a box-shaped musical instrument of the bellows-driven free-reed aerophone family, sometimes colloquially referred to as a squeezebox. A person who plays the accordion is called an ''accordionist''.

The instrument is played by compressing or expanding the bellows whilst pressing buttons or keys, causing valves, called ''pallets'', to open, which allow air to flow across strips of brass or steel, called ''reeds'', that vibrate to produce sound inside the body.

This instrument is sometimes considered a one-man-band, as it needs no accompanying instrument. The performer normally plays the melody on buttons or keys on the right-hand manual, and the accompaniment, consisting of bass and pre-set chord buttons, on the left-hand manual.

The accordion is often used in folk music in Europe, North America and South America and in some countries, such as in Brazil, it is also commonly used in mainstream pop music. In Europe and North-America, it is often associated with busking. Some popular music acts also make use of the instrument. Additionally, the accordion is sometimes used in both solo and orchestra performances of classical music.

The oldest name for this group of instruments is actually ''harmonika'', from the Greek ''harmonikos'', meaning ''harmonic, musical''. Today, native versions of the name ''accordion'' are more common. These names are a reference to the type of accordion patented by Cyrill Demian, which concerned "automatically coupled chords on the bass side".

Construction

Accordions are made in a large number of different configurations and types. What may be technically possible to do with one accordion could be impossible with another:

Some accordions are ''bisonoric'', meaning they produce different pitches depending on the direction of bellows movement

Others are ''unisonoric'' and produce the same pitch regardless of the direction of bellows movement

Some accordions use a chromatic buttonboard for the right-hand manual

Others use a diatonic buttonboard for the right-hand manual

Yet others use a piano-style musical keyboard for the right-hand manual

Some accordions are capable of playing in registers different from others

Additionally, different accordion craftsmen and technicians may tune the same registers in a slightly different manner, essentially "personalizing" the end result, such as an organ technician might voice a particular instrument

Universal components

Bellows

The bellows is the most recognizable part of the instrument, and the primary means of articulation. Similar to a violin's bow, the production of sound in an accordion is in direct proportion to the motion of the player. It is located between the right- and left-hand manuals, and is made from pleated layers of cloth and cardboard, with added leather and metal. It is used to create pressure and vacuum, driving air across the internal reeds and producing sound by their vibration, applied pressure increasing the volume.

The keyboard touch is not expressive and does not affect dynamics: all expression is effected through the bellows: some bellows effects as illustrated below: # Bellows used for volume control/fade # Repeated change of direction ("bellows shake") # Constant bellows motion while applying pressure at intervals # Constant bellows motion to produce clear tones with no resonance # Using the bellows with the silent air button gives the sound of air moving, which is sometimes used in contemporary compositions particularly for this instrument

Body

The accordion's body consists of two wood boxes joined together by the bellows. These boxes house reed chambers for the right- and left-hand manuals, respectively. Each side has grilles in order to facilitate the transmission of air in and out of the instrument, and to allow the sound to better project. The grille for the right-hand manual is usually larger and is often shaped for decorative purposes. The right-hand manual is normally used for playing the melody and the left-hand manual for playing the accompaniment, however skilled players can reverse these roles.

The size and weight of an accordion varies depending on its type, layout and playing range, which can be as small as to have only one or two rows of basses and a single octave on the right-hand manual, to the standard 120-bass accordion and through to large and heavy 160-bass free-bass converter models.

Pallet mechanism

The accordion is an aerophone. The manual mechanism of the instrument either enables the air flow, or disables it:

Variable components

There is a wide range of instruments that are called ''accordion''. The different types have varying components. All instruments have reed ranks of some format. Not all have switches. The most typical accordion is the piano accordion, which is used for many musical genres. Another type of accordion is the button accordion, which is used in Conjunto and Tejano music.

Right-hand manual systems

Different systems exist for the right-hand manual of an accordion, which is normally used for playing the melody. Some use a button layout arranged in one way or another, while others use a piano-style keyboard. Each system has different claimed benefits by those who prefer it. They are also used to define one accordion or another as a different "type":

Chromatic button accordions and the bayan, a Russian variant, use a buttonboard where notes are arranged chromatically. Two of these systems exist

Diatonic button accordions use a buttonboard limited to the notes of diatonic scales in a small number of keys. The keys are often arranged in one row for each key scale available

Piano accordions use a musical keyboard similar to a piano, at right angles to the cabinet, the tops of the keys inward toward the bellows

6-plus-6-accordions use a buttonboard with three rows of buttons. The chromatic scale consists of two rows. The third row is a repetition of the first row. So there is the same fingering in all twelve scales. These accordions are produced only in special editions.

Left-hand manual systems

Different systems are also in use for the left-hand manual, which is normally used for playing the accompaniment. These almost always use distinct bass buttons and often have buttons with concavities or studs to help the player navigate the layout despite not being able to see the buttons while playing. There are three general categories:

The Stradella bass system, also called ''standard bass'', is arranged in a circle of fifths and uses single buttons for chords

The Belgian bass system is a variation used in Belgian chromatic accordions. It is also arranged in a circle of fifths but in reverse order. This system has 3 rows of basses, 3 rows of chord buttons allowing easier fingering for playing melodies, combined chords, better use of fingers 1 and 5, and more space between the buttons. This system was poorly traded outside of native Belgium

Various Free-bass systems for greater access to playing melodies on the left-hand manual and to forming one's own chords. These are often chosen for playing classical music

Reed ranks and switches

Inside the accordion are the reeds that generate the instrument tones. These are organized in different sounding ''ranks'', which can be further combined into ''registers'' producing differing ''timbres''. All but the smaller accordions are equipped with switches that control which combination of reed ranks will be brought into operation, organized from high to low registers. Each register stop produces a separate sound timbre. See the accordion reed ranks & switches article for further explanation and audio samples.

All but the smallest accordions usually have treble switches. The larger and more expensive accordions often also have bass switches.

Classification of chromatic and piano type accordions

In describing/pricing an accordion, the first factor is size, expressed in number of keys on either side. For a piano type, this could for one example be 37/96, meaning 37 keys (3 octaves plus one note) on the treble side and 96 bass keys. After size, the price and weight of an accordion is largely dependent on the number of reed ranks on either side, either on a cassotto or not, and to a lesser degree on the number of combinations available through register switches. Typically, these could be announced as Reeds: 5 + 3, meaning 5 reeds on the treble side and 3 on the bass, and Registers: 13 + M, 7, meaning 13 register buttons on the treble side plus a special "master" which activates ALL ranks like the "tutti" on an organ, and 7 register switches on the bass side.

Straps

The larger piano and chromatic button accordions are usually heavier than other smaller squeezeboxes, and are equipped with two shoulder straps to make it easier to balance the weight and increase bellows control while sitting, and avoid dropping the instrument while standing.

Other accordions, such as the diatonic button accordion, have only a single shoulder strap and a right hand thumb strap. All accordions have a (mostly adjustable) leather strap on the left-hand manual to keep the player's hand in position while drawing the bellows. There are also straps above and below the bellows to keep it securely closed when the instrument is not playing.

Unusual accordions

Various hybrid accordions have been created between instruments of different buttonboards and actions. Many remain curiosities — only a few have remained in use:

The Schrammel accordion, used in Viennese chamber music and klezmer, which has the treble buttonboard of a chromatic button accordion and a bisonoric bass buttonboard, similar to an expanded diatonic button accordion

The schwyzerörgeli or Swiss organ, which usually has a 3-row diatonic treble and 18 unisonoric bass buttons in a bass/chord arrangement – actually a subset of the Stradella system – that travel parallel to the bellows motion

The trikitixa of the Basque people has a 2-row diatonic, bisonoric treble and a 12-button diatonic unisonoric bass

In Scotland, the favoured diatonic accordion is the instrument known as the British Chromatic Accordion. While the right hand is bisonoric, the left hand follows the Stradella system. The elite form of this instrument is generally considered to be the German manufactured Shand Morino, produced by Hohner with the input of Sir Jimmy Shand

History

The accordion is a free reed instrument and is in the same family as other instruments such as the sheng and khaen. The sheng and khaen are both much older than the accordion and this type of reed did inspire the kind of free reeds in use in the accordion as we know it today.

The accordion's basic form is believed to have been invented in Berlin in 1822 by Christian Friedrich Ludwig Buschmann, although one instrument has been recently discovered that appears to have been built earlier.

The accordion is one of several European inventions of the early 19th century that used free reeds driven by a bellows. An instrument called ''accordion'' was first patented in 1829 by Cyrill Demian, of Armenian descent, in Vienna

Demian's instrument bore little resemblance to modern instruments. It only had a left hand buttonboard, with the right hand simply operating the bellows. One key feature for which Demian sought the patent was the sounding of an entire chord by depressing one key. His instrument also could sound two different chords with the same key; one for each bellows direction (a ''bisonoric'' action).

The piano accordion was first played in German-speaking regions, and then spread over Europe. Some early portable instrument with piano keys had been invented in 1821, but it started to actually be played much later, and built its reputation from there.

At that time in Vienna, mouth harmonicas with ''Kanzellen'' (chambers) had already been available for many years, along with bigger instruments driven by hand bellows. The diatonic key arrangement was also already in use on mouth-blown instruments. Demian's patent thus covered an accompanying instrument: an accordion played with the left hand, opposite to the way that contemporary chromatic hand harmonicas were played, small and light enough for travelers to take with them and used to accompany singing. The patent also described instruments with both bass and treble sections, although Demian preferred the bass-only instrument owing to its cost and weight advantages.

By 1831 at least the accordion had appeared in Britain. The instrument was noted in ''The Times'' of that year as one new to British audiences and not favourably reviewed, but nevertheless it soon became popular. It had also become popular with New Yorkers by the mid-1840s at the latest.

After Demian's invention, other accordions appeared, some featuring only the righthanded keyboard for playing melodies. It took English inventor Charles Wheatstone to squeeze both chords and keyboard together in one squeezebox. His 1844 patent for what he called a “concertina” also featured the ability to easily tune the reeds from the outside with a simple tool.

The musician Adolph Müller described a great variety of instruments in his 1833 book, ''Schule für Accordion''. At the time, Vienna and London had a close musical relationship, with musicians often performing in both cities in the same year, so it is possible that Wheatstone was aware of this type of instrument and may have used them to put his key-arrangement ideas into practice.

Jeune's flutina resembles Wheatstone's concertina in internal construction and tone color, but it appears to complement Demian's accordion functionally. The flutina is a one-sided bisonoric melody-only instrument whose keys are operated with the right hand while the bellows is operated with the left. When the two instruments are combined, the result is quite similar to diatonic button accordions still manufactured today.

Further innovations followed and continue to the present. Various buttonboard and keyboard systems have been developed, as well as voicings (the combination of multiple tones at different octaves), with mechanisms to switch between different voices during performance, and different methods of internal construction to improve tone, stability and durability.

Use in various music genres

The accordion has traditionally been used to perform folk or ethnic music, popular music, and transcriptions from the operatic and light-classical music repertoire. Today the instrument is sometimes heard in contemporary pop styles, such as rock, pop-rock, etc., and occasionally even in serious classical music concerts, as well as advertisements.

Use in traditional music

Invented in 1829, its popularity spread rapidly: it has mostly been associated with the common people, and was spread by Europeans who emigrated around the world. The accordion in both button and piano forms became a favorite of folk musicians and has been integrated into traditional music styles all over the world: see the list of traditional music styles that incorporate the accordion.

Use in popular music

The accordion appeared in popular music from the 1900s-1960s. This half century is often called the "Golden Age of the Accordion." Three players: Pietro Frosini, and the two brothers Count Guido Deiro and Pietro Deiro were major influences at this time.

Most Vaudeville theaters closed during the Great Depression, but accordionists during 1930s-1950s taught and performed for radio. During the 1950s through the 1980s the accordion received great exposure on television with performances by Myron Floren on the Lawrence Welk Show. In the late 1950s and early 1960s, the accordion declined in popularity.

In popular music, it is now generally considered exotic or old-fashioned to include the accordion, especially in music for advertisements. Some popular acts do use the instrument in their distinctive sounds.

Use in classical music

Although best known as a folk instrument, it has grown in popularity among classical composers. The earliest surviving concert piece is '''', written in 1836 by Miss Louise Reisner of Paris. Other composers, including the Russian Pyotr Ilyich Tchaikovsky, the Italian Umberto Giordano, and the American Charles Ives (1915), wrote works for the diatonic button accordion.

The first composer to write specifically for the chromatic accordion was Paul Hindemith. In 1922, the Austrian Alban Berg included an accordion in ''Wozzeck'', Op. 7. Other notable composers have written for the accordion during the first half of the 20th century American composer William P. Perry featured the accordion in his orchestral suite ''Six Title Themes in Search of a Movie'' (2008). The experimental composer Howard Skempton began his musical career as an accordionist, and has written numerous solo works for it. Russian Bayan virtuoso Stas Venglevski has premiered contemporary works by Yehuda Yannay, Anthony Galla-Rini and William Susman.

Bosnia and Herzegovina

The accordion is a traditional instrument in Bosnia and Herzegovina. It is the dominant instrument used in sevdalinka, a traditional genre of folk music from Bosnia-Herzegovina. It is also considered a national instrument of the country.

Brazil

The accordion is widely used in Brazil (in particular in the South, South-East, Centre-West and North-East), in traditional as well as pop music. Compared to many other countries, the instrument enjoys in Brazil high popularity in mainstream pop music. In some parts of the country, such as the North-East it is the most popular melodic instrument. As opposed to most European folk, a very dry tuning is usually used in Brazil.

The accordion (predominantly the piano accordion) is used in almost all styles of Forró (in particular in the sub-genres of Xote and Baião) as principal instrument, Luiz Gonzaga (the King of the Baião) and Dominguinhos being among the notable musicians in this style. In this musical style the typical combination is a trio of accordion, triangle and zabumba (a type of drum). This style has gained popularity recently, in particular among the student population of the South-East of the country (in the Forró Universitário genre, with important exponents today being Falamansa, and trios such as Trio Dona Zefa, Trio Virgulino and Trio Alvorada). Moreover the accordion is the principal instrument in Junina music (music of the São João Festival), with Mario Zan having been a very important exponent of this music.

It is an important instrument in the Sertanejo (and Caipira) music which originated in the Centre-west and South-east of Brazil and subsequently has gained popularity throughout the country.

In the South of the country (where there is a preponderance of the button accordion), in particular in Rio Grande do Sul, it used in the Brazilian Gaúcho musical style, an important exponent of this music being Renatto Borghetti.

Colombia

The accordion is also a traditional instrument in Colombia. Used in the style known as vallenato and cumbia in the Atlantic Coast of Colombia. Recently the Accordion has been used by Tropipop musicians such as Bacilos, Carlos Vives, and Andres Cabas, as well as Rock musicians like Juanes and Shakira. Vallenato has come to symbolize the folk music of Colombia. The legend of the Accordion's arrival in Colombia comes from a story of a ship wreck that was coming from Germany to Argentina. The wreck happened over the Magdalena river in the Atlantic coasts.

Use in heavy metal music

Accordionists in heavy metal make their most extensive appearances in the folk metal sub-genre, and are otherwise generally rare. Full-time accordionists in folk metal seem even rarer, but they are still utilized for studio work, as flexible keyboardists are usually more accessible for live performances.

Notably, the Finnish symphonic folk-metal band Turisas has always had a full-time accordionist, employing classical and polka-style sensibilities alongside a violinist. Another Finnish metal band, Korpiklaani, invokes a type of Finnish polka called humppa, and also has a full-time accordionist. Sarah Kiener, the former hurdy-gurdy player for the Swiss melodic-death/folk metal band Eluveitie, played a Helvetic accordion known as a ''zugerörgeli'', which could be a distant relative (in one way or another) to the Swiss schwyzerörgeli, as both are indigenous to and very rare outside of Switzerland.

Manufacturing process

The best accordions are always fully hand-made, especially in the aspect of reeds; completely hand-made reeds have a far better tonal quality than even the best automatically manufactured reeds. Some accordions have been modified by individuals striving to bring a more pure sound out of low-end instruments, such as the ones improved by Yutaka Usui, a Japanese-born craftsman.

The manufacture of an accordion is only a partly automated process. In a sense, all accordions are handmade, since there is always some hand assembly of the small parts required. The general process involves making the individual parts, assembling the subsections, assembling the entire instrument, and final decorating and packaging.

Famous centres of production are the Italian cities of Stradella and Castelfidardo, with many small and medium size manufacturers especially at the latter. Castelfidardo honours the memory of Paolo Soprani who was one of the first large-scale producers. Larger scale production existed in Germany by Hohner and Weltmeister, but these lost volume by the end of the 20th century. The Weltmeister instruments are still handmade by HARMONA in Klingenthal.

Other audio samples

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Notes

References

External links

Free accordion scores, music, videos, forum GoldAccordion.com

Accordions Worldwide

List of accordionists

Accordion museum in Castelfidardo Museo della Fisarmonica Comune di Castelfidardo

Accordion Fanatic provides useful information about accordions from accordion playing to repairing and even gifts.

Accordion Trainer Is a tutoring application which can be used to educate the Stradella bass system.

Category:German musical instruments Category:Free reed aerophones Category:Keyboard instruments Category:Sets of free reeds Category:Austrian musical instruments Category:Belarusian musical instruments Category:Bosnian musical instruments Category:Celtic musical instruments Category:Colombian musical instruments Category:Greek musical instruments Category:Irish musical instruments Category:Lithuanian musical instruments Category:Polish musical instruments Category:Portuguese musical instruments Category:Slovak musical instruments Category:Swiss musical instruments Category:Danish musical instruments Category:San Marinese musical instruments Category:Serbian musical instruments

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Name	MF DOOM
Background	solo_singer
Alias	DOOM, King Geedorah, Metal Face, Metal Fingers, Viktor Vaughn, Zev Love X, Madvillian
Birth date	January 09, 1971
Birth place	London, United Kingdom
Born as	Daniel Dumile
Origin	Long Island, New York
Genre	East Coast hip hop
Instrument	Vocals, sampler, synthesizer, drum machine, Pro Tools
Occupation	Rapper, hip hop producer
Associated acts	KMD, Madvillain, Danger Doom, Madlib, MF Grimm, Ghostface Killah, J Dilla, Count Bass D, Aesop Rock, Jneiro Jarel, Gorillaz, Masta Ace
Years active	1988–19931997–present
Label	Elektra (1988–1993)Sub Verse (1997–2003)Fondle 'Em (1997–2001)Metal Face (1997–present) Big Dada (2003)Naturesounds (2003–present) Rhymesayers (2004)Stones Throw (2004–present)Lex (2005–present)
Website	Official website }}

Daniel Dumile (pronounced ; born January 9, 1971) is a hip hop artist who has taken on several stage names in his career, most notably MF Doom, often stylized as MF DOOM, where the "MF" stands for metal face, and for tracks he has produced, metal fingers. He has appeared in several collaborative projects such as Danger Doom (with Danger Mouse) and Madvillain (with Madlib).

History

Early years with KMD

Dumile was born on January 9, 1971, in London, England, the son of a Trinidadian mother and Zimbabwean father. He then moved with his family to New York and was raised in the city of Long Beach, New York on Long Island.

As Zev Love X, he formed the group KMD in 1988 with his younger brother DJ Subroc and another MC called Rodan. When Rodan left the group, Zev found another MC to replace Rodan named Onyx the Birthstone Kid. A&R; rep Dante Ross learned of KMD through the hip hop group 3rd Bass, and signed the group to Elektra Records.

Dumile and KMD's recorded debut came on 3rd Bass's song "The Gas Face" from ''The Cactus Album'', followed in 1991 with KMD's album ''Mr. Hood'', which became a minor hit through its singles "Peachfuzz", "Who Me?" and heavy video play on cable TV's ''Yo! MTV Raps'' and ''Rap City''.

Subroc was struck and killed by a car in 1993 while attempting to cross the Long Island Expressway before the release of a second KMD album, titled ''Black Bastards''. The group was subsequently dropped from Elektra Records that same week. Before the release of the album, it was shelved due to controversy over its cover art, which featured a cartoon of a stereotypical pickaninny or sambo character being hung from the gallows.

With the loss of his brother, Dumile retreated from the hip hop scene from 1994 to 1997. He testifies to disillusionment and depression, living "damn near homeless, walking the streets of Manhattan, sleeping on benches." In the late 1990s, he left New York City and settled in Atlanta. According to interviews with Dumile, he was also "recovering from his wounds" and swearing revenge "against the industry that so badly deformed him." ''Black Bastards'' had become bootlegged at the time, leading to Doom's rise in the underground hip hop scene.

Birth of MF DOOM

In 1997, Dumile began freestyling incognito at open-mic events at the Nuyorican Poets Café in Manhattan, obscuring his face by putting a stocking over his head. He meanwhile had taken on a new identity, MF Doom, patterned after and wearing a mask similar to that of Marvel Comics super-villain Doctor Doom, who is depicted rapping on the cover of the 1999 album ''Operation: Doomsday''. He wears this mask while performing and isn't photographed without it, except for very short glimpses in videos such as Viktor Vaughn's "Mr. Clean", "?", and in earlier photos with KMD. MF Doom's mask has undergone at least one design revision since its adoption (it is now an altered version of the mask worn by the character Maximus Decimus Meridius in the film ''Gladiator'').

Early career

Dumile released three singles on "Bobbito" García's Fondle 'Em Records, "Dead Bent", and "Greenbacks" (1997), and "The M.I.C." (1998). In 1999 Fondle 'Em released MF Doom's first full-length LP, ''Operation: Doomsday,'' which included these singles and their b-sides, and additional tracks. Dumile had used the spelling variant "M.F. DOOM" for the singles releases, but thereafter changed this to "MF DOOM".

Among the collaborators on these tracks were fellow members of the Monsta Island Czars collective (The M.I.C.), for which each artist took on the persona of a monster from the Godzilla mythos. Dumile went by the alias "King Geedorah," a three-headed golden dragon space monster, modeled after King Ghidorah, the Toho movie monster who was a three-headed dragon that often battled Godzilla. Some of his appearances on the LP are as, and are credited to this persona, instead of that of MF Doom. Dumile would revisit this character later under various name-spellings.

Guest appearances, production, and instrumental work

In the years intervening before his next full-length solo release, and continually since, Dumile has appeared on several tracks on other artists' LPs and remixes, contributed one-off tracks to compilations, and done various guest production work.

In 2002, he appeared on the Sound-Ink's Colapsus collection,on a very hard to find track titled "Monday Nite at Fluid" featuring Kurious with production by King Honey, who also produced some tracks for Dumile's album ''Vaudeville Villain''. DOOM also made an appearance in "November Has Come", a track on Gorillaz's 2005 album ''Demon Days'', which reached #6 on the Billboard 200.

Besides the Viktor Vaughn album Dumile produces all the instrumentation tracks for his solo releases with very few exceptions.

Beginning in 2001, under the "Metal Fingers" moniker, Dumile began releasing his ''Special Herbs'' instrumentals series. Many of these beats can be heard as the instrumentation tracks throughout his body of work. A separate website catalogs for which tracks each instrumental has been used.

Ongoing career

In 2003, Dumile released the King Geedorah album ''Take Me to Your Leader''. Geedorah is credited as producer, but only appears as an MC on four tracks. The majority of vocal tracks feature guest MCs, and the album features several instrumental montages of sampled vocals from old movies and TV shows—a technique employed on most of Dumile's albums. Both ''Venomous Villain'' and ''Take Me to Your Leader'' feature appearances by MF Doom.

Also in 2003, Dumile released the LP ''Vaudeville Villain'' under the moniker Viktor Vaughn (another play on Doctor Doom, whose "real name" is ''Victor von'' Doom). In 2004 he released a follow-up LP, ''Venomous Villain'' (also called ''VV2'').

And, in 2004, the second MF Doom album ''MM.. Food'' was released by the Minnesota-based label Rhymesayers Entertainment.

Mainstream recognition

DOOM's first commercial breakthrough came in 2004, with the album ''Madvillainy'', created with producer Madlib under the group name Madvillain. Released by Stones Throw Records, the album was a critical and commercial success. MF DOOM was seen by mainstream audiences for the first time as Madvillain received publicity and acclaim in publications such as ''Rolling Stone'', ''The Washington Post'', ''The New York Times'', ''The New Yorker'', and ''Spin''. A video for "All Caps" and a four-date U.S. tour followed the release of ''Madvillainy''. Additional videos for "Rhinestone Cowboy" and "Accordion", both directed by Andrew Gura, were released on the DVDs ''Stones Throw 101'' and ''Stones Throw 102: In Living the True Gods'', respectively.

Though still an independent artist, MF DOOM took a bigger step towards the mainstream in 2005 with ''The Mouse and the Mask'', a collaboration with producer DJ Danger Mouse under the group name Danger Doom. The album, released on October 11, 2005 by Epitaph, was done in collaboration with Cartoon Network's ''Adult Swim'' and featured voice-actors and characters from its programs (mostly Aqua Teen Hunger Force). Danger Doom reached #41 on the Billboard 200. In 2006 DOOM hosted the Adult Swim Christmas special and he could be seen in between shows, usually talking about what was up next, and making jokes.

2006–2009

MF Doom produced tracks for both of Ghostface Killah's 2006 albums ''Fishscale'' and ''More Fish'', and the two are currently at work on a collaboration album titled ''Swift & Changeable''. So far only track released from the album is "Angels", which appeared on a ''Nature Sounds'' compilation in late 2006, and later re-released in a different fashion on Doom's 2009 album ''Born Like This''. Doom has also revealed plans for a second Madvillain album with producer Madlib, with one song, "Monkey Suite", first appearing on the Adult Swim/Stones Throw Records album ''Chrome Children'', later it appeared on ''Madvillainy 2 - The Madlib Remix''. Other potential projects mentioned by Doom include new albums from Danger Doom, KMD, as well as further albums under both his Viktor Vaughn and King Geedorah aliases. However, many such Doom projects have been rumored in recent years without materializing.

Despite no new Doom releases in 2006, Kidrobot and Stones Throw released an 8" tall Madvillain toy available to coincide with the release of the ''Chrome Children'' CD/DVD (hosted by Peanut Butter Wolf) which featured a DVD performance of Madvillain and several other Stones Throw artists. Doom also continued to work with ''Adult Swim'' doing voice-over work as Sherman the Giraffe on ''Perfect Hair Forever'', being the voice for ''The Boondocks'' ads and previews and hosting their Christmas Eve 2006 programming.

In late January 2009, Lex records confirmed Doom's new album title to be ''Born Like This'', and that the "MF" would be dropped from his name, now just "DOOM". The album was released worldwide on March 24, 2009. As a teaser, the track "Ballskin" was posted on Doom's Myspace page on January 13, 2009. Snippets of the entire album were made available for streaming on Doom's Myspace on the album's release date. The title for the album was inspired by the poem "Dinosauria, We" by poet and writer Charles Bukowski. Doom samples a performance of the poem by Bukowski on the track "Cellz". Previously, Doom used a Bukowski sample for a vocal interlude on 2004's "All Outta Ale. "Thom Yorke of Radiohead remixed the track "Gazillion Ear" which is available as an iTunes-only bonus track. June 26, 2009 Kurious released ''II'' which featured Doom on the song "Benetton".

2009-2012

On May 26, 2010, the second single for the next Madvillain album "Paper Mill" was released through Adult Swim. ''Expektoration'', a live Doom album, was released on September 14, 2010 through Gold Dust Media. In mid 2010, DOOM released the mix-tape "DOOM!", a collection of greatest hits, B-sides and rareties, including the theme for the video game ''Grand Theft Auto: Chinatown Wars'' featuring Ghostface Killah, and Biochemical Equation, featuring the RZA.

On July 27, 2011 DOOM and Ghostface Killah released the track "Victory Laps" from their long awaited collaboration project ''Swift & Changeable'' on the Nature Sounds label.

DOOM was chosen by Portishead to perform at the ATP I'll Be Your Mirror festival that they curated in July 2011 at London's Alexandra Palace.

DOOM will be the guest curator for Chapter 48 of Frank151's quarterly magazine. Chapter 48 will be released Summer 2012 and will feature a candid interview with DOOM on a variety of topics.

In September DOOM will be performing live as part of Bestival 2012 on the Isle Of Wight.

Live show controversy

Dumile has become infamous for allegedly sending imposters to perform on his behalf. Doom initially countered such accusations by claiming that he lost weight and thus looked - and sounded - different, before his road manager described the move as an intentional choice made by Dumile. For his 2011 UK tour, a promoter for the Glasgow show - fearing reduced attendance from a cautious public - guaranteed on Twitter that Dumile would be appearing in person.

Discography

Solo

1999: ''Operation: Doomsday''

2003: ''Take Me to Your Leader'' (as King Geedorah)

2003: ''Vaudeville Villain'' (as Viktor Vaughn)

2004: ''Venomous Villain'' (as Viktor Vaughn)

2004: ''Mm.. Food''

2009: ''Born Like This'' (as DOOM)

Compilation Albums

2009: ''Unexpected Guests''

Collaboration Albums

1991: ''Mr. Hood'' (as Zev Love X with KMD)

2001: ''Black Bastards'' (as Zev Love X with KMD)

2003: ''Escape from Monsta Island!'' (as King Geedorah with Monsta Island Czars)

2004: ''Madvillainy'' (with Madlib as Madvillian)

2005: ''The Mouse and the Mask'' (with Danger Mouse as DANGERDOOM)

2006: ''Occult Hymn'' (with Danger Mouse as DANGERDOOM)

2012: ''Son of Yvonne'' (with Masta Ace as MA DOOM)

2012: ''Key to the Kuffs'' (with Jneiro Jarel as JJ DOOM)

TBA: ''Swift & Changeable'' (with Ghostface Killah as DOOMSTARKS)

References

External links

Category:1971 births Category:American voice actors Category:American people of Trinidad and Tobago descent Category:People from London Category:British people of Zimbabwean descent Category:British people of Trinidad and Tobago descent Category:Rhymesayers Entertainment Category:Rappers from Long Island Category:Members of the Nation of Gods and Earths Category:American hip hop record producers Category:English rappers Category:British rappers Category:British expatriates in the United States Category:Underground rappers Category:Living people Category:Rapping Category:Underground hip hop Category:Masked musicians

az:MF Doom da:MF DOOM de:Daniel Dumile es:MF DOOM fr:MF DOOM it:Daniel Dumile hu:MF Doom nl:Daniel Dumile no:Daniel Dumile pl:Daniel Dumile pt:MF Doom fi:MF Doom sv:MF Doom tr:MF Doom

name	جعفر پناهیJafar Panahi
birth date	July 11, 1960
birth place	Mianeh, Iran
occupation	Film director, producer, editor, writer
yearsactive	1988–Present
nationality	Iranian
ethnicity	Azeri
spouse	Tahereh Saidi
children	Solmaz Panahi
criminal charge	Propaganda
criminal penalty	6 years
criminal status	Awaiting Trial }}

Jafar Panahi (; born July 11, 1960 Meyaneh, East Azarbaijan) is an Iranian filmmaker and is one of the most influential filmmakers in the Iranian New Wave movement. He has gained recognition from film theorists and critics worldwide and received numerous awards including the Golden Lion at the Venice Film Festival and the Silver Bear at the Berlin Film Festival.

On 20 December 2010, Jafar Panahi was handed a six-year jail sentence and a 20-year ban on making or directing any movies, writing screenplays, giving any form of interview with Iranian or foreign media as well as leaving the country.

Early life

Panahi was born in Mianeh, Iran. He was ten years old when he wrote his first book, which subsequently won the first prize in a literary competition. At the same age, he became familiar with film making. He shot films on 8mm film, acting in one and assisting in the making of another. Later, he took up photography. During his military service, Panahi served in the Iran–Iraq War (1980–88) and made a documentary about the war during this period.

Panahi studied film directing at Iran Broadcasting College in Tehran, graduating in 1988. After graduating, Panahi made several films for Iranian television and was the assistant director of Abbas Kiarostami's film ''Through the Olive Trees'' (1994). Since that time, he has directed several films and won numerous awards in international film festivals.

Films

Panahi's first feature film came in 1995, entitled ''White Balloon''. This film won a Camera d'Or at the Cannes Film Festival. His second feature film, ''The Mirror'', received the Golden Leopard Award at the Locarno Film Festival.

His most notable offering to date has been ''The Circle'' (2000), which criticized the treatment of women under Iran's Islamist regime. Jafar Panahi won the Golden Lion, the top prize at the Venice Film Festival for ''The Circle'', which was named FIPRESCI Film of the Year at the San Sebastián International Film Festival, and appeared on Top 10 lists of critics worldwide. Panahi also directed ''Crimson Gold'' in 2003, which brought him the Un Certain Regard Jury Award at the Cannes Film Festival. During that time Panahi was detained in the JFK airport, New York, while taking a connection from Hong Kong to Montevideo, after refusing to be photographed and fingerprinted by the immigration police. After being chained and waiting for several hours, he was finally sent back to Hong Kong.

Panahi's ''Offside'' (the story of girls who disguise themselves as boys to be able to watch a football match) was selected for competition in the 2006 Berlin Film Festival, where he was awarded with the Silver Bear (Jury Grand Prix). The Film was inspired by the occasion when his own daughter was refused entry to a football stadium.

Imprisonment

On 30 July 2009, Mojtaba Saminejad, an Iranian blogger and human rights activist writing from inside Iran, reported that Panahi was arrested at the cemetery in Tehran where mourners had gathered near the grave of Neda Agha-Soltan. He was later released, but his passport was revoked and he was banned from leaving the country. In February 2010 his request to travel to the 60th Berlin Film Festival to participate in the panel discussion on "Iranian Cinema: Present and Future. Expectations inside and outside of Iran" was denied.

On 1 March 2010, Panahi was arrested again. He was taken from his home along with his wife Tahereh Saidi, daughter Solmaz Panahi and 15 of his friends by plainclothes officers to Evin Prison. Most were released 48 hours later, Mohammad Rasoulof and Mehdi Pourmoussa on 17 March 2010, but Panahi remained in ward 209 inside Evin Prison. Panahi's arrest was confirmed by the government, but charges were not specified.

On May 18, 2010, J. Hoberman at VoiceFilm.com reported that an unconfirmed announcement indicated the Iranian regime would release Panahi to coincide with the public screening of another Iranian film at the festival, Abbas Kiarostami's ''Certified Copy''. However, it was instead announced at the screening that Panahi's prison sentence had been extended.

On May 18, 2010, Panahi sent a message to Abbas Baktiari, director of the Pouya Cultural Center, an Iranian-French cultural organization in Paris. Panahi wrote that he has been mistreated in prison and his family threatened, and as a result has begun a hunger strike.

On 25 May 2010, Panahi was released on $200,000 bail.

On 12 November 2010, Panahi was back in court for his hearing. In a lengthy statement he defended himself and told the court that "I am Iranian and I will remain in Iran."

On 20 December 2010 Panahi, after being prosecuted for “assembly and colluding with the intention to commit crimes against the country’s national security and propaganda against the Islamic Republic,” was handed a six-year jail sentence and a 20-year ban on making or directing any movies, writing screenplays, giving any form of interview with Iranian or foreign media as well as leaving the country.

International response to the imprisonment

The following people and organisations have called for his release: Filmmakers Ken Loach, Dardenne brothers, Jon Jost, Walter Salles, Olivier Assayas, Tony Gatlif, Abbas Kiarostami, Kiomars Pourahmad, Bahram Bayzai, Asghar Farhadi, Nasser Taghvai, Kamran Shirdel and Tahmineh Milani, actors Brian Cox and Mehdi Hashemi, actresses Fatemeh Motamed-Aria and Golshifteh Farahani,

Film critics Roger Ebert, Amy Taubin, David Denby, Kenneth Turan, David Ansen, Jonathan Rosenbaum and Jean-Michel Frodon,

Federation of European Film Directors, European Film Academy, Asia Pacific Screen Awards, Network for the Promotion of Asian Cinema, Berlin Film Festival, Karlovy Vary International Film Festival, International Film Festival Rotterdam, Febiofest, National Society of Film Critics, Toronto Film Critics Association and Turkish Cinema Council.

France's Ministry of Foreign Affairs and minister of culture and communications Frédéric Mitterrand, German foreign minister Guido Westerwelle, Canadian government, Finnish Green MP Rosa Meriläinen and Human Rights Watch have condemned the arrest.

On 8 March 2010, a group of well-known Iranian producers, directors and actors visited Panahi's family to show their support and call for his immediate release. After more than a week in captivity, Panahi was finally allowed to call his family. On 18 March 2010 he has been allowed to have visitors, including his family and lawyer. Iran's culture minister said on 14 April 2010 that Panahi was arrested because he "was making a film against the regime and it was about the events that followed election." But in an interview with AFP in mid-March, Panahi's wife, Tahereh Saeedi, denied that he was making a film about post-election events, saying: "The film was being shot inside the house and had nothing to do with the regime."

In mid-March, 50 Iranian directors, actors and artists signed a petition seeking Panahi's release. American film directors, Paul Thomas Anderson, Joel & Ethan Coen, Francis Ford Coppola, Jonathan Demme, Robert De Niro, Curtis Hanson, Jim Jarmusch, Ang Lee, Richard Linklater, Terrence Malick, Michael Moore, Robert Redford, Martin Scorsese, James Schamus, Paul Schrader, Steven Soderbergh, Steven Spielberg, Oliver Stone and Frederick Wiseman, signed a letter on 30 April 2010 urging Panahi's release. The petition ends with “Like artists everywhere, Iran’s filmmakers should be celebrated, not censored, repressed, and imprisoned.” He was named a member of the jury at the 2010 Cannes Film Festival, but because of his imprisonment he could not attend and his chair was symbolically kept empty.

On 23 December 2010 Amnesty International announced that it was mobilizing an online petition spearheaded by Paul Haggis and Nazanin Boniadi and signed by Sean Penn, Martin Scorsese, Harvey Weinstein and others to protest the imprisonment of Panahi.

Cine Foundation International, a "non-profit film company and human rights NGO aiming to 'empower open consciousness through cinema'" announced on 3 January 2011 that they are launching a campaign of protest films and public actions calling for the release of Panahi. "The campaign will include protest films that speak to human rights issues in Iran and throughout the world, six of which are commissioned feature-length, plus twenty shorts. Participating filmmakers may act anonymously or through pseudonyms since voicing their stories can be dangerous. The films, which will address themes of nation, identity, self, spiritual culture, censorship and imprisonment, will be aimed for public, web and various exhibition media". Later in January, CFI deployed a video protest mechanism called WHITE MEADOWS (named for the Mohammad Rasoulof film, The White Meadows, which was edited by Panahi) and developed by Ericson deJesus (of Yahoo! and frog design) at the request of the foundation. The video mechanism "allow(s) anyone in the world to record a short video statement about Panahi and Rasoulof. There will be an ESCAPE button at top, allowing quick exit for those in countries where recording a statement would be dangerous. There will an option to have the screen black, and soon, voice distortion. The video statements will be recorded as mp4s, giving them maximum transmedia capacity, which essentially makes them broadcastable from any device that can show video". Users can also use the mechanism to comment on how they would "like to see as an international response by the film industry", comment on the state of human rights in general, or to "report a human rights abuse to the world".

In Spring 2011, Boston's American Repertory Theater and System of a Down's Serj Tankian dedicated their production of ''Prometheus Bound'' to Panahi and seven other activists, stating in program notes that "by singing the story of Prometheus, the God who defied the tyrant Zeus by giving the human race both fire and art, this production hopes to give a voice to those currently being silenced or endangered by modern-day oppressors".

Style

Panahi's style is often described as an Iranian form of neorealism. Jake Wilson describes his films as connected by a "tension between documentary immediacy and a set of strictly defined formal parameters" in addition to "overtly expressed anger at the restrictions that Iranian society imposes". His film ''Offside'' is so ensconced in the reality that it was actually filmed in part during the event it dramatizes – the Iran-Bahrain qualifying match for the 2006 FIFA World Cup.

Where Panahi differs from his fellow realist filmmaker Abbas Kiarostami, is in the explicitness of his social critique. Stephen Teo writes that :"Panahi's films redefine the humanitarian themes of contemporary Iranian cinema, firstly, by treating the problems of women in modern Iran, and secondly, by depicting human characters as "non-specific persons" – more like figures who nevertheless remain full-blooded characters, holding on to the viewer's attention and gripping the senses. Like the best Iranian directors who have won acclaim on the world stage, Panahi evokes humanitarianism in an unsentimental, realistic fashion, without necessarily overriding political and social messages. In essence, this has come to define the particular aesthetic of Iranian cinema. So powerful is this sensibility that we seem to have no other mode of looking at Iranian cinema other than to equate it with a universal concept of humanitarianism."

Panahi says that his style can be described as "humanitarian events interpreted in a poetic and artistic way". He says "In a world where films are made with millions of dollars, we made a film about a little girl who wants to buy a fish for less than a dollar (in ''The White Balloon'') – this is what we're trying to show."

In an interview with Anthony Kaufman, Panahi said: "I was very conscious of not trying to play with people's emotions; we were not trying to create tear-jerking scenes. So it engages people's intellectual side. But this is with assistance from the emotional aspect and a combination of the two."

Filmography

''The Wounded Heads'' (Yarali Bashlar, 1988)

''Kish (1991)

''The Friend'' (Doust, 1992)

''The Last Exam'' (Akharin Emtehan, 1992)

''The White Balloon'' (Badkonake Sefid, 1995)

''Ardekoul'' (1997)

''The Mirror'' (Ayneh, 1997)

''The Circle'' (Dayereh, 2000)

''Crimson Gold'' (Talaye Sorkh, 2003)

''Offside'' (2006)

''This Is Not a Film'' (2011)

Awards and honors

Panahi has won numerous awards. These are the most important:

Carrosse d'Or, 2011 Cannes Film Festival

HIVOS Cinema Unlimited Award (2007)

Pudú Award, at the Valdivia International Film Festival 2007 for his life-time artistic accomplishments

Silver Bear, Berlin Film Festival 2006

Prix du Jury – Un Certain Regard, Cannes Film Festival 2003.

Golden Lion, Venice Film Festival 2000

Golden Leopard, Locarno International Film Festival 1997

Prix de la Camera d'Or, Cannes Film Festival 1995

Film festival work

Panahi was a jury member at numerous film festivals:

President of the jury of Montreal World Film Festival (2009)

President of the jury of Rotterdam Film Festival (2008)

Chair of the International Film Festival of Kerala Jury (2007)

International Eurasia Film Festival (2007)

Karlovy Vary International Film Festival (2001)

Readings

Hamid Dabashi, ''Masters & Masterpieces of Iranian Cinema'', Mage Publishers (May 15, 2007) ISBN 0-934211-85-X

See also

Intellectual Movements in Iran

Persian cinema

References

External links

Panahi's Offside by signandsight

Category:1960 births Category:20th-century writers Category:21st-century writers Category:Amnesty International prisoners of conscience Category:Iranian film directors Category:Iranian film editors Category:Iranian film producers Category:Iranian humanitarians Category:Iranian military personnel of the Iran–Iraq War Category:Iranian people of Azerbaijani descent Category:Iranian prisoners and detainees Category:Iranian screenwriters Category:Living people Category:People from Meyaneh Category:Persian-language film directors Category:Prisoners and detainees of Iran Category:Silver Bear for Best Director recipients

ar:جعفر بناهي bg:Джафар Панахи cs:Džafar Panahí da:Jafar Panahi de:Jafar Panahi es:Jafar Panahi eo:Ĵafar Panahi fa:جعفر پناهی fr:Jafar Panahi ko:자파르 파나히 it:Jafar Panahi he:ג'עפר פאנאהי ka:ჯაფარ პანაჰი ml:ജാഫർ പനാഹി ms:Jafar Panahi nl:Jafar Panahi ja:ジャファール・パナヒ no:Jafar Panahi pt:Jafar Panahi ru:Панахи, Джафар sc:Jafar Panahi fi:Jafar Panahi sv:Jafar Panahi ta:சாபர் பனாகி th:จาฟาร์ ปานาฮี tg:Ҷаъфар Паноҳӣ tr:Cafer Panahi uk:Джафар Панагі

Antonio Lucio Vivaldi (4 March 1678 – 28 July 1741), nicknamed ("The Red Priest") because of his red hair, was an Italian Baroque composer, priest, and virtuoso violinist, born in Venice. Vivaldi is recognized as one of the greatest Baroque composers, and his influence during his lifetime was widespread over Europe. Vivaldi is known mainly for composing instrumental concertos, especially for the violin, as well as sacred choral works and over 40 operas. His best known work is a series of violin concertos known as ''The Four Seasons''.

Many of his compositions were written for the female music ensemble of the ''Ospedale della Pietà'', a home for abandoned children where Vivaldi worked from 1703 to 1715 and from 1723 to 1740. Vivaldi also had some success with stagings of his operas in Venice, Mantua and Vienna. After meeting the Emperor Charles VI, Vivaldi moved to Vienna hoping for preferment. The Emperor died soon after Vivaldi's arrival, and the composer died a pauper, without a steady source of income.

Though Vivaldi's music was well received during his lifetime, it later declined in popularity until its vigorous revival in the first half of the 20th century. Today, Vivaldi ranks among the most popular and widely recorded Baroque composers.

Childhood

Antonio Lucio Vivaldi was born in Venice, the capital of the Republic of Venice in 1678. He was baptized immediately after his birth at his home by the midwife, which led to the belief that his life was somehow in danger. Though not known for certain, the immediate baptism was most likely due either to his poor health or to an earthquake that shook the city that day. In the trauma of the earthquake, Vivaldi's mother may have dedicated him to the priesthood. Vivaldi's official church baptism (the rites that remained other than the baptism itself) did not take place until two months later.

Vivaldi's parents were Giovanni Battista Vivaldi and Camilla Calicchio, as recorded in the register of San Giovanni in Bragora. Vivaldi had five siblings: Margarita Gabriela, Cecilia Maria, Bonaventura Tomaso, Zanetta Anna, and Francesco Gaetano. Giovanni Battista, a barber before becoming a professional violinist, taught Antonio to play the violin, and then toured Venice playing the violin with his young son. He probably taught him at an early age, judging by Vivaldi's extensive musical knowledge at the age of 24 when he started working at the Ospedale della Pietà. Giovanni Battista was one of the founders of the ''Sovvegno dei musicisti di Santa Cecilia'', an association of musicians.

The president of the ''Sovvegno'' was Giovanni Legrenzi, a composer of the early Baroque and ''maestro di cappella'' at St. Mark's Basilica. It is possible that Legrenzi gave the young Antonio his first lessons in composition. The Luxembourg scholar Walter Kolneder has discerned in the early liturgical work ''Laetatus sum'' (RV Anh 31, written in 1691 at the age of 13) the influence of Legrenzi's style. Vivaldi's father may have been a composer himself: in 1689, an opera titled ''La Fedeltà sfortunata'' was composed by a Giovanni Battista Rossi, and this was the name under which Vivaldi's father had joined the Sovvegno di Santa Cecilia: "Rosso" is Italian for "Red", and would have referred to the colour of his hair, a family trait.

Vivaldi's health was problematic. His symptoms, ''strettezza di petto'' ("tightness of the chest"), have been interpreted as a form of asthma. This did not prevent him from learning to play the violin, composing or taking part in musical activities, although it did stop him from playing wind instruments. In 1693, at the age of 15, he began studying to become a priest. He was ordained in 1703, aged 25. He was soon nicknamed ''il Prete Rosso'', "The Red Priest", because of his red hair. Not long after his ordination, in 1704, he was given a reprieve from celebrating the Holy Mass because of his ill health. Vivaldi only said Mass as a priest a few times. He appears to have withdrawn from priestly duties, but he remained a priest.

At the ''Conservatorio dell'Ospedale della Pietà''

In September 1703, Vivaldi became ''maestro di violino'' (master of violin) at an orphanage called the Pio Ospedale della Pietà (Devout Hospital of Mercy) in Venice. While Vivaldi is most famous as a composer, he was regarded as an exceptional technical violinist as well. The German architect Johann Friedrich Armand von Uffenbach referred to Vivaldi as "the famous composer and violinist" and said that "Vivaldi played a solo accompaniment excellently, and at the conclusion he added a free fantasy [an improvised cadenza] which absolutely astounded me, for it is hardly possible that anyone has ever played, or ever will play, in such a fashion."

Vivaldi was only 25 when he started working at the Ospedale della Pietà. Over the next thirty years he composed most of his major works while working there. There were four similar institutions in Venice; their purpose was to give shelter and education to children who were abandoned or orphaned, or whose families could not support them. They were financed by funds provided by the Republic. The boys learned a trade and had to leave when they reached 15. The girls received a musical education, and the most talented stayed and became members of the Ospedale's renowned orchestra and choir.

Shortly after Vivaldi's appointment, the orphans began to gain appreciation and esteem abroad, too. Vivaldi wrote concertos, cantatas and sacred vocal music for them. These sacred works, which number over 60, are varied: they included solo motets and large-scale choral works for soloists, double chorus, and orchestra. In 1704, the position of teacher of ''viola all'inglese'' was added to his duties as violin instructor. The position of ''maestro di coro'', which was at one time filled by Vivaldi, required a lot of time and work. He had to compose an oratorio or concerto at every feast and teach the orphans both music theory and how to play certain instruments.

His relationship with the board of directors of the Ospedale was often strained. The board had to take a vote every year on whether to keep a teacher. The vote on Vivaldi was seldom unanimous, and went 7 to 6 against him in 1709. After a year as a freelance musician, he was recalled by the Ospedale with a unanimous vote in 1711; clearly during his year's absence the board realized the importance of his role. He became responsible for all of the musical activity of the institution when he was promoted to ''maestro di' concerti'' (music director) in 1716.

In 1705, the first collection (''Connor Cassara'') of his works was published by Giuseppe Sala: his Opus 1 is a collection of 12 sonatas for two violins and basso continuo, in a conventional style. In 1709, a second collection of 12 sonatas for violin and basso continuo appeared, his Opus 2. A real breakthrough as a composer came with his first collection of 12 concerti for one, two, and four violins with strings, ''L'estro armonico'' Opus 3, which was published in Amsterdam in 1711 by Estienne Roger, dedicated to Grand Prince Ferdinand of Tuscany. The prince sponsored many musicians including Alessandro Scarlatti and Georg Frideric Handel. He was a musician himself, and Vivaldi probably met him in Venice. ''L'estro armonico'' was a resounding success all over Europe. It was followed in 1714 by ''La stravaganza'' Opus 4, a collection of concerti for solo violin and strings, dedicated to an old violin student of Vivaldi's, the Venetian noble Vettor Dolfin.

In February 1711, Vivaldi and his father traveled to Brescia, where his setting of the Stabat Mater (RV 621) was played as part of a religious festival. The work seems to have been written in haste: the string parts are simple, the music of the first three movements is repeated in the next three, and not all the text is set. Nevertheless, perhaps in part because of the forced essentiality of the music, the work is one of his early masterpieces.

Despite his frequent travels from 1718, the Pietà paid him 2 sequins to write two concerti a month for the orchestra and to rehearse with them at least five times when in Venice. The Pietà's records show that he was paid for 140 concerti between 1723 and 1733.

Opera impresario

In early 18th century Venice, opera was the most popular musical entertainment. It proved most profitable for Vivaldi. There were several theaters competing for the public's attention. Vivaldi started his career as an opera composer as a sideline: his first opera, ''Ottone in villa'' (RV 729) was performed not in Venice, but at the Garzerie Theater in Vicenza in 1713. The following year, Vivaldi became the impresario of the Teatro Sant'Angelo in Venice, where his opera ''Orlando finto pazzo'' (RV 727) was performed. The work was not to the public's taste, and it closed after a couple of weeks, being replaced with a repeat of a different work already given the previous year.

In 1715, he presented ''Nerone fatto Cesare'' (RV 724, now lost), with music by seven different composers, of which he was the leader. The opera contained eleven arias, and was a success. In the late season, Vivaldi planned to put on an opera composed entirely by him, ''Arsilda regina di Ponto'' (RV 700), but the state censor blocked the performance. The main character, Arsilda, falls in love with another woman, Lisea, who is pretending to be a man. Vivaldi got the censor to accept the opera the following year, and it was a resounding success.

At this period, the ''Pietà'' commissioned several liturgical works. The most important were two oratorios. ''Moyses Deus Pharaonis'', (RV 643) is lost. The second, ''Juditha triumphans'' (RV 644), celebrates the victory of the Republic of Venice against the Turks and the recapture of the island of Corfù. Composed in 1716, it is one of his sacred masterpieces. All eleven singing parts were performed by girls of the Pietà, both the female and male roles. Many of the arias include parts for solo instruments—recorders, oboes, clarinets, violas d'amore, and mandolins—that showcased the range of talents of the girls.

Also in 1716, Vivaldi wrote and produced two more operas, ''L'incoronazione di Dario'' (RV 719) and ''La costanza trionfante degli amori e degli odi'' (RV 706). The latter was so popular that it performed two years later, re-edited and retitled ''Artabano re dei Parti'' (RV 701, now lost). It was also performed in Prague in 1732. In the following years, Vivaldi wrote several operas that were performed all over Italy.

His progressive operatic style caused him some trouble with more conservative musicians, like Benedetto Marcello, a magistrate and amateur musician who wrote a pamphlet denouncing him and his operas. The pamphlet, ''Il teatro alla moda'', attacks Vivaldi without mentioning him directly. The cover drawing shows a boat (the Sant'Angelo), on the left end of which stands a little angel wearing a priest's hat and playing the violin. The Marcello family claimed ownership of the Teatro Sant'Angelo, and a long legal battle had been fought with the management for its restitution, without success. The obscure writing under the picture mentions non-existent places and names: ''ALDIVIVA'' is an anagram of ''A. Vivaldi''.

In a letter written by Vivaldi to his patron Marchese Bentivoglio in 1737, he makes reference to his "94 operas". Only around 50 operas by Vivaldi have been discovered, and no other documentation of the remaining operas exists. Although Vivaldi may have exaggerated, in his dual role of composer and ''impresario'' it is plausible that he may either have written or been responsible for the production of as many as 94 operas during a career which by then had spanned almost 25 years. While Vivaldi certainly composed many operas in his time, he never reached the prominence of other great composers like Alessandro Scarlatti, Johann Adolph Hasse, Leonardo Leo, and Baldassare Galuppi, as evidenced by his inability to keep a production running for any extended period of time in any major opera house.

His most successful operas were ''La constanza trionfante'' and ''Farnace'' which garnered six revivals each.

Mantua and ''The Four Seasons''

In 1717 or 1718, Vivaldi was offered a new prestigious position as ''Maestro di Cappella'' of the court of prince Philip of Hesse-Darmstadt, governor of Mantua. He moved there for three years and produced several operas, among which was ''Tito Manlio'' (RV 738). In 1721, he was in Milan, where he presented the pastoral drama ''La Silvia'' (RV 734, 9 arias survive). He visited Milan again the following year with the oratorio ''L'adorazione delli tre re magi al bambino Gesù'' (RV 645, also lost). In 1722 he moved to Rome, where he introduced his operas' new style. The new pope Benedict XIII invited Vivaldi to play for him. In 1725, Vivaldi returned to Venice, where he produced four operas in the same year.

During this period Vivaldi wrote the ''Four Seasons'', four violin concertos depicting scenes appropriate for each season. Three of the concerti are of original conception, while the first, "Spring", borrows motifs from a Sinfonia in the first act of his contemporaneous opera "''Il Giustino''". The inspiration for the concertos was probably the countryside around Mantua. They were a revolution in musical conception: in them Vivaldi represented flowing creeks, singing birds (of different species, each specifically characterized), barking dogs, buzzing mosquitoes, crying shepherds, storms, drunken dancers, silent nights, hunting parties from both the hunters' and the prey's point of view, frozen landscapes, ice-skating children, and warming winter fires. Each concerto is associated with a sonnet, possibly by Vivaldi, describing the scenes depicted in the music. They were published as the first four concertos in a collection of twelve, ''Il cimento dell'armonia e dell'inventione'', Opus 8, published in Amsterdam by Le Cène in 1725.

During his time in Mantua, Vivaldi became acquainted with an aspiring young singer Anna Tessieri Girò who was to become his student, protégée, and favorite prima donna. Anna, along with her older half-sister Paolina, became part of Vivaldi's entourage and regularly accompanied him on his many travels. There was speculation about the nature of Vivaldi's and Giro's relationship, but no evidence to indicate anything beyond friendship and professional collaboration. Although Vivaldi's relationship with Anna Girò was questioned, he adamantly denied any romantic relationship in a letter to his patron Bentivoglio dated 16 November 1737.

Later life and death

During the height of his career, Vivaldi received commissions from European nobility and royalty. The wedding cantata ''Gloria e Imeneo'' (RV 687) was written for the marriage of Louis XV. Vivaldi's Opus 9, ''La Cetra'', was dedicated to Emperor Charles VI. In 1728, Vivaldi met the emperor while he was visiting Trieste to oversee the construction of a new port. Charles admired the music of the Red Priest so much that he is said to have spoken more with the composer during their one meeting than he spoke to his ministers in over two years. He gave Vivaldi the title of knight, a gold medal and an invitation to Vienna. Vivaldi gave Charles a manuscript copy of ''La Cetra'', a set of concerti almost completely different from the set of the same title published as Opus 9. The printing was probably delayed, forcing Vivaldi to gather an improvised collection for the emperor.

Accompanied by his father, Vivaldi traveled to Vienna and Prague in 1730, where his opera ''Farnace'' (RV 711) was presented. Some of his later operas were created in collaboration with two of Italy's major writers of the time. ''L'Olimpiade'' and ''Catone in Utica'' were written by Pietro Metastasio, the major representative of the Arcadian movement and court poet in Vienna. ''La Griselda'' was rewritten by the young Carlo Goldoni from an earlier libretto by Apostolo Zeno.

Like many composers of the time, the final years of Vivaldi's life found him in financial difficulties. His compositions were no longer held in such high esteem as they once were in Venice; changing musical tastes quickly made them outmoded. In response, Vivaldi chose to sell off sizeable numbers of his manuscripts at paltry prices to finance his migration to Vienna. The reasons for Vivaldi's departure from Venice are unclear, but it seems likely that, after the success of his meeting with Emperor Charles VI, he wished to take up the position of a composer in the imperial court. On his way to Vienna, Vivaldi may have stopped in Graz to see Anna Girò.

It is also likely that Vivaldi went to Vienna to stage operas, especially since he took up residence near the Kärntnertortheater. Shortly after Vivaldi's arrival in Vienna, Charles VI died, a stroke of bad luck that left the composer without royal protection or a steady source of income. Vivaldi died a pauper not long after the emperor, on the night between 27 and 28 July 1741 at the age of 63, of "internal infection", in a house owned by the widow of a Viennese saddlemaker. On 28 July he was buried in a simple grave at the Hospital Burial Ground in Vienna. Vivaldi's funeral took place at St. Stephen's Cathedral, where the young Joseph Haydn was then a choir boy. The cost of his funeral included a ''Kleingeläut'' (pauper's peal of bells).

He was buried next to Karlskirche, in an area now part of the site of the Technical Institute. The house Vivaldi lived in while in Vienna was torn down; the Hotel Sacher is built on part of the site. Memorial plaques have been placed at both locations as well as a Vivaldi "star" in the Viennese Musikmeile and a monument at the Rooseveltplatz.

Only three portraits of Vivaldi are known to survive: an engraving, an ink sketch and an oil painting. The engraving, by Francois Morellon La Cave, was made in 1725 and shows Vivaldi holding a sheet of music. The ink sketch was done by Ghezzi in 1723 and shows only Vivaldi's head and shoulders in profile. The oil painting found in the Liceo Musicale of Bologna gives us possibly the most accurate picture and shows Vivaldi's red hair under his blond wig.

Style and influence

Vivaldi's music was innovative. He brightened the formal and rhythmic structure of the concerto, in which he looked for harmonic contrasts and innovative melodies and themes; many of his compositions are flamboyantly, almost playfully, exuberant.

Johann Sebastian Bach was deeply influenced by Vivaldi's concertos and arias (recalled in his ''St John Passion'', ''St Matthew Passion'', and cantatas). Bach transcribed six of Vivaldi's concerti for solo keyboard, three for organ, and one for four harpsichords, strings, and basso continuo (BWV 1065) based upon the concerto for four violins, two violas, cello, and basso continuo (RV 580).

Posthumous reputation

During his lifetime, Vivaldi's popularity quickly made him famous in other countries, including France where musical taste was less dictated by fashion than elsewhere. This popularity dwindled. After the Baroque period, Vivaldi's published concerti were relatively unknown, and largely ignored, even after Felix Mendelssohn rekindled interest in Bach. Even Vivaldi's most famous work, ''The Four Seasons'', was unknown in its original edition.

In the early 20th century, Fritz Kreisler's Vivaldi-styled concerto (which he passed off as an original Vivaldi work) helped revive Vivaldi's reputation. This spurred the French scholar Marc Pincherle to begin an academic study of Vivaldi's oeuvre. Many Vivaldi manuscripts were rediscovered, and were acquired by the National University of Turin Library with generous sponsorship of Turinese businessmen Roberto Foa and Filippo Giordano, in memory of their sons. This led to renewed interest in Vivaldi by, among others, Mario Rinaldi, Alfredo Casella, Ezra Pound, Olga Rudge, Desmond Chute, Arturo Toscanini, Arnold Schering, and Louis Kaufman. These figures were instrumental in the Vivaldi revival of the 20th century.

In 1926, in a monastery in Piedmont, researchers discovered 14 folios of Vivaldi's work, previously thought lost during the Napoleonic wars. Some volumes in the numbered set were missing; these turned up in the collections of the descendants of the Grand Duke Durazzo who had acquired the monastery complex in the 18th century. The volumes contained 300 concertos, 19 operas and over 100 vocal-instrumental works.

The resurrection of Vivaldi's unpublished works in the 20th century is mostly due to the efforts of Alfredo Casella, who in 1939 organised the historic ''Vivaldi Week'', in which the rediscovered ''Gloria'' (RV 589) and ''l'Olimpiade'' were first revived. Since World War II, Vivaldi's compositions have enjoyed wide success. In 1947, the Venetian businessman Antonio Fanna founded the Istituto Italiano Antonio Vivaldi, with the composer Gian Francesco Malipiero as its artistic director, having the purpose of promoting Vivaldi's music and publishing new editions of his works. Historically informed performances seem to have increased Vivaldi's fame further. Unlike many of his contemporaries, whose music is rarely heard outside an academic or special-interest context, Vivaldi is popular among modern audiences.

Recent rediscoveries of works by Vivaldi include two psalm settings of ''Nisi Dominus'' (RV 803, in eight movements) and ''Dixit Dominus'' (RV 807, in eleven movements), identified in 2003 and 2005, respectively, by the Australian scholar Janice Stockigt. Vivaldi scholar Michael Talbot called RV 807 "arguably the best nonoperatic work from Vivaldi's pen to come to light since... the 1920s". Vivaldi's lost 1730 opera ''Argippo'' (RV 697) was re-discovered in 2006 by harpsichordist and conductor Ondřej Macek, whose Hofmusici orchestra performed the work at Prague Castle on 3 May 2008, its first performance since 1730.

A movie titled ''Vivaldi, a Prince in Venice'' was completed in 2005 as an Italian-French co-production under the direction of Jean-Louis Guillermou, featuring Stefano Dionisi in the title role and Michel Serrault as the bishop of Venice. In 2005, ABC Radio National commissioned a radio play about Vivaldi, which was written by Sean Riley. The radio play, called "The Angel and the Red Priest", was later adapted into a stage version and performed at the Adelaide Festival of the Arts.

The music of Vivaldi, Mozart, Tchaikovsky, and Corelli, has been included in the theories of Alfred Tomatis on the effects of music on human behaviour and used in music therapy.

Works

A Vivaldi work is identified by RV number, which refers to its place in the "Ryom-Verzeichnis" or "Répertoire des oeuvres d'Antonio Vivaldi", a catalog created in the 20th century by musicologist Peter Ryom.

''Le quattro stagioni'' (The Four Seasons) of 1723 is his most famous work. It is part of ''Il cimento dell'armonia e dell'inventione'' ("The Contest between Harmony and Invention"). It depicts moods and scenes from each of the four seasons. This work has been described as an outstanding instance of pre-19th Century program music.

Vivaldi wrote more than 500 other concertos. About 350 of these are for solo instrument and strings, of which 230 are for violin, the others being for bassoon, cello, oboe, flute, viola d'amore, recorder, lute, or mandolin. About 40 are for two instruments and strings, and about 30 are for three or more instruments and strings.

As well as about 46 operas, Vivaldi composed a large body of sacred choral music. Other works include sinfonias, about 90 sonatas, and chamber music.

Some sonatas for flute, published as ''Il Pastor Fido'', have been erroneously attributed to Vivaldi, but were composed by Nicolas Chédeville.

Vivaldi's Gloria (a collection of choral pieces for SATB) is a very well known and widely praised piece. However due to the research of Richard Vendome, it has become apparent that Vivaldi wrote this piece while director of music at a girl's dance school, implying he intended for this to be sung by females - including upon the tenor and bass parts. While controversial, Vendome has proved it possible with his own 'SPAV' choir, dedicated to the works of Vivaldi and his students, in which females sing bass and tenor, along with soprano and alto, all at pitch. They are based in Oxford, England.

Notes

References and further reading

Bukofzer, Manfred (1947). ''Music in the Baroque Era''. New York, W. W. Norton & Co. ISBN 0-393-09745-5.

Cross, Eric (1984). Review of ''I libretti vivaldiani: recensione e collazione dei testimoni a stampa by Anna Laura Bellina; Bruno Brizi; Maria Grazia Pensa'' in ''Music & Letters'', Vol. 65, No. 1 (Jan., 1984), pp. 62–64

Formichetti, Gianfranco ''Venezia e il prete col violino. Vita di Antonio Vivaldi'', Bompiani (2006), ISBN 88-452-5640-5.

Heller, Karl ''Antonio Vivaldi: The Red Priest of Venice'', Amadeus Press (1997), ISBN 1-57467-015-8

Kolneder, Walter ''Antonio Vivaldi: Documents of His Life and Works'', C F Peters Corp (1983), ISBN 3-7959-0338-6

Barbara Quick, ''Vivaldi's Virgins'' (novel), HarperCollins (2007), ISBN 978-0-06-089052-0.

André Romijn. ''Hidden Harmonies: The Secret Life of Antonio Vivaldi'', 2007 ISBN 978-0-9554100-1-7

Eleanor Selfridge-Field (1994). ''Venetian Instrumental Music, from Gabrieli to Vivaldi''. New York, Dover Publications. ISBN 0-486-28151-5.

Michael Talbot, ''Antonio Vivaldi'', Insel Verlag (1998), ISBN 3-458-33917-5

Michael Talbot: "Antonio Vivaldi", Grove Music Online, ed. L. Macy (Accessed 26 August 2006), (subscription access)

''Vivaldi: Voice of the Baroque'', H. C. Robbins Landon, 1996 University of Chicago Press, ISBN 0226468429

Sarah Bruce Kelly: ''The Red Priest's Annina'', 2009 Bel Canto Press, ISBN 978-0-578-02566-7

Sarah Bruce Kelly: ''Vivaldi's Muse'', 2011 Bel Canto Press, ISBN 978-0-9836304-0-1

External links

Catalog of instrumental works

Complete works catalog

Michael Talbot: Recent Vivaldi Discoveries from the online magazine Goldberg.

Antonio Vivaldi by Fréderic Délaméa (Translated by Kirk McElhearn) from Goldberg.

Two Vivaldi biopics may duel at the box office

Vivaldi biography. Free English eBooks: 1. Talbot, M. Vivaldi. 1993; 2. Heller, K. Antonio Vivaldi: The Red Priest of Venice. 1997

project Anima Veneziana (Ryom, Peter. Vivaldi Werkverzeichnis. 1. Auflage. 2007. Breitkopf & Härtel. 664 S., format: JPG)

The Seasons in interactive hypermedia Allegro, Largo, Allegro (Shockwave required) at the BinAural Collaborative Hypertext

Allegro molto from 'Winter' by Vivaldi

Video of ballet to music by Antonio Vivaldi

Informations about the research project on the Saxon court's instrumental music collection in the Sächsische Landesbibliothek – Staats- und Universitätsbibliothek Dresden, in German (open source online publication of all Vivaldi manuscripts from the Pisendel collection)

Fata Tiganca by Vivaldi

Category:1678 births Category:1741 deaths Category:17th-century Italian people Category:18th-century Italian people Category:17th-century composers Category:18th-century composers Category:Baroque composers Category:Italian composers Category:Composers for violin Category:Composers for cello Category:Opera composers Category:Italian classical violinists Category:Italian Roman Catholic priests Category:Italian expatriates in Austria Category:People from Venice (city) Category:People from Innere Stadt Category:Austrian composers

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