INTROThese four pieces were written to complete a four-part violin concerto. The idea behind the music was to create programmatic pieces that would reflect the different moods and aspects of Spring, Summer, Autumn and Winter. Within all twelves movements, three for each season, Vivaldi creates the differences by using rhythm, melody, dynamics and structure.STRUCTUREThe main basis of the structure of the piece is the ritornello principle. This is the traditional base for all concertos in the Baroque Era. With a mixture of themes, solos and repeats the music is always grounded within these features. fast-slow-fastAside from the actual structure of the piece. the piece is also largely written around the key area. This is a set of harmonies that all have a relationship with the one key note; the tonic. They key note of this piece is F and the mode is F minor. To ensure the piece was not mono-tonal, Vivaldi uses a number of different keys throughout the movement. However he brings the key back to F minor to finish otherwise the music would sound inconclusive. He moves to keys in some major modes during the second movement as the moods begin to change. The key changes still have relationship to the tonic but are far enough away to create a sense of harmonic variety.MOVEMENT 1 (0.00)The first movement begins with the orchestra playing a dissonant chord of F minor that is broken up by an on-the-beat staccato rhythm. The tension builds through the beginning section and comes to a climax with a crescendo just as the violinist begins the first solo. The soloist comes in at bar 12 (0:39) with a forte dynamic to introduce drama into the piece. intertwined elementsThe relationship between the orchestra and solo violin is very important as when there is no solo being played the entire orchestra works as a whole and it is very hard to determine which line the violin principle is playing. With regard to harmony, the ground bass sustains the key area but is also used as a metronome to keep the beat. Towards the end of the movement the soloist moves higher and higher through phrases to climax to the end. The whole orchestra plays the original theme and a cadence closes the first movement.MOVEMENT 2 (3:10)The allegro second movement is much shorter and has a more gentle feel. The soloist plays a legato melody while a few other instruments play a high arpeggiaic accompaniment in pizzicato. Unlike movement one, this movement is lead entirely by the melody played by the soloist. This movement ends in a major chords which shows difference in moods compared to the previous and latter.MOVEMENT 3 (5:16)Much like the first movement, the third is fast paced at vivace but is actually slightly faster than the original tempo. The mood of the last section is very similar also as the the use of returning theme and fortissimo dynamic injections create the same drama and emotions. Both the soloist and the orchestra build off of each others sequences throughout this movement. Towards the end section, the soloist plays higher and higher while the orchestra play a downward sequence on every other beat as a counter theme to build suspense. Finally, the downward sequence brings the solo back down to their register and the piece end on a dramatic flare with a fortissimo minor chord.Winter is a piece of programmatic music as it develops a relationship between the story, poem or art with the music. It was never clear whether the sonnet that this piece is associated with was written around the music or the music around the sonnet. Vivaldi claims that his original idea was inspired by the seasonal artwork of Marco Ricci.The sonnet;First movement: To tremble from cold in the icy snowIn the harsh breath of a horrid windTo run, stamping our feet every momentOur teeth chattering in the extreme cold.Second movement: Before the fire to pass peaceful, contented days,While the rain outside pours down.Third movement: To walk on the ice and, at a slow paceFor fear of falling, move carefully.To make a bold turn, slip, fall down.To go on the ice once more and run hardUntil the ice cracks and breaks up.To hear the Sirocco, Boreas, and allThe winds at war leave their iron gates:This is winter, but even so, what joy it brings!The first movement is based on the first four lines of the poem. The beginning low staccato and building tension paints the trembling cold and the harshness of the wind. The fast feel of the staccato and the highly pitched pizzicato depicts chattering teeth. Many techniques are used to ensure this mood is achieved when this music is played. For example, the strings bounce the bow across the strings to create a sense of urgency as the feet are stamping into the snow. The second movement is only based on two lines but has a completely different feel to the first movement. The imagery of rain pouring down outside while inside the fire is warm and takes no notice of the rain as if it were never there has a sense of security and serenity. The soloist creates long flowing phrases with a sweeping melody to create the essence of the warmth from the fire.While the second movement is sweet and serene, the third movement brings the music back to the minor mode with more ideas of harsh winds and ice. This section of the sonnet speaks of falling down and slipping on the ice making it seem much more real and frightening. The Sirocco (north wind) and Boreas (south wind) are personified as if they are fighting and that is causing the storm. Regardless of the storm, winds and ice the sonnet brings the poem round to an upbeat end and it claims winter to be joyous even with all the unpleasant aspects.CONCLUSIONOverall, the music fully captivate the imagery of the sonnet and creates the same moods that the words create.