At first it was a bold piece. A type of music that is, with the rock of the 60, which in my opinion best moves us their time. It is not just musical sophistication, it is also the physics of Newton, Leibniz's philosophy or political engineering of Louis XIV, an entire world that was becoming very complicated since microscopes and telescopes began to make clear that God was nowhere , on the contrary, there was much more than his servants had promised in his name. That is, this:
And the centuries passed, and the world changed, a lot. Or so they say:
When one sees how the aesthetics of mass has been able to metabolize a Vivaldi smoothly, feels that there has been a triumph, though not quite sure whom. How Vivaldi, of which, admittedly cheesy rock-interpret it without betraying it, or the public that is able to jump and scream listening to music lit Canaletto Venice?:
Yes, a victory anyway. But like - oh! - evil always attracts more than anything, nothing can compare to the experience of finding that the immortality of the basso continuo only through centuries of human glory, it can also embody a clever producer who is rubbing his hands as he thinks something as "with this sweety we will gold"
At this point we can mourn, and do so in the belief that our tears will be of very different tastes than those who ran down those cheeks baroque, but still so present in our memory to recall, even with this version, the demon Vivaldi how it all started.
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