Bethulia (Hebrew: בתוליה; in Greek Betuloua, is a Biblical city whose deliverance by Judith, when besieged by Holofernes, forms the subject of the Book of Judith.

The name "Bethulia" in Hebrew translates to "a virgin," which fits nicely with the portrayal of its heroine Judith as a chaste widow and the book's emphasis on following religious rules, chastity among them.

The view that Bethulia is merely a symbolic name for Jerusalem or a fictitious town, has met with little favor, even among those who deny the historical character of the book. Bethulia is clearly distinguished from Jerusalem (iv, 6; xi, 14, 19; xv, 5, 8; the references throughout the article being to the fuller Greek text), and the topographical details show that the story, even if it be only a pious romance, is connected with a definite place. Its site, however, is in dispute. Beside Sanur, Mithilîyeh or Misilîyeh, Tell Kheibar and Beit-Ilfa, which have divided opinion for some time, Haraiq el-Mallah, Khirbet Sheikh Shibel, el-Bârid and Sichem (Bethulia being considered a pseudonym) have recently been proposed as sites of Bethulia [1].

The city was situated on a mountain overlooking the plain of Jezrael, or Esdrelon, and commanding narrow; passes to the south (iv, 6, 7; vi, 11-13); at the foot of the mountain there was an important spring, and other springs were in the neighborhood (vi, 11, vii, 3, 7, 12). Moreover it lay within investing lines which ran through Dothain, or Dothan, now Tell Dothân, to Belthem, or Belma, no doubt the same as the Belamon of viii, 3, and thence to Kyamon, or Chelmon, "which lies over against Esdrelon" (vii, 3).

These data point to a site on the heights west of Jenin (Engannim), between the plains of Esdrelon and Dothan, where Haraiq, Kh. Sheikh Shibel, and el-Bârid lie close together. Such a site best fulfills all requirements. It lies between lines drawn from Tell Dothân to Belæema, probably Belma, or Belamon, and from the latter to el-Yâmûn, probably Kyamon; there are a number of springs and wells in the neighborhood, and nearby are the two passes of Kefr Adân and Burqîn, so narrow in places that two horsemen cannot ride abreast. One of the three above-named places is in all probability the site of ancient Bethulia. The other sites are all deficient in some essential requirement.

See also[link]

• Judith of Bethulia, a 1913 motion picture

Source[link]

•  This article incorporates text from a publication now in the public domain: Herbermann, Charles, ed. (1913). Catholic Encyclopedia. Robert Appleton Company.  [2]

A portrait of Antonio Vivaldi in 1725

Antonio Lucio Vivaldi (4 March 1678 – 28 July 1741), nicknamed il Prete Rosso ("The Red Priest") because of his red hair, was an Italian^[1] Baroque composer, priest, and virtuoso violinist, born in Venice. Recognized as one of the greatest Baroque composers, 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[link]

The church where Vivaldi was baptised: San Giovanni Battista in Bragora, Sestiere di Castello, Venice

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.^[2] Vivaldi's official church baptism did not take place until two months later.^[3]

Vivaldi's parents were Giovanni Battista Vivaldi and Camilla Calicchio, as recorded in the register of San Giovanni in Bragora.^[4] Vivaldi had five siblings: Margarita Gabriela, Cecilia Maria, Bonaventura Tomaso, Zanetta Anna, and Francesco Gaetano.^[5] 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.^[6] Giovanni Battista was one of the founders of the Sovvegno dei musicisti di Santa Cecilia, an association of musicians.^[7]

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:^[8] "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.^[3] This did not prevent him from learning to play the violin, composing or taking part in musical activities,^[3] although it did stop him from playing wind instruments. In 1693, at the age of 15, he began studying to become a priest.^[9] He was ordained in 1703, aged 25. He was soon nicknamed il Prete Rosso, "The Red Priest", because of his red hair.^[10] 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.^{[citation needed]}

[edit] 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.^[1] 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."^[11]

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.^[12] 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.^[13] 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.^[14] These sacred works, which number over 60, are varied: they included solo motets and large-scale choral works for soloists, double chorus, and orchestra.^[15] In 1704, the position of teacher of viola all'inglese was added to his duties as violin instructor.^[16] 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.^[17]

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.^[18] 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.^[18] He became responsible for all of the musical activity of the institution^[19] when he was promoted to maestro di' concerti (music director) in 1716.^[20]

In 1705, the first collection (Connor Cassara) of his works was published by Giuseppe Sala:^[21] his Opus 1 is a collection of 12 sonatas for two violins and basso continuo, in a conventional style.^[16] In 1709, a second collection of 12 sonatas for violin and basso continuo appeared, his Opus 2.^[22] 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,^[23] 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.^[24] 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,^[25] dedicated to an old violin student of Vivaldi's, the Venetian noble Vettor Dolfin.^[26]

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[link]

First edition of Juditha triumphans^[27]

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.^[28] 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.^[24]

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.^[24] 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^{[citation needed]}, violas d'amore, and mandolins—that showcased the range of talents of the girls.^[29]

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.^[30] 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.^[31]

His most successful operas were La constanza trionfante and Farnace which garnered six revivals each.^[31]

[edit] Mantua and The Four Seasons

Caricature by P.L.Ghezzi, Rome (1723)

	"La primavera" (Spring) – Movement 1: Allegro from The Four Seasons A 2000 live performance by Wichita State University Chamber Players.
Problems listening to this file? See media help.

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.^[32] 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.^[33] 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.^[34]

Later life and death[link]

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.

Frontispiece of Il teatro alla moda

Accompanied by his father, Vivaldi traveled to Vienna and Prague in 1730, where his opera Farnace (RV 711) was presented.^[35] 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.^[36] 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.^[37]

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^[38][39] not long after the emperor, on the night between 27 and 28 July 1741 at the age of 63,^[40] 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).^[41]

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.^[42]

Style and influence[link]

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[link]

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.^{[citation needed]} 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.^[43]

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 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.

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".^[44] 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.

In popular culture[link]

The movie Vivaldi, a Prince in Venice was completed in 2005 as an Italian-French co-production under the direction of Jean-Louis Guillermou. In 2005, ABC Radio National commissioned a radio play about Vivaldi, which was written by Sean Riley. Entitled The Angel and the Red Pries, the play was later adapted into a stage version and performed at the Adelaide Festival of the Arts.^[45]

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.^{[citation needed]}

Works[link]

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. 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.^[46]

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. The research of Richard Vendome showed that Vivaldi wrote this piece while director of music at a girl's dance school, implying that he intended it to be sung by females - including the tenor and bass parts. While this thesis is 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.^{[citation needed]}

Notes[link]

References and further reading[link]

• 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 0-226-46842-9
• 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[link]

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Wikiquote has a collection of quotations related to: Antonio Vivaldi

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• Catalog of instrumental works
• Complete works catalog
• Works by or about Antonio Vivaldi in libraries (WorldCat 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
• Free scores by Antonio Vivaldi at the International Music Score Library Project
• Free scores by Antonio Vivaldi in the Choral Public Domain Library (ChoralWiki)
• Free scores by Antonio Vivaldi in the Werner Icking Music Archive (WIMA)
• The Mutopia Project has compositions by Antonio Vivaldi
• 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