Recently I was asked to prepare a document about the emotions and colours of Vivaldi´s Four Seasons for an upcoming multi-media performance work where we will have lighting, projections, and sound design.

Vivaldi wrote sonnets to accompany the music – a very innovative idea at the time. He obviously wanted people to know what was happening in the music, so I think he would approve of our efforts to take it one step further and visualise it too!

So what is the central theme of the music? Obviously the Four Seasons - but to me, it is specifically Humankind´s emotional response to nature.

Nature proves to be largely out of man´s control, and so are our emotional responses to it. This is also mirrored by the many different depictions of sleep throughout the cycle. Sleep being the state (in which we find ourselves on a daily basis!) in which we are also not in control.

This could explain why this music is still so popular after 300 years – human beings have an emotional response to nature which is deep-seated and powerful. Many poets and writers have also used this fact to create masterpieces, but I would argue that music is the best catalyst to unleash the power of our emotional responses to nature, because these responses derive from a time before words – from primordial responses originally evolved to help us survive.

Vivaldi presents us with four concertos, each a jewel in itself and with a dedicated sonnet. But - as in nature - one only appreciates the full qualities of each season when it is considered as part of the whole cycle. For example, sleep is portrayed in spring as a boy innocently daydreaming beside the trickling brook, but in Autumn as a drunkard heavily sleeping off his excessive wine binging. The winds of summer bring ruin on the farmer, whereas in winter they bring exhilaration to the ice-skaters. Vivaldi also connects the four concertos with recurring musical motives, for example, the ominous descending tetrachord. It first appears near the end of the last movement of spring, where the music turns briefly to the minor key, and we sense for the first time, a dark premonition in Spring´s seemingly innocent caprices. It then forms the backbone of Summer´s storm theme – the storm that ruins the crop and livelihood of the shepherd. Vivaldi seemed to take pains to show us just how much we are at the mercy of mother nature!

In Spring and Autumn, Vivaldi evokes mythical images, and nature is portrayed as benign. In Spring the joyful opening music is taken directly from one of his own Operas (Giustino, 1724), where the goddess Fortune appears in a brightly lit scene. In Autumn it is Bacchus the revelling drunkard. In Summer and Winter however, the subjects are very human (a shepherd, ice skaters) and nature is more violent (malign). The emotions are more direct – for example in summer the shepherd´s heartbreaking lament on the inevitable looming disaster, and in Winter the exhilaration of the ice-skaters, who turn the extremes of the winter weather to their advantage.

The main challenge I foresee in choosing the lighting effects and images to use in a multi-media production of Vivaldi´s Four Seasons is that colours and images can trigger very different responses in people depending on their personal experience. I hope however, that this article may help inspire our team in their quest to find visual elements that will take our audience to new levels of appreciation and enjoyment, and perhaps even trigger those primordial responses to music and nature that every human being on this planet has, and that wordlessly and divinely unite us all.

As was common practice in the baroque, Vivaldi carefully chose the key of each concerto to help paint the emotional picture of the music. In the notes below I have used the key characteristics as notated by Chr. Fr. Daniel Schubart (1739-91) whose descriptions are typical for Vivaldi´s times, and could help with the choice of colour for the lighting (mood).

Spring

1. Allegro

Key – E major (4 sharps). Characteristics – Bright and energetic. The open e string of the violin makes the music bright. E major is however also often used by baroque composers to depict love (e.g., Couperin’s Il Ritratto d’Amore).

Spring has arrived and merrily 
the birds hail her with happy song 
and, meanwhile at the breath of the Zephyrs, 
the streams flow with a sweet murmur
thunder and lightning, chosen to proclaim her, 
come covering the sky with a black mantle, 
and then, when these fall silent, the little birds 
return once more to their melodious incantation.

The overall character of this movement derives from the opening – a proud and uplifting courtly dance – the music of which is taken directly from the Giustino, (1724), where the goddess Fortune appears in a brightly lit scene. Nature is here gratefully honoured by humankind!

Sound design:

  • Bird song trio with 3 violins (b.13-27 and 59 - 65)
  • Gentle winds and flowing brook (b. 31-37)
  • Mini thunder storm (a premonition of what is to come in Summer) (b. 44-55)

2. Largo

C-sharp minor. Characteristics – regret, sighing, frustrated love.

The air, which, fresher now, lends contentment, 
and the season which invites so many 
to the great pleasure of sweetest slumber, 
make each one abandon dance and song.

Here, the solo violin melody portrays the sleeping shepherd, the two other violins are the murmuring brook and the viola is the shepherd´s dog who barks from time to time… It is a rather lonely, wistful scene with very sparse instrumentation - no bass instruments, and no harpsichord.

Sound design:

  • Dog barking (in viola throughout)
  • Murmuring brook (violins)

3. Allegro

E-major (like the first movement)

To the festive sound of a shepherd´s bagpipe, 
nymphs and shepherds dance beneath the beloved roof 
at the joyful appearance of spring

The movement is dominated by the bagpipe melody and drones – dance music that accompanies the festivity. Just near the end Vivaldi turns abruptly to the minor, and we hear the ominous descending tetrachord in the solo violin. Maybe Vivaldi is hinting at what is to come, or merely that nature cannot be entirely trusted! Things aren´t always quite what they seem. No sound design.

Summer

1. Allegro non molto g-minor

Anger, frustration, discontent, not being at ease, gnashing of teeth.

Beneath the harsh season inflamed by the sun, 
Man languishes, the flock languishes, and the pine tree burns; 
the cuckoo unleashes its voice and, as soon as it is heard, 
the turtle dove sings and the goldfinch too.

Sweet Zephyrus blows, but Boreas suddenly 
opens a dispute with his neighbour;
and the shepherd weeps, for he fears 
a fierce storm looming – and his destiny

This concerto is dominated by the tense build up to, and the final ruinous summerstorm of the third movement. The ominous descending tetrachord motive is used throughout for the threatening winds culminating in the storm theme of the 3rd movement.

The mood of the first movement is predominantly anxious and tense. The opening portrays drooping exhaustion, lethargy and oppressive heat. Immediately after however, we hear the cuckoo, but this is a very bad sign. According to an old superstition, one is doomed to failure in love unless one hears the nightingale before the cuckoo! The ensuing bird calls sound eerie and strange instead of happy. When the gentle Zephyr breezes suddenly appear in b. 78, they seem out of place, and indeed, instead of bringing welcome refreshment, they are the harbinger of destruction – immediately the violent north wind descends, and the shepherd realises his crop is on the verge of destruction. The Ensuing lament (b.116 – 154) with its yearning harmonies paints a heartbreaking picture of the shepherd´s loneliness and vulnerability. The movement ends again with the howling winds.

Sound design:

  • Cuckoo (b.31-51)
  • Turtledove (b.59-70)
  • Breezes (b.71)
  • Goldfinch (b72-77)
  • Breezes (b.78 – 89)
  • Violent winds (b.90-109 and b.155-end)

2. Adagio

g minor (same as first movement)

The fear of lightning and fierce thunder 
and the furious swarm of flies and blowflies 
deprives his weary limbs of repose.

The feeling of this movement is an uncomfortable weariness. The shepherd (solo violin) cannot rest because of the buzzing insects, which are swarming and sense the oncoming storm. He is also worried for his crop, and powerless to avert the impending natural disaster.

Sound design:

  • Buzzing insects (throughout)
  • Thunder (b 3-4, 8-9,16,20)

3. Presto: The Summer Storm

g minor (same as first movement)

Lighting: lightening or storm effects?

Oh Alas! His fears are only too true, 
The sky thunders, flares, and with hailstones 
severs the heads of the proud grain crops.

Vivaldi uses the descending tetrachord motive – a common device in baroque music to signify suffering – very liberally in this movement! The orchestra depicts the ravaging storm, starting with two massive. shaking statements outlining the ominous descending tetrachord, then proceeding to the battle of the winds which ruthlessly sever the heads of the proud grain crops!

Sound design (storm throughout - need to try out in the rehearsal):

  • Howling winds
  • Thunder
  • Destruction!

Autumn

1. Allegro

F major: Charm, placidity, tranquility, agreeableness and rest

The peasant celebrates in dance and song 
the sweet pleasure of the rich harvest
and, fired by Bacchus' liquor, 
many end their enjoyment in slumber.

This concerto is all about the pursuit of pleasure, and Man´s brash confidence. The power of Nature has been temporarily harnessed (crops, ale, hunting) and now is the time for selfish indulgence. The orchestra plays a country dance (stomping grapes for wine?) and the solo violin portrays the drunkard, whose antics become increasingly absurd, until he finally collapses in a drunken stupor (b.89).

No sound design

2. Adagio molto

d minor: femininity that indicates that nothing good will come.

The air, which, fresher now, lends contentment, 
and the season which invites so many 
to the great pleasure of sweetest slumber, 
make each one abandon dance and song.

This movement depicts yet another, utterly different type of sleep – intoxicated, uneasy slumber. This time the soloist is absent, instead the orchestra sustains slowly evolving chords, some of which extremely uncomfortable and dissonant (nightmarish), under which the harpsichordist improvises a kaleidoscope of slow arpeggios. Vivaldi uses the instruction “Il cembalo arpeggio” in a movement like this only one other time - in the opera Dorilla in Tempe RV709, when Dorilla begs the gods for pity.

Sound design: none

3. La Caccia (The Hunt)

F major (like first movement)

At the new dawn the Hunters set out on the hunt 
with horns, guns and dogs.  
The wild beast flees, and they follow its track 
already bewildered, and wearied by the great noise 
of the guns and dogs, wounded, 
it threatens weakly to escape, but, overwhelmed, dies.

Vivaldi uses fanfare motives in the orchestra to depict the hunting horns – a very common device in baroque music that would have been immediately recognisable to Vivaldi´s audience. As the movement progresses, the soloist takes on the part of the fleeing beast. The climax of the movement comes with gunfire (orchestra b. 84, 94) and the demise of the beast (Solo b.129-136).

Sound design:

  • Horses galloping? Hunting horns?
  • Gunfire

Winter

1. Allegro non molto

F minor: melancholy, mourning, thoughts of death

To shiver, frozen, amid icy snows; 
at the harsh wind´s chill breath, 
to run, stamping one's feet at every moment; 
with one's teeth chattering on account of the excessive cold.

The menacing shivering chords of the opening and the violent tirades of the north winds depict Winter as terrifying and bleak. Vivaldi used exactly the same musical technique as the opening of Winter, in the aria Gelido in ogni vena (Icy in every vein) which depicts blood chilling at the sight of a ghost!

Surprisingly however, and differently from the other three concertos, the message of the Winter concerto seems to be that man can turn these natural elements to his advantage – in the final movement the cruel ice becomes a skating rink, and the harsh winds create exhilaration. This upbeat message is a fitting end to the cycle!

Sound design:

  • Howling winds (b12,14, 17,33-38,)

2. Largo

E-flat major: warmth, the key of love, of contemplation.

To pass the days of calm and contentment by the fireside 
while the rain outside drenches a hundred others

The change of key is extremely effective here. The icy cold of f minor to the dark warmth of eflat major immediately sets the tone. The charming melody of the soloist depicts the contentedness, the plucking violins raindrops on the roof , the warm, deep and soothing tones of the viola and the pitterpatter of the cello fuse together to create that universal cosy feeling. We all love that feeling of being warm and snug inside, whilst the elements rage outside. In this movement, man uses nature´s elements to his advantage!

Sound design:

  • Raindrops
  • Crackling fire

3. Allegro

F minor (same as first movement)

To walk on the ice, and with slow steps 
to move cautiously for fear of falling; 
to go fast, slip, fall to the ground, 
to go on the ice again and run fast 
until the ice cracks and breaks open, 
to hear, as they sally forth through the iron-clad gates, 
Sirocco, Boreas, and all the winds at war.  
This is winter, but of a kind to bring joy.

In the opening, the long held note in the cello represents the ice rink and the soloist the skater. Vivaldi uses skating to symbolise people´s freedom, when they live in harmony with nature and are not afraid to take a risk! The skater does tumble (b42 – 47), but soon gets up and goes even faster! The warm sirocco winds make a brief appearance – this time kind, not menacing as in Summer - just before the furious final battle of the winds (from b 120). This time however, the mood is excitement and exhilaration. “This is Winter – but of a kind to bring joy”

Sound design:

  • Cracking ice (b.89-91)
  • Warm winds (101-119)
  • Battle of the winds (120 - end)