A Comparative Study Of The Two Bassoon Concertos Of Vivaldi And Mozart

Vivaldi and Mozart are important composers of the Baroque and Classicalperiods, and their works fully represent the characteristics of the two periods.They generally have the same upbringing, which also make their works similarly.However, this article is to introduce and compare two works:“Basson Concerto inG minor”and “Concerto in Bb for Basson”.According to Concerto, these two neck and neck composers--Vivaldi andMozart have outstanding contributions to the genre, also in the creation of thisinstrument for bassoon concerto. Especially Mozart’s “Concerto in Bb for Basson”(K.191) is the world-famous track, and it is also indispensable in the bassoongame or important show. There were a lot of research in the works of Mozart, sowe can find the related materials, on the contrary, the related material aboutVivaldi’s works are very few, and then basically there were not many studies tocompare the two composers and their two works. In this way, it is certainly a littledifficult for me.This paper attempts to analyze and compare from the structure and tone styleof “Basson Concerto in G minor” and “Concerto in Bb for Basson” based on thecharacteristics of the era, the life and the origin of concerto of the two composers.This can make people more familiar with and understanding of the two works, andalso has a certain understanding of the main musical instrument bassoon.This paper is divided into four sections:Introduction, research topics include academic background and significanceof the literature review, the source of the research topic, the purpose of the studyand research contents.The body of this article describes the origins of the concerto, Vivaldi andMozart’s lives and characteristics of the times, and then makes us more aware oftheir creative intent.Also In this paper, a key part of the“Basson Concerto in G minor” and“Concerto in Bb for Basson” on the analysis of two works of musical structure, aswell as analysis of harmonies and modal part, through the analysis of these twosummed up the differences in their creative identity.The analysis of playing skills in works, how to solve the technical difficulties, phrasing and explaining the huacai part in17thand18thcenturies will all bediscussed in this chapter, which I think it can be treated as the footnote of the firsttwo concertos.Finally, the epilogue part is also the summary part to the whole article,hoping it will bring some help to those friends who want to study the twocomposer’s instrumental music concertos.