Gian Francesco Malipiero, Vivaldiana

Richard B. Gibson.
MH352WI – Granade

Gian Francesco Malipiero, Vivaldiana

During his life Malipiero not only studied in Bologna and Venice, but he also taught at Conservatory of Parma, at the University of Padua, and also in Venice. During those years he did extensive research on composers such as Monteverdi and Vivaldi. As the title indicates, Vivaldiana, this is his tribute to Vivaldi. I have heard works by composers that have attempted to pay tribute to fellow composers that have gone before but that have failed miserably in their attempts. Malipiero, however, does not fail. It is a very melodious piece that consists of a 6:22 "Adagio – Allegro," a 4:37 "Andante piu lento un poco" along with a "Allegro - Allegro molto" that runs for 3:42 and is orchestrated for a full symphony. Its total running time is 14:41 and it is a piece that I believe everybody should listen to. It might behoove a person to find a relaxing place that they love to meditate, grab a nice glass of wine, close their eyes and envision what comes to mind when they hear the strings begin to play.
To me Malipiero begins it perfectly with the counterpoint in the opening sequence between strings. Nothing too elaborate, but just enough to set you up for the brief interlude and duet with the horns. It is a bit louder with its opening forte than what you might expect from a piece that anyone can relax to, but Malipiero shows wonderful contrast by bringing the dynamic level down almost as soon as he brought in the horns. There is just the right amount of suspension with the pulsing cellos underneath the violins and violas. It almost seems that Malipiero knows exactly what happened with your day and he is matching it with the texture of the movement. Malipiero remains heavy on the strings as he quickens the tempo a bit to a dance pace. The strings are sequenced very nicely and the theme is long enough so you do not get bored with hearing it over and over again. After some time with just the strings Malipiero brings in the woodwinds to help finish out the Allegro part of the "Adagio – Allegro." He does not keep them in for very long, but continues to bring them back to repeat their theme and I must say that it is just the right mix of strings and woodwinds. The texture of the two is solid, yet fluid and refined at the same time.
Malipiero gives us some colorful contrast with his "Andante piu lento un poco." He begins with only the strings, one at a time. First the violin, then the cello and finally the viola. They strings are piano, almost as if floating there, like Malipiero wanted us to feel like we ourselves are floating on a cloud. Malipiero keeps this feeling of floating, due to the lighter texture of fewer strings, going on for the entire "Andante piu lento un poco." It is so relaxing that you can almost feel yourself begin to meditate. There is a little change of pace when Malipiero uses a little bit of dissonance between the violins and violas that gives you a sense of moving forward. It really helps the piece not to stall but to keep moving on, as if Malipiero was trying to say "You have thought about that idea long enough, time to move on to the next idea." Also, the fact that there is no counterpoint, no counter melody helps you to relax into the piece and simply enjoy it. The melody is carried out mainly by the violins yet is doubled by the woodwinds when they come in about two-thirds of the way into the "Andante piu lento un poco." Malipiero continues to help the movement along by pulsing the beat with the cello and the violas and violins floating the melody line above. The ending does just what you would expect it to, it floats off as if on a wisp of a cloud and you feel completely relaxed.
Just as soon as you are finished with your meditation, Malipiero brings you into the "Allegro - Allegro molto." Beginning with octave jumps in the strings and horns, then continuing with the same pulsing beat in the cello and layering instruments one at a time on top of it. The strings begin to play with descending scales that give you a sense of playfulness. This same theme is matched by the flute, which gives the movement an even more interesting texture. Yet, to give the movement even more contrast, Malipiero also puts the theme and melody in the clarinet for a very short time. The strings then go on to answer the clarinet in the same fashion that they opened with. There is a rest that Malipiero uses, about a quarter of the way through the movement, that helps give the "Allegro - Allegro molto" a greater contrast and super-charges the next melodious idea that Malipiero brings out. The strings begin at a quickened pace, as you would suspect any Allegro molto to. Malipiero subdivides the beat in the strings and then the woodwinds to help push the piece along. This same theme is used for the remainder of the "Allegro - Allegro molto" but with a different texture to it. There are more horns than before and they play for a much longer period than what Malipiero had them playing earlier. To finish out the movement Malipiero brings out the flute with a lovely melody line that you can tell they love to play. Fun and upbeat with a colorful sequencing of scales that he used in the opening of the "Allegro - Allegro molto."
I truly believe that Malipiero’s Vivaldiana belongs in the classical music Canon because of its interesting contrast of melodic lines, dynamics and texture. Malipiero gives great honor to Vivaldi with how he continually moves this piece along using colorful contrast and interesting texture throughout. It is a work that anyone would be proud to own in a private collection, and I highly suggest that you make it a part of yours.