Editing Antonio Vivaldi (section)

==Works==
{{further|List of compositions by Antonio Vivaldi|List of operas by Antonio Vivaldi}}
{{listen|image=none|help=no|type=music
| filename     = Vivaldi - Four Seasons 1 Spring mvt 1 Allegro - John Harrison violin.oga
| title        = "La primavera" (Spring) – Movement 1: Allegro from the ''Four Seasons''
| description  = A 2000 live performance by [[Wichita State University]] Chamber Players.
}}
A composition by Vivaldi is identified by [[Ryom-Verzeichnis|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 the musicologist [[Peter Ryom]].

[[The Four Seasons (Vivaldi)|''Le quattro stagioni'' (The Four Seasons)]] of 1723 is his most famous work. The first four of the 12 concertos, titled ''[[Il cimento dell'armonia e dell'inventione]]'' ("The Contest between Harmony and Invention"), they depict moods and scenes from each of the four seasons. This work has been described as an outstanding example of pre-19th-century [[program music]].<ref>Gerard Schwarz, ''Musically Speaking – The Great Works Collection: Vivaldi'' (CVP, Inc., 1995), 13.</ref> Vivaldi's other notable sets of 12 violin concertos include ''[[La stravaganza]]''&nbsp;(The Eccentricity), ''[[L'estro armonico]]''&nbsp;(The Harmonic Inspiration) and ''[[La cetra (Vivaldi)|La cetra]]''&nbsp;(The Lyre).

Vivaldi wrote more than 500 concertos. About 350 of these are for solo instrument and strings, of which 230 are for violin; the others are for [[bassoon]], [[cello]], [[oboe]], [[flute]], [[viola d'amore]], [[Recorder (musical instrument)|recorder]], [[lute]], or [[mandolin]]. About forty concertos are for two instruments and strings, and about thirty are for three or more instruments and strings.

As well as about 46 operas, Vivaldi composed a large body of sacred choral music, such as the [[Gloria (Vivaldi)|Gloria]], RV 589; [[Nisi Dominus (Vivaldi)|Nisi Dominus]], RV 608; [[Magnificat (Vivaldi)|Magnificat]], RV 610 and [[Stabat Mater (Vivaldi)|Stabat Mater]], RV 621. Gloria, RV 589 remains one of Vivaldi's more popular sacred works. Other works include [[sinfonia]]s, about 90 [[sonata]]s and chamber music.

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

===Catalogues of Vivaldi works===
{{see also|Ryom-Verzeichnis}}
[[File:Allée Vivaldi - plaque.JPG|thumb|Allée Vivaldi in Paris, named after Antonio Vivaldi]]
Vivaldi's works attracted cataloging efforts befitting a major composer. Scholarly work intended to increase the accuracy and variety of Vivaldi performances also supported new discoveries that made old catalogs incomplete. Works still in circulation today might be numbered under several different systems (some earlier catalogs are mentioned [[Ryom-Verzeichnis|here]]).

Because the simply consecutive Complete Edition (CE) numbers did not reflect the individual works (Opus numbers) into which compositions were grouped, numbers assigned by Antonio Fanna were often used in conjunction with CE numbers. Combined Complete Edition (CE)/Fanna numbering was especially common in the work of Italian groups driving the mid-20th-century revival of Vivaldi, such as Gli Accademici di Milano under Piero Santi. For example, the Bassoon Concerto in B{{music|flat}} major, "La Notte", RV 501, became CE 12, F. VIII,1

Despite the awkwardness of having to overlay Fanna numbers onto the Complete Edition number for meaningful grouping of Vivaldi's oeuvre, these numbers displaced the older [[Marc Pincherle|Pincherle]] numbers as the (re-) discovery of more manuscripts had rendered older catalogs obsolete.

This cataloging work was led by the Istituto Italiano Antonio Vivaldi, where [[Gian Francesco Malipiero]] was both the director and the editor of the published scores (Edizioni G. Ricordi). His work built on that of Antonio Fanna, a Venetian businessman and the institute's founder, and thus formed a bridge to the scholarly catalog dominant today.

Compositions by Vivaldi are identified today by [[Ryom-Verzeichnis|RV number]], the number assigned by Danish musicologist [[Peter Ryom]] in works published mostly in the 1970s, such as the "Ryom-Verzeichnis" or "Répertoire des oeuvres d'Antonio Vivaldi". Like the Complete Edition before it, the RV does not typically assign its single, consecutive numbers to "adjacent" works that occupy one of the composer's single opus numbers. Its goal as a modern catalog is to index the manuscripts and sources that establish the existence and nature of all known works.{{refn|These several numbering systems are cross-referenced at [http://www.classical.net/music/composer/works/vivaldi/index.php classical.net].|group=n}}

===Style and influence===
The German scholar [[Walter Kolneder]] has discerned the influence of [[Giovanni Legrenzi|Legrenzi's style]] in Vivaldi's early liturgical work ''Laetatus sum'' ([[Ryom-Verzeichnis|RV]] Anh 31), written in 1691 at the age of thirteen.

Vivaldi was also influenced by the Composer [[Arcangelo Corelli]].<ref name="Arcangelo Corelli">{{Cite EB1911 |wstitle= Corelli, Arcangelo |volume= 7 | last= |first= |author-link= | page= 143 |short=}}</ref>

[[Johann Sebastian Bach]] was deeply influenced by Vivaldi's concertos and arias (recalled in his ''[[St John Passion]]'', ''[[St Matthew Passion]]'', and [[Bach cantata|cantatas]]). Bach transcribed six of Vivaldi's concerti for solo keyboard, a further 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 ([[Ryom-Verzeichnis|RV]] 580).{{sfn|Talbot|Lockey|2020}}{{sfn|Wolff|Emery|2001}}