type: caselaw

jurisdiction: US

text:
 268 Md. 305 (1973)
 300 A.2d 685
 COMMISSIONER OF SMALL LOANS ET AL.
 v.
 THE FIRST NATIONAL BANK OF MARYLAND ET AL.
 [No. 175, September Term, 1972.]
 Court of Appeals of Maryland.
 Decided March 1, 1973.
 *306 The cause was argued before MURPHY, C.J., and BARNES, McWILLIAMS, SINGLEY,[*] SMITH and LEVINE, JJ.
 Thomas N. Biddison, Jr., and Stanford D. Hess. Assistant Attorneys General, with whom was Francis B. Burch, Attorney General, on the brief, for appellants.
 Robert B. Barnhouse, with whom were Paul V. Niemeyer and Piper & Marbury on the brief, for appellee The First National Bank of Maryland. Norman P. Ramsey, with whom was Alan N. Gamse on the brief, for appellee Maryland National Bank.
 MURPHY, C.J., delivered the opinion of the Court.
 Shortly after the creation of national banking associations, the Supreme Court recognized that "[n]ational banks have been national favorites," Tiffany v. National Bank of Missouri, 85 U.S. (18 Wall.) 409, 413, 21 L. Ed. 862, 864 (1874), a judgment that has survived to the present day. At issue in this appeal is whether appellees, Maryland National Bank (Maryland National) and First National Bank of Maryland (First National), both national banking associations located in Maryland, may charge interest on small loans at the same rate which small loan companies licensed under Maryland law are permitted to charge on comparable loans.
 Appellees are authorized to do banking business under the National Bank Act, 12 U.S.C. §§ 21 et seq. (1970), and are controlled and supervised by the Comptroller of the Currency. As part of their business, appellees make small loans, including loans of $300 or less *307 to holders of their respective credit card services  Charg-It (and later Master Charge) of Maryland National and BankAmericard of First National. Maryland National made a $300 loan pursuant to its "Charg-It" loan procedure to Kathleen M. Althoff; the rate of interest charged was 1 1/2% per month on the unpaid balance. First National made a $100 loan pursuant to its BankAmericard cash advance procedure to Nina Jane Smith, subject to the same 1 1/2% per month rate of interest. Subsequently, each borrower refused to repay any of the interest or principal of the loan on the ground that the interest rate of 1 1/2% per month (18% per year) violated the usury laws of the State. The Commissioner of Small Loans of the State of Maryland (formerly the Administrator of Loan Laws) advised the respective banks that the rates of interest charged were usurious. The appellee banks maintained that the interest charges were allowed by law. Pursuant to these disputes, each bank instituted an action against the Commissioner of Small Loans and the individual borrower, seeking a declaratory judgment that national banks may lawfully charge interest on small loans at the same rates which small loan companies are permitted to charge on comparable loans. The cases were consolidated for trial in the Superior Court of Baltimore City before Judge David Ross.
 Maryland usury laws limit interest charges on loans to 6% per annum simple interest on the unpaid balance; 8% may be charged on written agreement between the lender and borrower; 12% may be charged on unsecured installment loans. Maryland Code (1957, 1972 Repl. Vol.), Article 49, §§ 3, 5. However, a different rate is authorized for small loan licensees under the Maryland version of the Uniform Small Loan Act, first adopted in Maryland in 1918, now codified as Maryland Code (1957, 1972 Repl. Vol.), Article 58A. Small loan licensees operate under the supervision and regulation of the Commissioner of Small Loans and are authorized to receive interest on loans of less than $500, at a rate not to exceed 3% per month (36% per year) on that part of the unpaid balance *308 not exceeding $300 and 2% per month (24% per year) on the unpaid balance exceeding $300 but not exceeding $500.[1] Banks are not eligible to become small loan licensees.[2] It was stipulated below that State chartered banks in Maryland make loans of $300 or less at interest not exceeding 12% per year.
 Appellee banks claimed the right to charge the higher rate on small loans under federal law regulating the interest national banking associations may charge, 12 U.S.C. § 85, which provides:
 "Any [national banking] association may take, receive, reserve, and charge on any loan or discount made, or upon any notes, bills of exchange, or other evidence of debt, interest at the rate allowed by the laws of the State, Territory, or District where the bank is located, or at a rate of 1 per centum in excess of the discount rate on ninety-day commercial paper in effect at the Federal reserve bank in the Federal reserve district where the bank is located, whichever may be the greater, and no more, except that where by the laws of any State a different rate is limited for banks organized under State laws, the rate so limited shall be allowed for associations organized or existing in any such State under this chapter. When no rate is fixed by the laws of the State, or Territory, or District, the bank may take, receive, reserve, or charge a rate not *309 exceeding 7 per centum, or 1 per centum in excess of the discount rate on ninety-day commercial paper in effect at the Federal reserve bank in the Federal reserve district where the bank is located, whichever may be the greater, and such interest may be taken in advance, reckoning the days for which the note, bill, or other evidence of debt has to run." (Emphasis supplied.)
 In a well-reasoned opinion, Judge Ross concluded § 85 constituted authority for "national banks located in Maryland ... to charge interest on loans of the amount dealt with in the Uniform Small Loan Act at the same rates of interest permitted to be charged by lenders licensed under that act."[3]
 In appealing Judge Ross's decree that the interest charged on the loans in question was not usurious, appellant succinctly narrowed the issue before this Court as follows:
 "If interest allowed to small loan agencies by Article 58A is within the contemplation of this definition ["interest at the rate allowed by the laws of the State ... where the bank is located ...." 12 U.S.C. § 85, supra], appellees must prevail; if it is not, they must fail."
 12 U.S.C. § 85 was first enacted, in substantially the same language as the present version, as § 30 of the National Bank Act of 1864, 13 Stat. 99; that Act substantially amended and replaced the National Currency Act of 1863, 12 Stat. 665. The intent of both statutes, founded in the severe financial problems which had developed during the Civil War, was to establish a sound and lasting system of national banking associations under *310 federal control.[4] The debates show the great concern of the Congress, creators of the national banking system, that national banks be able to survive competition from all other lenders. See Cong. Globe, 38th Cong., 1st Sess. 2123-27 (1864).
 The 1863 Act had provided that national banks could charge the interest rate "established" by state law. The 1864 Act, as introduced by Representative Hooper of Massachusetts, would have made the maximum rate of interest for national banks uniform at 7%. Id., p. 1257. This version of the Bill passed the House and was forwarded to the Senate. The Senate Committee on Finance modified the House version of the interest provision to a rate "allowed" by the laws of the state or territory where the bank was located, and if no such rate was fixed, then at a rate not exceeding 7%. Id., p. 2123. The debates evince a clear understanding of the difference between the two versions. Senator Grimes of Iowa stated, at p. 2125:
 "I was going to show the Senator that the law of last winter [1863 Act] is not the law he proposes to enact now. That was `the established rate of interest' by the law of the State. What was the rate established? 6% was the rate established by the laws of the state, but there was an exception which declared that when private individuals chose to make a special contract as between themselves, the rate of interest might be as high as 10%. Now let me read to the Honorable Senator what he proposes: `Interest at the rate allowed' not `established'  `at the rate allowed by the laws of the State.' 10% was allowed by the laws of the state, but 10% would not be `established' law of the State. I apprehend that there is not a Senator who *311 does not see that there is a very wide difference between the law of last winter which authorized them to take the rate of interest `established' by the laws of the state, and this act which it is proposed to pass to a law, allowing them to take the rate which may be `allowed' by the laws of the state, which runs up as high as 10%."
 Senator Sherman, during the course of debate, recognized that the "allowed" version
 "was intended to confer on these national banks the same privileges that are conferred by the laws of the states on other associations and individuals . .. and which will allow those national banks the same rate of interest as is provided by the local laws for the people within their own states.... My own preference ... is to establish the uniform rate of interest by our law; but having been overruled on that point, I prefer now to place the national banks in each state on precisely the same footing with individuals and persons doing business in the state by its laws." Id. p. 2126. (Emphasis supplied.)
 As ultimately enacted, the law permitted national banks to charge interest at the rate "allowed" (rather than "established") by State law.
 The Supreme Court first construed § 30 of the National Bank Act in Tiffany v. National Bank of Missouri, supra. In the context of a state statutory scheme that limited state banks in Missouri to 8% interest, and allowed all other lenders to charge 10%, the Supreme Court held that the national bank could charge 10%. The Court based its decision on the intent of Congress:
 "The act of Congress is an enabling statute, not a restraining one, except so far as it fixes a maximum rate in all cases where state banks of *312 issue are not allowed a greater. There are three provisions in section 30, each of them enabling. If no rate of interest is defined by state laws, seven percent is allowed to be charged. If there is a rate of interest fixed by state laws for lenders generally, the banks are allowed to charge that rate, but no more; except that if state banks of issue are allowed to reserve more, the same privilege is allowed to national banking associations.... It speaks of allowances to national banks and limitations upon state banks, but it does not declare that the rate limited to state banks shall be the maximum rate allowed to national banks.... It cannot be doubted, in view of the purpose of Congress in providing for the organization of national banking associations, that it was intended to give them a firm footing in the different states where they might be located. It was expected that they would come into competition with state banks, and it was intended to give them at least equal advantages in such competition.... Obviously, if state statutes should allow to their banks of issue a rate of interest greater than the ordinary rate allowed to natural persons, national banking associations could not compete with them, unless allowed the same. On the other hand, if such associations were restricted to the rates allowed by the statutes of the state to banks which might be authorized by the state laws, unfriendly legislation might make their existence in the State impossible. A rate of interest might be prescribed so low that banking could not be carried on except at a certain loss. The only mode of guarding against such contingencies was that which, we think, Congress adopted. It was to allow to national associations the rate allowed by the state to natural persons generally, and a higher rate, if state banks of issue were authorized *313 to charge a higher rate." (Emphasis supplied.)
 See also Daggs v. Phoenix National Bank, 177 U.S. 549, 20 S. Ct. 732, 44 L. Ed. 882 (1900), wherein the Supreme Court reaffirmed its holding in Tiffany, concluding that where the law of the territory prescribed a 7% interest rate in the absence of an agreement otherwise, but permitted the parties to contract for any rate of interest, the National Bank Act allowed national banks to so contract beyond the 7% limit. The Court noted that, "[b]y that act, certainly no discrimination was intended against national banks." 177 U.S. at 555, 20 S.Ct. at 735, 44 L. Ed. at 884.
 In Penrose v. Canton National Bank, 147 Md. 200, 208, 127 A. 852, 856 (1925), we held that national banks in Maryland could avail themselves of the provisions of State law making the defense of usury unavailable to a corporate borrower; we there recognized that it was "the purpose of the federal law, declared in many decisions of the Supreme Court ... [citing Tiffany] to put national banks in a position of equality with state institutions for dealing in loans."
 The Comptroller of the Currency, charged with the duty of supervising and regulating national banks, 12 U.S.C. §§ 1 et seq., rendered an opinion in 1936 that national banks in Iowa were entitled to charge the same rate of interest allowed to small loan companies under the Iowa Small Loan Act. The opinion was incorporated in the Comptroller's Digest of Opinions; and in 1953 in the Comptroller's Manual for National Banks and designated as Ruling 7310.[5] Now codified as 12 C.F.R. § 7. 7310 (1972), the opinion is summarized in the following language:
 "A national bank may charge interest at the maximum rate permitted by state law to any *314 competing state-chartered or licensed lending institution. If state law permits a higher interest rate on a specified class of loans, a national bank making such loans at such higher rate is subject only to the provisions of state law relating to such class of loans that are material to the determination of the interest rate. For example, a national bank may lawfully charge the highest rate permitted to be charged by a state-licensed small loan company or morris plan bank, without being so licensed." (Emphasis supplied.)
 In Northway Lanes v. Hackley Union National Bank and Trust Co., 464 F.2d 855 (6th Cir.1972), it was held that national banks located in Michigan could charge closing costs on commercial real estate loans exclusively reserved by state law to savings and loan associations. In that case, the borrower had contended that 12 U.S.C. § 85 restricts the rate of interest national banks may charge to the rate established by state law for state "banks"; that savings and loan associations were not "banks"; and that national banks, accordingly, could not charge a borrower closing costs which a savings and loan association could charge under Michigan law on the same type of loan. The court, considering the legislative history of § 85, Tiffany and other case law, together with the Opinions of the Comptroller of the Currency, said:
 "The reference in Section 30 [§ 85] to the `rate allowed by the laws of the State,' was not intended to be limited to a state's general usury rate but was meant to include any exceptions to that rate established for special transactions or special classes of lenders." 464 F.2d at 862.
 In Partain v. First National Bank of Montgomery, 336 F. Supp. 65 (M.D. Ala. 1971), the District Court held that national banks located in Alabama could charge the *315 same rate of interest on small loans as small loan companies were authorized to charge. On appeal this conclusion was affirmed. 467 F.2d 167 (5th Cir.1972).[6]See also Rockland-Atlas Bank of Boston v. Murphy, 329 Mass. 755, 110 N.E.2d 638 (1953) holding that national banks could charge the interest rate authorized by the Massachusetts small loan law on comparable loans, a rate also available to state banks.
 We think it clear beyond question that § 85 permits national banks to charge the highest rate of interest allowed in the State to anyone, viz., state banks, private persons, or specially licensed groups of lenders of any type.
 In so concluding, we have carefully considered, but find no merit in appellants' argument that the provisions of § 85 must be construed so as to limit national banks to charging rates of interest allowed, in the language of Tiffany, to "state banks" or "lenders generally." This argument, based on their restricted reading of Tiffany, overlooks the factual context of that case which made "state banks" and "lenders generally" the only categories considered. Appellants' argument that § 85 was not intended to apply to small loan legislation originated decades later fails in light of the clear intent of that section to protect national banks from all other competing lenders within a state  a conclusion well fortified by the fact that Congress has not seen fit to amend § 85, notwithstanding the consistent administrative construction placed upon the section by rulings of the Comptroller of the Currency. See Inland Waterways Corp. v. Young, 309 U.S. 517, 524-25, 60 S. Ct. 646, 651, 84 L. Ed. 901, 906-07 (1940); United States v. Shreveport Grain & Elevator Company, 287 U.S. 77, 84, 53 S. Ct. 42, 44, 77 L. Ed. 175, 179 (1932).
 Appellants suggest that an affirmance of the lower court's decree will:
 *316 "... put small loan licensees out of business and thwart the legislative purpose [of Art. 58A] to provide a source of loans for poor credit borrowers. The banks with their competitive advantage as to accessibility to the consumer will leave only the poorest credit risks for the small loan licensees, people which might have obtained a loan from the licensee if they constituted a small percent of the licensees' business but who cannot obtain a loan if they are its exclusive customers."
 The problem, as appellants present it, is compounded by the fact that Maryland Code (1957, 1968 Repl. Vol.), Article 11, § 67, empowers state banks, if certain conditions are met, to engage in any additional banking activities permitted under federal law to any national banking association.[7] Appellants forecast a situation where marginal borrowers will be deprived of a loan source, small loan bank (national or state) borrowers will be deprived of the protections presently afforded small loan borrowers under Article 58A, and small loan licensees *317 may "seek judicial relief to break down all remaining distinctions in the law which act to impose more stringent regulation on their operations." We find it unnecessary to consider these problems which may arise in the future; they are not before us on this appeal. We have previously recognized the important state policy embodied in the Small Loan Act. Beneficial Finance Co. v. Administrator of Loan Laws, 260 Md. 430, 272 A.2d 649 (1971); Liberty Finance Company Inc. v. Catterton, 161 Md. 650, 158 A. 16 (1932). In Beneficial, we quoted with approval from Credit Finance Service, Inc. v. Able (D.C. Mun. App.) 127 A.2d 396, 398-99 (1956), that "courts should extend their protection as far as they reasonably and practically can to borrowers in this class." 260 Md. at 439, 272 A.2d at 653. But such protection as appellants seek can only be provided by appropriate amendment to § 85 since, as stated in Davis v. Elmira Savings Bank, 161 U.S. 275, 283, 16 S. Ct. 502, 503, 40 L. Ed. 700, 701 (1896),
 "National banks are instrumentalities of the Federal government, created for a public purpose, and as such necessarily subject to the paramount authority of the United States. It follows that an attempt by a state to define their duties or control the conduct of their affairs is absolutely void, wherever such attempted exercise of authority expressly conflicts with the laws of the United States, and ... frustrates the purpose of the national legislation...."
 As the meaning of 12 U.S.C. § 85 is clear, we must affirm Judge Ross's decree.
 Decree affirmed; appellants to pay costs.
 NOTES
 [*] Reporter's Note: Singley, J., participated in the hearing of this case, but did not participate in the conference in regard to its decision or in the adoption of the opinion of the Court.
 [1] Code, Article 58A, § 16.
 [2] "No person, copartnership, association or corporation, shall make any loan of money ... and charge ... any interest... authorized by this article, or shall in any manner utilize any advantage provided by the provisions of this article, without first having obtained a license from the Administrator of Loan Laws. No bank, savings bank, trust company, credit union, savings and loan association, or building and loan association shall be permitted to be licensed under this article. Nothing in this article shall be construed as a[n] ... expansion of powers conferred by law upon persons, copartnerships, associations, or corporations, not required or permitted to be licensed hereunder." Code, Article 58A, § 1.
 [3] Judge Ross's opinion is reported at C.C.H. Fed. Banking Law Rep. ¶ 95,735 and C.C.H. Consumer Credit Guide ¶ 99,168.
 [4] See Abraham Lincoln, Special Message on Financing the War, Senate Journal, 37th Cong., 3d Sess. 121-22 (1863).
 [5] The Comptroller has consistently adhered to this construction in more than 80 opinions.
 [6] The case was remanded to the District Court for further proceedings.
 [7] "§ 67. Power to engage in additional banking activity or bank-related service.
 "Any bank or trust company, heretofore incorporated under any general or special law of this State, and any bank or trust company hereafter incorporated under this article, is authorized and empowered, notwithstanding the restrictions and limitations imposed in this article, to consummate, negotiate, transact, or engage in any additional banking activity or bank-related service, under the same conditions, limitations, restrictions and safeguards as are now or shall hereafter be applicable, or permitted under federal law to any national banking association, provided, however, that this power shall only become available to the State banks and trust companies of this State with the authorization by majority vote of the Bank Commissioner, the three appointed members of the Banking Board, and three persons, not employed by any banking institution, to be appointed by the Governor, with the advice of the Secretary of Licensing and Regulation, for a two-year term, one of whom shall be an economist, one of whom shall be a certified public accountant, and the third member shall be a member of the general public. Such authorization shall be given only if it is deemed reasonably required to preserve and protect the welfare of such institutions, the general economy of this State, and will not be detrimental to the public interest and the stability of the institutions." (Emphasis supplied.)


type: legislation

jurisdiction: EU

text:
 15.10.2011
 SK
 Úradný vestník Európskej únie
 L 270/14
 VYKONÁVACIE NARIADENIE KOMISIE (EÚ) č. 1020/2011
 zo 14. októbra 2011,
 ktorým sa mení a dopĺňa vykonávacie nariadenie (EÚ) č. 543/2011, pokiaľ ide o maximálnu výšku podpory na stiahnutie nektáriniek a broskýň z trhu
 EURÓPSKA KOMISIA,
 so zreteľom na Zmluvu o fungovaní Európskej únie,
 so zreteľom na nariadenie Rady (ES) č. 1234/2007 z 22. októbra 2007 o vytvorení spoločnej organizácie poľnohospodárskych trhov a o osobitných ustanoveniach pre určité poľnohospodárske výrobky (nariadenie o jednotnej spoločnej organizácii trhov) (1), a najmä na jeho článok 103 h v spojení s jeho článkom 4,
 keďže:
 (1)
 Nariadením (ES) č. 1234/2007 a vykonávacím nariadením Komisie (EÚ) č. 543/2011 zo 7. júna 2011, ktorým sa ustanovujú podrobné pravidlá uplatňovania nariadenia Rady (ES) č. 1234/2007, pokiaľ ide o sektory ovocia a zeleniny a spracovaného ovocia a zeleniny (2), sa stanovujú pravidlá týkajúce sa uplatňovania opatrení súvisiacich s krízovým riadením a predchádzaním krízam, pokiaľ ide o ovocie a zeleninu, ktorých produkcia je veľmi nepredvídateľná.
 (2)
 Môže dôjsť k prebytku ovocia a zeleniny na trhu, čo môže trh značne narušiť. V takom prípade môžu opatrenia súvisiace s krízovým riadením a predchádzaním krízam zahŕňať stiahnutia z trhu podľa článku 103c ods. 2 písm. a) nariadenia (ES) č. 1234/2007 a článku 75 vykonávacieho nariadenia (EÚ) č. 543/2011 s cieľom stabilizovať ceny výrobcov.
 (3)
 V súlade s článkom 79 ods. 1 vykonávacieho nariadenia (EÚ) č. 543/2011 sa v prílohe XI k uvedenému nariadeniu stanovuje maximálna výška podpory na stiahnutie v nej uvedených výrobkov z trhu. Uvedené čiastky treba stanoviť tak, aby sa zamedzilo tomu, že sa stiahnutia stanú stálym odbytiskom výrobkov ako alternatíva k ich umiestneniu na trhu, a aby sa zároveň zabezpečilo, že stiahnutia zostanú účinným nástrojom pre predchádzanie krízam a pre krízové riadenie.
 (4)
 Vzhľadom na prevládajúcu trhovú situáciu v prípade broskýň a nektáriniek a na zmiernenie dosahu náhleho poklesu cien z tohto leta by sa mala maximálna výška podpory na stiahnutie nektáriniek a broskýň z trhu upraviť.
 (5)
 Vykonávacie nariadenie (EÚ) č. 543/2011 by sa preto malo zodpovedajúcim spôsobom zmeniť a doplniť.
 (6)
 Je vhodné uplatňovať novú výšku podpory od 19. júla 2011, keď sa stal význam poklesu cien v prípade broskýň a nektáriniek zjavný. Toto nariadenie by preto malo nadobudnúť účinnosť dňom jeho uverejnenia.
 (7)
 Riadiaci výbor pre spoločnú organizáciu poľnohospodárskych trhov nedoručil stanovisko v rámci lehoty stanovenej jeho predsedom,
 PRIJALA TOTO NARIADENIE:
 Článok 1
 Príloha XI k nariadeniu (EÚ) č. 543/2011 sa nahrádza znením prílohy k tomuto nariadeniu.
 Článok 2
 Toto nariadenie nadobúda účinnosť dňom jeho uverejnenia v Úradnom vestníku Európskej únie.
 Uplatňuje sa od 19. júla 2011.
 Toto nariadenie je záväzné v celom rozsahu a priamo uplatniteľné vo všetkých členských štátoch.
 V Bruseli 14. októbra 2011
 Za Komisiu
 predseda
 José Manuel BARROSO
 (1) Ú. v. EÚ L 299, 16.11.2007, s. 1.
 (2) Ú. v. EÚ L 157, 15.6.2011, s. 1.
 PRÍLOHA
 „PRÍLOHA XI
 Maximálna výška podpory na stiahnutie z trhu uvedené v článku 79 ods. 1
 (EUR/100 kg)
 Výrobok
 Maximálna podpora
 Karfiol
 10,52
 Rajčiaky
 7,25
 Jablká
 13,22
 Hrozno
 12,03
 Marhule
 21,26
 Nektárinky
 26,90
 Broskyne
 26,90
 Hrušky
 12,59
 Baklažán
 5,96
 Melóny
 6,00
 Dyne červené
 6,00
 Pomaranče
 21,00
 Mandarínky
 19,50
 Klementínky
 19,50
 Satsumasy
 19,50
 Citróny
 19,50“


type: wikipedia

text:
I Sisters on Wire sono un gruppo musicale lituano formatosi nel 2014. È formato dai musicisti Ieva Šcerbinskaitė, Oleg Erochin, Filip Gusev e Marius Oršauskas.
 Storia del gruppo
 Sono saliti alla ribalta nel 2016 con l'uscita del primo album in studio Never Turn the Lights Off, il cui successo è stato sufficiente a garantire al gruppo due candidature, tra cui una nella categoria Svolta dell'anno, ai Muzikos asociacijos metų apdovanojimai, i principali premi musicali della Lituania. Due anni dopo sono stati selezionati come artisti di apertura del concerto degli a-ha presso il castello di Trakai. Nel 2020 hanno inciso Taip jau gavosi e Mėlyna mėlyna, che sono diventate delle hit a livello nazionale, poiché hanno raggiunto rispettivamente la 18a e la 7a posizione della Singlų Top 100, combinando attraverso questi due brani un totale di 90 settimane trascorse in classifica. La popolarità riscontrata dal singolo Mėlyna mėlyna ha fruttato al gruppo due candidature ai M.A.M.A. tenutesi nel 2021 e un premio Aukso lašas come Canzone dell'anno.
 Formazione
 Ieva Šcerbinskaitė – voce, pianoforte
 Oleg Erochin – voce, chitarra
 Filip Gusev – chitarra
 Marius Oršauskas – batteria
 Discografia
 Album in studio
 2016 – Never Turn the Lights Off
 EP
 2015 – EP
 Singoli
 2015 – Take My Hand
 2015 – Earth
 2016 – Voices
 2016 – Deeper
 2017 – My Heart Is Beating
 2019 – Oceans
 2020 – Taip jau gavosi
 2020 – Ruin the Bridges
 2020 – Mėlyna mėlyna
 2020 – Ten esi tu
 2021 – Paleisk mane
 Note
 Collegamenti esterni


text:
Sven Hjalmar Lampell, född 18 december 1920 i Södertälje, död 28 juni 2007 i Hässelby i Stockholm, var en svensk officer och överste i Flygvapnet.
 Biografi
 Lampell var son till köpman Hjalmar Lampell och Tyra Berglund. Han tog officersexamen 1943,, utnämndes till fänrik 1943, kapten 1954, major 1956 och till överstelöjtnant i flygvapnet 1961. Han var flygchef vid Södertörns flygflottilj (F 18) 1956–1960, stabschef vid Tredje flygeskadern (E 3) 1960 och tjänstgjorde hos FN i Kongo 1961–1962 samt 1963. Under Kongokrisen 1961–1963 var han flygchef för det svenska FN-förbandet 22 U.N. Fighter Squadron (F 22). År 1965 blev han överste och tjänstgjorde för Röda Korset i Biafra 1968–1969, Östpakistan och Bangladesh 1971–1972. Han var flottiljchef vid Hälsinge flygflottilj (F 15) 1965–1972. Lampell tjänstgjorde därefter vid Internationella Röda Korset i Genève 1972–1985 och 1990–1994 samt innehade FN-uppdrag 1985–1990.
 Redan tidigare hade han deltagit i den svenska flyginsatsen 1961–1963 i Kongo för FN samt 1968 organiserat Röda korsets hjälpflygningar in i det omringade och svältande Biafra mitt under Biafrakriget. Åsynen av de svältande barnen påverkade honom starkt och blev en vändpunkt i hans liv. Åren i Röda Korset medförde bland annat uppdrag i Jordanien, Östpakistan, Etiopien, Sydvietnam, Västsahara, Somalia och Afghanistan.
 Övrigt
 Han medverkade som konsult och pilot vid inspelningen av Gula divisionen (1954) och i filmen gjorde han bland annat en looping runt Västerbrons valv med en Saab 91 Safir. I början av 1960-talet ledde han den uppmärksammade uppvisningsgruppen Acro Hunters. Förutom den militära karriären upp till överste var han även elitsimmare och världsmästare i flygmilitär femkamp.
 Privatliv
 Han var sedan 1944 gift med skådespelaren Eva Dahlbeck. De är begravda på Skogskyrkogården i Stockholm. De fick sönerna Tomas (född 1944) och Magnus (född 1959).
 Utmärkelser
 Riddare av Svärdsorden (RSO), 1961
 Kommendör av Svärdsorden, 6 juni 1969
 Officer av Nederländska Oranien-Nassauorden (OffNedONO)
 (SMIftjM)
 United Nations Medal (UNM)
 Bibliografi
 Källor
 Noter
 Externa länkar
 Intervju med Sven Lampell (SVT, 1961)
 Svenska överstar
 Svenska flygare
 Svenska flygflottiljchefer
 Personer verksamma vid Hälsinge flygflottilj
 Kommendörer av Svärdsorden
 Svenska militärer under 1900-talet
 Militärer från Södertälje
 Gravsatta på Skogskyrkogården i Stockholm
 Födda 1920
 Avlidna 2007
 Män


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Kylmäkoski on Pirkanmaan maakunnassa sijaitseva entinen Suomen kunta. Kylmäkosken naapurikunnat olivat Akaa, Hämeenlinna, Urjala ja Vesilahti.
 Kylmäkosken kunta perustettiin vuonna 1895 erottamalla se Akaasta. Maaliskuussa 2010 Kylmäkoski päätti liittyä Akaan kaupunkiin vuoden 2011 alusta.
 Kylmäkosken vaakunan on suunnitellut Kaj Kajander, ja se on vahvistettu vuonna 1965.
 Kylmäkosken halki virtaa Urjalan puolelta tuleva ja Akaan puolella Vanajaveteen laskeva Tarpianjoki. Merkittävin järvi on Jalanti, muita ovat Lumijärvi ja Vähäjärvi.
 Kylmäkosken kautta kulkevat Tampereen ja Turun välinen rautatie ja valtatie 9.
 Arkkitehti H. R. Helinin suunnittelema tiilirakenteinen Kylmäkosken kirkko on rakennettu vuonna 1900. Kylmäkosken seurakunta kuuluu Tampereen hiippakuntaan. Seurakunta oli alkujaan rukoushuonekunta, josta se vaihtui kappeliksi vuonna 1892 ja itsenäistyi 1897. Nykyisin Kylmäkoski on Akaan kappeliseurakunta; seurakunnallisesti Kylmäkoski liittyi Akaaseen jo vuonna 2007.
 Kylmäkoskella sijaitsevia kartanoita ovat Arola, Haavisto (Jokihaaviston Tila Oy) sekä Uusi ja Vanha hautaa. Haaviston kartanosta muodostettiin talvisodan jälkeen pika-asutuslain nojalla 17 asutustilaa Muolaan Keskikylästä, Viholasta ja Lavolasta siirtyneille kotitalouksille.
 Suurimpia yrityksiä ja työllistäjiä ovat Kumera, Tuomo Halonen Oy, Tokmanni ja Kylmäkosken vankila.
 Kylmäkosken pitäjäruoaksi nimettiin 1980-luvulla uunikuha ja piparjuurikastike. Sotkiantien varrella sijaitsee linnavuoreksi oletettu Eskolanvuori.
 Maarekisterikylät
 Alpila, Haanoja, Hautaa, Jokihaavisto, Järvihaavisto, Järviö, Kaulo, Kuhavuori, Kurisjärvi, Kuusjoki, Kylmäkoski, Käyrälä, Lontila, Mellola, Mustue, Nauli, Onnia, Pappila, Poutala, Raidisto, Riisikkala, Savikoski, Saviniemi, Sontula, Sotkia, Taipale, Tipuri (Kurisniemi), Tiura ja Vuoltee.
 Kylät
 Kirkonkylä
 Asemakylä
 Mellola
 Taipale
 Savikoski
 Tipuri
 Sontula
 Sotkia
 Kurisjärvi
 Kylmäkosken kirkonseudun taajamassa on 674 asukasta (31.12.2011).
 Lähteet
 Aiheesta muualla
 Kylmäkoski-seura
 Seulonnan keskeiset artikkelit


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Antonio Lucio Vivaldi (Venezja, 4 ta' Marzu 1678 – Vjenna, 28 ta' Lulju 1741) kien kompożitur u vjolinista Taljan , li kien jgħix fir-Repubblika ta' Venezia, meqjus bħala wieħed mill-aqwa esponenti tal-Barokk mużikali.
 Kien qassis imma ma kienx iqaddes għal raġunijiet tas-saħħa. Kellu l-laqam ta' "il Prete rosso" (il-qassis l-aħmar) minħabba li kellu xagħru aħmar.
 Kien wieħed mil-vjolinisti l-aktar vituosi ta' żmienu u wieħed mill-aqwa kompożituri tal-mużika barokka. Hu meqjus bħala l-mużiċista l-aktar importanti, influwenti u oriġinali tal-epoka tiegħu. Vivaldi għamel kontribut sinjifikattiv fl-iżvilupp tal-kunċert, fuq kollox dak solistiku (ġeneru mibdi minn Giuseppe Torelli), u fit-teknika tal-vjolin u tal-orkestrazzjoni. Ħadem ukoll fil-qasam tal-opera lirika u x-xogħol vast tiegħu jinkludi ħafna kunċerti, sonati, u mużika saġra.
 Ix-xogħlijiet tiegħu fi żmienu influwenzaw għad kbir mill-kompożituri, fosthom il-ġenju kbir tal-barokk Johann Sebastian Bach, imma wkoll Pisendel, Heinichen, Zelenka, Boismortier, Corrette, De Fesch, Quantz u wara influwenzaw mużiċisti klassiċi kbar bħal Wolfgang Amadeus Mozart, Gioacchino Rossini u Ludwig van Beethoven (pereżempju s-Sinfonija Pastorali). Mill-kompożizzjonijiet tiegħu l-aktar magħrufa huma l-erba' kunċerti għall-vjolin bl-isem ta' L-erba' Staġuni, eżempju famuż ta' mużika bis-suġġett. Kif ġaralhom ħafna komożituri barokki, wara mewtu ismu u l-mużika tiegħu intesew. Kien biss bis-saħħa tar-riċerka ta xi mużikoloġi tes-seklu 20, bħal Arnold Schering, Marc Pincherle, Alberto Gentili u Alfredo Casella, Gian Francesco Malipiero li Vivaldi reġa' ġie skopert u sar wieħed mill-kompożituri l-aktar magħrufin u esekwiti.
 Bijografia
 Id-dokumenti dwar il-ħajja ta' Vivaldi huma skarsi ħafna għaliex qabel is-seklu 20 l-ebda bijografu ma interessa ruħu li jirrikostruwixxiha. Il-bijografija għad fiha ħafna lakuni u ineżattezzi; xi perjodi minn ħajtu għadna ma nafu xejn fuqhom, bħall-vjaġġi li suppost għamel fl-Italja u fl-Ewropa. Allura wieħed irid jirreferi għax-xhieda diretta tal-epoka, b'mod partikulari dik ta' Charles de Brosses, Carlo Goldoni, tal-arkitett Ġermaniż Johann Friedrich Armand von Uffenbach, li kienu iltaqgħu mal-kompożitur. Tagħrif ieħor ġej minn xi manuskritti u dokumenti misjubin f'diversi arkivji fl-Italja u f'pajjiżi oħra. Biex nagħtu żewġ eżempji konkreti: Kien biss fl-1938 li setgħet tiġi determinata id-data ta' mewtu, mill-att misjub Vjenna. u fl-1963 instabet id-data t-twelid fuq l-att tal-magħmudija (qabel is-sena ta' twelidu, 1678, kienet biss dedotta mill-fażijiet magħrufin tal-karriera ekkleżjastika tiegħu).
 It-tfulija u ż-żogħżija
 Antonio Vivaldi twieled nhar il-Ġimgħa l-4 ta' Marzu Venezja u tgħammed id-dar mill-majjistra Margarita Veronese għax kien fil-periklu tal-mewt. Rega' tgħammed formalment xagħrejn wara fis-6 ta' Mejju fil-knisja ta' San Giovanni in Bragora, mhux 'il bogħod minn fejn jaħsbu li kien joqgħod Vivaldi, f'bini fil-proprjetà tal-familja nobiljari Salamon, fil-parroċċa ta' La Bragora, fis-sestiere ta' Castello. Il-parrinu tal-magħmudija kien Giovanni Antonio Veccellio, sid ta' spiżerija popolari fuq ir-Riva degli Schiavoni, l-ispiżerija "all'Insegna del Doge", kien ilu għarmel sentejn mill-kuġina ta' omm Antonio.
 Missieru Giovanni Battista Vivaldi (madwar l-1655-1736), kien bin ħajjat minn Brescia, li wara mewtu l-familja marret toqgħod Venezja. Kienu joqoqħdu fil-post imsejjaħ "il-fran tal-Arsenale", fil-parroċċa ta' San Martino fejn Giovanni kien jaħdem ta' barbier u vjolinista. Ommu, Camilla Calicchio (1653-1728), kienet bint Camillo Calicchio, ħajjat minn Pomarico, provinċja ta' Matera, li fl-1651, ta' tnejn u għoxrin sena kien mar Venezja, u Zanetta Temporini, mara ta' karattru qawwi , kellha tletin sena meta żżewġet fl-istess sena 1651. Camilla u Giovanni Battista żżewġu fil-11 ta' Ġunju 1676 u kellhom b'kollox tnax-il wild, li fosthom tlieta mietu żgħar. Dawn kienu: Gabriela Antonia (1676-1678), Antonio Lucio (1678-1741), Margarita Gabriella (1680-1750), Cecilia Maria (1683-1767), Bonaventura Tomaso (1685-post 1718), Zanetta Anna (1687-1762), Francesco Gaetano (1690-1752), Iseppo Santo (1692-1696), Gerolama Michela (1694-1696) u Iseppo Caetano (1697-post 1729). Minn dawn Antonio biss għażel il-karriera mużikali.
 Missieru kien x'aktarx interessat ħafna aktar fil-mużika milli fix-xogħol ta' barbier, infatti fl-1685 aċċetta x-xogħol pretiġjuż ta' vjolinista tal-basilka ta' San Marco, li dak iż-żmien kienet għadha kappella privata tad-Doge u mhux sede veskoviliu fiha kienu jiċċelebraw biss f'okkażjonijiet speċjali. Fl-istess sena nħatar il-famuż Giovanni Legrenzi bħala Maestro ta' din il-kappella. Flimkien ma' dan u mal-kollega tiegħu Antonio Lotti, Giovanni Battista Vivaldi waqqaf is-Sovvegno dei musicisti di S. Cecilia, konfraternità ta' mużiċisti Venezjani. Ma' dan l-impen fl-1689 żied dak ta' għalliem tal-vjolin fl-isptar dei Mendicanti.
 Antonio Vivaldi x'aktarx tgħallem idoqq il-vjolin minn missieru. Wera talent kbir kmieni ħafna u kien jitħalla jmur għand il-mużiċisti tal-Kappella tad-Doge. X'aktarx kien jgħallmu l-Maestro di Cappella Giovanni Legrenzi, però dan ma setax kellu influwenza kbira billi miet fl-1690 meta Vivaldi kellhom xi 12-il sena. Immma m'hemmx dubju li Vivaldi tgħallem ħafna mill-mużiċisti tal-kappella ta' San Marco mindu kien għadu żgħir. Ftit ftit ħa post missieru Giovanni Battista Vivaldi, vjolinista ta' xi fama, li rwol tiegħu fil-ħajja u l-karriera ta' ibnu bilfors kien importanti u fit-tul, billi miet xi ħames snin qabel ibnu.
 Il-karriera ekkleżjastika taż-żagħżugħ Antonio bdiet fit-18 ta' Settembru 1693, meta laħaq l-età minima għat-tonsura, minn idejn il-patrijarka ta' Venezja, li sar il-Kardinal Badoero. Kompla l-istudji tiegħu fil-knisja ta' San Geminiano u ta' San Giovanni in Oleo. Kif kienet id-drawwa baqa' jgħix mal-familja fil-parroċċa ta' San Giovanni Battista f'Bragora. Il-mużika ma abbandunahiex; anzi minħabba l-ħila tiegħu fuq il-vjolin fl-1696 kien diġà ġie impjegat bħala vjolinista soprannumerarju matul il-funzjonijet tal-miled fil-kappella tal-bażilka ta' San Marco, fejn deher l-ewwel darba fil-pubbliku. Fl-istess żmien kien jagħmel parti mill-grupp tal-'Arte dei sonadori.
 Fl-4 ta' April 1699 ħa l-ordni minuri ta' suddjaknu fil-knisja ta' S. Giovanni in Oleo u, fit-18 ta' Settembru 1700 ġie ordnat djaknu. Fit-23 ta' Marzu 1703 ġie ordnat qassis. Baqa' jgħix id-dar u jaħdem ma' missieru. Laqqmuh il Prete Rosso (il-Qassis l-Aħmar) minħabba l-kulur ta' xagħru, allavolja kien moħbi bil-parrokka kif kienet il-moda dak iż-żmien.
 Mill-1704 waqaf iqaddes minħabba raġunijiet tas-saħħa. X'aktarx kien ibati minn xi forma ta' ażma ("għafsa tas-sider") li kien ilu jbati biha mit-twelid, u minħabba tagħha ma kienx jista' jkompli l-quddiesa sal-aħħar mingħajr ma jħalli l-artal.
 L-attività fi ħdan il-Pio Ospedale della Pietà
 Minkejja li kien għadu żaghżugħ, il-fama tiegħu malajr bdiet tinfirex u fl-1 ta' Settembru 1703 nħatar bħala maestro tal-vjolin mill-awtorità tal-Pio Ospedale della Pietà bi stipendju ta' 60 dukat fis-sena; baqa' hemm sal-1720. Il-Pio Ospedale della Pietà li twaqqaf fl-1346 kien l-isptar l-aktar prestiġjuż mill-erba' sptarijiet femminili ta' Venezja (it-tlieta l-oħra kienu l-Ospedale degli Incurabili, l-Ospedale dei Mendicanti u l-Ospedale dei Derelitti ai SS. Giovanni e Paolo), u fih kienu jieħdu ħsieb it-tfal orfni jew minn familji fqar ħafna li kienu jitgħallmu sengħa u jħallu l-istitut ta' 15-il sena. Il-bniet minflok kienu jirċievu edukazzjoni mużikali u dawk ta' talent kienu jsiru membri tal-isptar. Dawn kienu jinqasmu fi tlieta skont l-abbiltà tagħhom: figlie di coro, privilegiate di coro, u maestre di coro li kienu jgħallmu. Il-kronista dilettant tal-mużika, Charles de Brosses, kien impressjonat:
 F'Awwissu ta' 1704 l-istipendju tiegħu sar ta' 100 dukat u miegħu żid il-pożizzjoni ta' għalliem tal-viola da gamba u fl-1705 ngħata l-inkarigu tal-kompożizzjoni u l-eżekuzzjoni tal-kunċerti, b'salarju akbar ta' 150 dukat, somma modesta ħafna li kien miżjud magħha l-ħlas tal-quddies ta' kuljum għall-Pietà u l-familji għanja patrizji.
 F' Les Confessions , Jean-Jacques Rousseau jagħti xhieda oħra ral-kwalità tal-kwalità ta' dawn it-tfajliet tal-orkestra, li hu seta' jappreza personalment matul iż-żmien li għadda Venezja, meta mill-1743 sal-1744 kien segretarju tal-ambaxxatur Franċiż f'Venezja:
 Il-fatt li kellu għad-diżpożizzjoni tiegħu dawn l-istrumentalisti u kantanti esperti mingħajr ħsieb ta' numru, ħin jew spejjeż kien ta' vantaġġ kbir għall-kompożitur billi hekk kellu libertà kbira fil-kreatività u l-isperimentazzjoni f'kull tip ta' kumbinazzjoni tal-organiku strumentali. F'din l-epoka il-maestro tal-vjolin żagħżugħ kien żgur beda il-karriera tiegħu ta' kompożitur u kien qiegħed isir magħruf għall-ewwel opri tiegħu mifruxin f'manuskritti, u l-fama li kien beda jieħu setgħet tiġġustifika ntgħażel biexjiġi afdat dan il-post importanti. Id-direzzjoni mużikali tal-Pietà kinet affdata mill-1801 lil Francesco Gasparini, "maestro di coro". Dan il-mużiċista ta' talent kbir , attiv ħafna fil-kompożizzjoni, kien jiddeika l-parti l-kbira ta' ħinu jaħdem fuq l-opri fit-Teatro Sant'Angelo. Allura kien iħalli f'idejn Vivaldi għad kbir, dejjem jikber, ta' dmirijiet li fl-aħħar Vivaldi fil-vrità sar l-animatur mużikali prinċipali tal-Ospedale.
 Ir-relazzjonijiet tiegħu mal-kunsill direttiv tal-Ospedale, jekk noqgħodu fuq il-ftit dokumenti li baqa', jidhru li kienu jvarjaw. Kull sena it-tmexxija tal-istitut Venezjan kienu jiltaqgħu biex jivvutaw fuq il-post ta' maestro. Vivaldi kien rarament spostat imma fl-1709 tilef il-post b'7 voti kontra u 6 favur. Però wara li baqa' jaħdem għal rasu bħala mużiċista għal sena oħra, fl-1711 reġa' nħatar fil-Pietà wara votazzjoni tal-kunsill tal-istitut. Dan kien x'aktarx għax id-direzzjoni kienu fehmu l-importanza tiegħu fl-iskola. Fl-1713 sar risponsabli għall-attività mużikali tal-istitut u fl-1716 "maestro de' concerti". L-istudjużi tal-ħajja ta' Vivaldi, bħal Michael Talbot u Micky White, jiddubitaw jekk kienx qata' formalment kull inpen min mal-Pietà matul is-snin li ma kienx jgħallem hemm. Hemm probabbiltà kbira li Vivaldi kompla jforni l-Pietà b'kunċerti u kompożizzjonijiet oħra matul ħajtu kollha, anki privatament.
 Kien matul dawn is-snin li Vivaldi kiteb il-parti l-bira tal-mużika tiegħu, li tikkonsisti f'ħafna opri u anke għadd kbir ta' kunċerti. fl-1705 ġiet ippubblikata l-ewwel ġabra tiegħu, Opus 1, ġabra ta' 12-il sonata għal tlieta ddedikata lin-nobbli Venezjan Annibale Gambara, li kienu għadhom fl-istil neocorrelljan . Fl-1708 dehret ġabra oħra ta' 12-il sonata għall-vjolin u l-basso continuo (Opus 2), imma l-fama laħqet il-livell internazzjonali bil-kollezzjoni ta' 12-il kunċert għall-arki, L'estro armonico (Opus 3), li ġie stampat Amsterdam fl-1711 bis-saħħa tal-editur Estienne Roger, li kien aktar 'il quddiem fit-teknika ġdida tal-istampa mill-edituri Venezjani Sala u Bortoli. Il-ħarġa tagħha ġiet ippubblikizzata b'avviż f'The Post Man ta' Londra. Dawn il-kunċerti kellhom suċċess tremend fl-Ewropa kollha u kienu segwiti fl-1714 minn La stravaganza (Opus 4), ġabra ta' kunċerti.
 Fi Frar tal-1711 Vivaldi, flimkien ma' missieru mar Brescia, fejn ikkonsinna l-iStabat Mater RV 621 lill-Kongregazzjoni tal-Oratorju ta' San Filippu Neri li kienu kkommissjonawha. Fl-1718 beda perjodu ta' vjjaġġi ta' sikwit, imma qatt ma qata' r-rabtiet li kellu mal-Pietà. Mill-atti reġistrati nistgħu naraw li bejn l-1723 u l-1729 tħallas għall-kompożizzjoni ta' mill-inqas 140 kunċert.
 Impreżarju tal-opra fit-Teatru Sant'Angelo
 F'Venezja tal bidu tas-seklu XVIII l-opra kienet id-divertiment mużikali l-aktar popolari u l-aktar ta' qligħ għall-kompożituri. Kien hemm bosta teatri jikkompetu bejniethom. Sa ftit snin ilu kienu jaħsbu li l-ewwel xogħol teatrali Vivaldjan kien Ottone in villa (RV 729), irrappreżentat fit-Teatro delle Grazie ta' Vicenza f'Mejju tal-1713. Però wara riċerki ġodda instab li Vivaldi kiteb l-ewwel opra fl-1705 jew qabel għax f'din is-sena lesta Creso tolto alle fiamme (RV Anh. 138) ta' Girolamo Polani għat-Teatru Sant'Angelo ta' Venezja. Fl-1714 sar impreżarju kif ukoll direttore delle musiche f'dan it-teatru fejn lesta it-tielet opra tiegħu Orlando finto pazzo (RV 727). Madankollu ma jidhirx li d-dramm kellu s-suċċess mistenni, u biex "isalva" l-istaġun, l-impreżarju Vivaldi kellu jirranġa b'xi tibdiliet u b'xi żididiet Orlando ta' Giovanni Alberto Ristori, li kienet ġa ppreżentata s-sena ta' qabel. Fl-1715 tela' pastiċċ, Nerone fatto Cesare (RV 724, mitluf), bil-mużika ta' diversi kompożituri u 11-il arja minn Vivaldi stess.
 Is-sena 1716 rat ir-rappreżentazzjoni ta' Arsilda, regina di Ponto (RV 700), li x'aktarx kienet suċċess billi wara l-opra ta' warajha (L'incoronazione di Dario, RV 719), ġew proposti rappreżentazzjonijiet bl-istess atturi żagħżagħ ħafna (l-aqwa fosthom Annibale Pio Fabri, Anna Vicenza Dotti u Maria Teresa Cotte jew Cotti). Fl-istess sena ġiet rappreżentata La costanza trionfante degli amori e degl'odii (RV 706), fit-teatru żgħir San Moisè.
 Fl-istess perjodu il-Pietà ikkommissjonatlu diversi xogħlijiet liturġiċi. L-aktar importanti fosthom kienu żewġ oratorji: l-ewwel wieħed, Moyses Deus Pharaonis (RV 643), li sfortunatament intilef u it-tieni, Juditha triumphans devicta Holofernis barbarie (RV 644), kompost fl-1716, li hu wieħed mix-xogħlijiet sagri l-aktar magħrufin ta' Vivaldi. It-tieni wieġed kien ikkommissjonat biex jiċċelebra il-vittorja tar-Repubblika ta' Venezja kontra t-Torok u r-rikonkwista tal-ġżira ta' Corfù. Il-ħdax-il parti, kemm maskili kif ukoll femminili, kienu interpretati mill-bniet tal-Pietà u ħafna arji kellhom partijiet għal strumenti solisti bħal flauti dolci, obwejiet, klarinetti, viola d'amore, mandolini, biex juru t-talent tat-tfajliet anke fi strumenti partikularment rari u li ma jinkisbux faċilment f'dik l-epoka.
 Bħala rappreżentant l-aktar jidher tal-istil operistiku modern, Vivaldi kien wieħed mill-bersalji tal-fuljett satiriku Il teatro alla moda, ippubblkat anonimament fl-1720, imma magħruf li kien miktub mill-mużiċista u letterat Benedetto Marcello. Benedetto Marcello, patrizju u maġistrat Venezjan, li kien ukoll mużiċista apprezzat minn ħafna mill-kontemporanji tiegħu (fosthom Johann Sebastian Bach), kien jappoġġa viżjoni aristokratika u elitista tal-mużika, u ma kienx lest li japprezza l-aspetti aktar "popolari" tal-produzzjoni operistika tal-epoka tiegħu. Madankollu l-unika referenza espliċita għal Vivaldi fit-Teatro alla moda hi moħbija fil-frontespizju, fejn sensiela ta' anagrammi li jaħbu l-ismijiet ta' xi persunaġġi magħrufin ħafna fl-epoka, fosthom, "ALDIVIVA" li tirreferi ċarament għal Vivaldi. Fl-istess frontespizju jidher grupp ta' personaġġi fuq dgħajsa u r-raġel bilwieqfa fuqha liebes kappell tal-qassisin u jdoqq il-vjolin seta' kien karikatura ta' Vivaldi. Fil-bqija, il-fuljett jikkritika u jirridikola aspetti tat-teatru mużikali li kienu mifruxin ħafna dak-ż-żmien imma mhux speċifikament diretti kontra l-attività ta' Vivaldi.
 Is-snin tal-maturità
 Fl-1718 lil Vivaldi offrewlu l-inkarigu prestiġjuż ta' maestro di cappella da camera fil-qorti ta' Filippu t'Assia-Darmstadt, gvernatur ta' Mantova u dilettant kbir magħruf tal-mużika. Allura mar joqgħod fil-belt Lombarda u baqa' hemm madwar tliet snin. Min dan il-perjodu, biex inkunu eżatti mill-istaġun 1720-1721, baqa' xhieda ta' almenu tliet opri, fosthom Tito Manlio (RV 738), u diversi kantati u serenati. Wara Vivaldi mar Milan, fejn fl-1721 ippreżenta id-dramma pastorali La Silvia (RV 734) u fl-1722 l-oratorju L'adorazione delli tre re magi al bambino Gesù (RV 645, mitluf). Ukoll fl-1722 il-kompożitur Venezjan mar Ruma, fejn kien mistieden mill-Papa Benedettu XIII biex idoqq fil-preżenza tiegħu. Fl-1725 tmar lura Venezja, fejn fl-istess sena pproduċa erba' xogħlijiet teatrali.
 Dan kien ukoll li-perjodu li fih kiteb Le quattro stagioni, erba' kunċerti għall-vjolin li jirrappreżentaw ix-xeni tan-natura bil-mużika. X'aktarx l-idea li jikkomponi dawn il-kunċerti ġietu meta kien fil-kampanja madwar Mantova. Dawn kienu konċezzjoni revoluzzjonarja fil-mużika, fihom Vivaldi jirrappreżenta l-ħoss tal-ilma fin-nixxigħat, l-għana tal-għasafar, l-inbiħ tal-klieb, iż-żarżir tan-naħal, l-għajjat tar-rgħajja, it-tempesta, iż-żeffiena fis-sakra, il-lejl sieket, il-festi tal-kaċċa, il-mogħdija bis-silġ, it-tfal jiżżerżqu fuq is-silġ u l-ħoss tan-nar jaqbad. Ma kull kunċert hemm assoċjat sunett miktub minn Vivaldi stess, li jiddesktivi x-xena raffigurata fil-mużika. Dawn ġew ippubblikati bħala l-ewwel erba' kunċerti f'ġabra ta' tnax: Il cimento dell'armonia e dell'inventione Opus 8, ippubblikata Amsterdam, fl-1725, minn Michel-Charles Le Cène, li ssuċċieda lil Estienne Roger fl-attività editorjali.
 X'aktarx matul dan il-perjodu f'Mantova Vivaldi sar jaf 'il Anna Girò, li dak iż-żmien kienet għadha tifla (jaħsbu li twieldet madwar l-1710), li 'l quddiem kellha ssir l-istudenta tiegħu u takkwista fama kbira bħala kantanta lirika. Vivaldi tella' mill-inqas 15-il rappreżentazzjoni operistika bil-parteċipazzjoni ta' Anna Girò bejn l-1723 u l-1740. Minkejja li hemm ħafna letteratura li ħolqot ipoteżi fantasjuża dwar ir-relazzjoni ta' mħabba li seta' kien hemm bejniethom, sa issa m'hemm l-ebda prova minnn dokumentazzjoni storika.
 L-aħħar snin u l-mewt
 Fil-quċċat tal-karriera, Vivaldi rċieva għadd kbir ta' kummissjonijiet mill-familji nobbli u rjali tal-Ewropa. Is-serenata La Gloria, Imeneo (RV 687) kitibha għaż-żwieġ ta' Lwiġi XV. L-Opus 9, La cetra, kien iddedikat lill-Imperatur Karlu VI. Vivaldi kellu l-opportunità li jiltaqa' mal-Imperatur fl-1728, meta dan mar Trieste biex jissuperviżża l-bini ta' port ġdid. Carlo tant kien jammira x-xogħol tal-Prete Rosso, kif kellu d-drawwa li jsejjaħlu, li dam ikellmu aktar milli kien dam ikellem il-ministri tiegħu f'sentejn. Tah it-titlu ta' Kavallier u midalja tad-deheb u stiednu jmur il-qorti ta' Vjenna. Min-naħa tiegħu Vivaldi ppreżenta l-Imperatur b'dik li suppost kienet kopja tal-manuskritt ta' La cetra. Però din il-ġabra ta' kunċerti hi kważi kompletament differenti minn dik ippubblikata bl-istess titlu, bħala Opus 9. X'aktarx minħabba dewmien fl-istampar Vivaldi ħoloq bl-aħjar mod li seta' ġabra improvviżata ta' kunċerti.
 Fl-1730, flimkien ma' missieru vvjaġġa għal Vjenna u Praga, fejn ġiet rappreżentata, fost oħrajn, l-opra tiegħu Farnace (RV 711). Xi xogħlijiet oħra ta' dan il-perjodu juru li kien iltaqa' ma' tnejn mill-aqwa librettisti Taljani tal-epoka: L'Olimpiade u Catone in Utica kienu komposti fuq librett ta' Pietro Metastasio li kien diġa famuż u li fl-1730 kien inħatar "Poeta Ċesarew" fil-qorti ta' Vjenna, waqt li l-librett ta' Griselda kien adattament, miż-żagħżużgħ Carlo Goldoni, ta' librett antik tal-predeċessur ta' Metastasio, Apostolo Zeno.
 Il-ħajja ta' Vivaldi, bħal ta' ħafna kompożituri ta' żmienu, spiċċat ħażin minħabba l-kondizzjonijiet ekonomiċi u umani. L-opri tiegħu ma baqgħux partikularment apprezzati Venezja minħabba bidla mgħaġġla fil-gosti u minħabba d-dħul tal-opra Naplitana ma baqgħux moda. Allura fl-1737 iddeċieda li jmur Vjenna, fejn kien stiednu Karlu VI u fejn kien jispera li jsib xi pożizzjoni uffiċjali fil-qorti. Barra minnhekk x'aktarx li Vivaldi kellu f'moħħu li jtella' xi opri fil-Kärntnertortheater. Biex iħallas l-ispejjeż biex imur Vjenna ma ħasibhiex darbten biex ibigħ għadd konsiderevoli ta' manuskritti b'irħis. Imma fiż-żmien meta ddeċieda li jmur joqgħod fil-belt kapitali Asburġika u hekk iħalli l-Talja għal dejjem, ġara episopdju spjaċevoli li affettwa r-ruħ tal-mużiċista profondament.
 Lejliet il-ftuħ tal-istaġun tal-opra f'Ferrara, li bih Vivaldi kien jispera li joħroġ mid-diffikutajiet li kien iltaqa' magħhom f'pajjiżu, ġie msejjaħ min-nunzju appostoliku ta' Venezja li għarrfu li kien hemm projbizzjoni li jmur Ferrara, deċiża fid-diskussjonijiet li kellu mal-Kardinal Arċisqof ta' dik il-belt, Tommaso Ruffo. Din id-deċiżjoni li kienet katastrofika minħabba l-istat avvanzat tal-proġett u l-impenji finanzjarji li kien diġà ħa Vivaldi, kienet motivata mill-fatt li l-Prete Rosso ma kienx iqaddes u kellu d-drawwa li jivjaġġa ma' Girò u nisa oħra, barra li l-arċisqof kien kontra li l-qassisin jieħdu sehem fl-affarijiet tal-ispettaklu. Dan hu għall-inqas dak li jidher mill-ittra mibgħuta minn Vivaldi lill-protettur Ferrariż tiegħu, il-Markiż Guido Bentivoglio, biex jitlob l-appoġġ tiegħu biex jipprova jikseb revoka tal-interdizzjoni veskovili. F'din l-ittra Vivaldi jispjega r-raġuni tas-saħħa li minħaba fiha kien ilu ma jqaddes għal ħafna snin, u l-korrettezza perfetta fl-imġiba tiegħu man-nisa li jikkumpanjawh, kollha ta' devozzjoni u onestà jleqqu u bil-provi. Minkejja l-isforzi tiegħu kollha Vivaldi ma rnexxielu jikseb xejn u barra mit-telf ekonomiku dan qisu affront kbir li ġiegħlu jitlaq mill-Italja għal dejjem.
 Diżgrazzjatament, ftit wara li wasal Vjenna f'Ottobru tal-1740, Karlu VI miet. Imbagħad segwiet gwerra ta' dimensjonijiet Ewropej, Il-Gwerra tas-suċċessjoni Awstrijaka li ġiegħlet it-tifla, l-imperatriċi futura Marija Tereża tal-Awstrija, li taħrab għall-Ungerija. Din kienet daqqa ta' ħarta traġika għal Vivaldi għaliex barra li minħabba l-gwerra, it-teatri Vjenniżi għalqu sas-sena ta' wara, hu baqa' mingħajr protezzjoni Imperjali u mingħajr flus. Vivaldi, forsi għax kien marid wisq u fqir wisq ma seta' jagħmel xejn ħlief li jibqa' Vjenna, ibigħ il-manuskritti b'irħis biex jgħix sakemm fil-lejl bejn is-27 u t-28 ta' Lulju 1741, miet b'infezzjoni intestinali (jew forsi anki minħabba b'dik l-asma bronkjali li kien ilu jbati biha minn twelidu) f'appartment qrib ħafna tal-Kärntnertortheater. Fit-28 ta' Lulju Vivaldi indifen f'fossa komuni fl-iSpitaller Gottsacker ta' Vjenna, b'funeral sempliċi imsejjaħ "tal-fqar". Iċ-ċimiterju m'għadux jeżisti, il-post fejn kien il-qabar tiegħu qiegħed maġenb il-Karlskirche, fejn hemm is-sede ċentrali tal-Università Teknika ta' Vjenna. Fil-bidu il-mużika tiegħu kienet sfortunata wkoll u waqgħet fl-oskurità, fejn baqgħet sa nofs is-seklu 20, meta l-figura ta' Vivaldi reġgħet saret importanti ħafna fil-panorama tal-istorja tal-mużika Ewropea.
 Il-mużika ta' Vivaldi
 Vivaldi jemfasizza ħafna l-istruttura formali u ritmika tal-kunċert, ifittex ripetutament kontrasti armoniċi u jivvinta temi u melodiji mhux tas-soltu. It-talent tiegħu kien jikkonsisti fil-kompożizzjoni ta' mużika mhux akkademika, ċara u espressiva b'mod li tista' tiġi apprezzata mill-pubbliku ġenerali u mhux mill-minoranza ta' speċjalisti biss. Vivaldi kien apprezzat mill-kritiċi Ġermaniżi kontempoanji. Fosthom insibu 'l Johann Adam Hiller, Ernst Ludwig Gerber u l-flawtista u kompożitur Johann Joachim Quantz. Dan qal li kien sema' xi kunċerti (probabilment L'estro armonico) tal-Prete Rosso f'Pirna fl-1714 u ddeskrvihom bħala ġeneru ġdid ta' biċċiet mużikali b'ritornelli manjifiċi (dan kien wieħed mir-rikonoxximenti kbar lil Vivaldi minn personalità ta' żmienu.) Il-mużika tiegħu kellha influwenza kbira fuq diversi kompożituri Awstrijaċi u Ġermaniżi. Fost dawn l-aktar famuż kien Johann Sebastian Bach, li kien influwenzat ħafna mill-forma tal-kunċert Vivaldjan: xi kunċerti Vivaldjani tant assimulahom li ttraskriviehom għall-orgni, il-klaveċimbalu solista jew għal klaveċimbalu wieħed jew aktar mal-orkestra. Fost dawn kien hemm il-famuż Kunċert għal erba' vjolini, arki u klaviċembalu op. 3 n. 10 (RV 580). Bach ma ttraskriviehomx biss imma żejjen sistematikament in-nisġa Vivaldjana mill-punto di vista kontrappuntistiku.
 Kien apprezzat ukoll fl-ambjent mużikali Franċiż, li fih kienu jispikkaw Pierre Gaviniès u l-organista Michel Corrette. Il-fama tiegħu fi Franza kompliet għal ċertu żmien anke wara mewtu, infatti Jean-Jacques Rousseau fl-1775 għamel riarranġament għall-flawt tal-Primavera.
 Min-naħa l-oħra kien attakkat bl-aħrax mill-Ingliżi, pereżempju Charles Avison kien isostni li l-mużika tiegħu kienet addattata biex "tidiverti t-tfal". Madankollu f'ħajtu il-mużika strumentali tiegħu kellha suċċess fl-Ewropa kollha u kienet stampata bosta drabi kemm mill-Franċiżi kif ukoll mill-Ingliżi.
 L-Italja minkejja li kellu influwenza qawwija u li ġedded il-mużika strumentali tal-epoka, kien kważi injorat għal kollox mill-istudjużi ta' żmienu u wara mewtu x-xogħlijiet tiegħu intesew totalment. Dan kien minħabba l-moda li kien hemm l-Italja tas-seklu 18 fejn kienu dejjem iridu awturi ġodda u mużika ġdida. Vivaldi hu meqjus bħala wieħed mill- maestri tal-iskola Barokka Taljana, ibbażata fuq kontrasti sonori qawwija u fuq armoniji sempliċi u suġġestivi. Kien prattikament minsi matul iż-żmien tal-Klassiċiżmu, imma beda jintgħoġob mir-Romantiċiżmu tardiv u fil-bidu tas-seklu 20. Wara r-riskoperta tax-xogħlijiet tiegħu wara t-Tieni Gwerra Dinjija (bis-saħħa wkoll tat-twaqqif ta' entitajiet bħall-Istituto Italiano Antonio Vivaldi dedikati għall-istudju u għat-tifrix tal-mużika Vivaldjana), Vivaldi sar wieħed mill-kompożituri l-aktar popolari u mismugħin tal-Barokkanke jekk mhux il-mużiċisti kollha tas-seklu 20 urew l-istess entużjażmu: Luigi Dallapiccola qal provokatorjament li Vivaldi ma kitibx 400 kunċert, "imma l-istess kunċert għal erba' mitt darba". Din reġa' qalha Igor' Fëdorovič Stravinskij, u issa saret proverbjali.
 Katalogu tax-xogħlijiet
 Il-katalgu tax-xogħlijiet ta' Vivaldi hu partikularment vast u kompless. Minħabba l-fama kbira li kellu mal-Ewropa kollha il-manuscritti tigeħu infirxu mal-irkejjen kollha tal-kontinent. Allura mhuwiex rari li f'xi riorganizzazzjoni tal-kollezzjonijiet tal-manuskritti ta' biblijoteka titfaċċa xi kompożizzjoni mhux pubblikata li kienet intilfet għal sekli sħaħ, kif ġara reċentement Dresden. Element ieħor ta' konfużjoni ġej mill-eżistenza ta' diversi katalgi li ma jaqblux bejniethom f'dak li jirrigwarda in-numerazzjoni u l-kronoloġija tax-xogħlijiet. Fosthom, dal-aħħar il-Katalgu Ryom (different mill-ittri RV) jidher li sar ir-riferiment universali. Madankollu anke issa mhux rari li tiltaqa' ma' pubblikazzjoni mużikali li tagħmel riferiment għal katalogazzjoni differenti. Fil-"corpus" tal-kompożiizzjonijiet Vivaldjani insibu madwar 600 kunċert u sonata li kważi 300 minnhom huma għall-vjolin wieħed jew aktar, madwar 30 għall-vjolinċell, 39 għall-faggot, 25 għall-flawt u 25 għall-oboe, u l-bqija għall-strumenti bħal-ljutu, il-mandolina u strumenti oħra li jintużaw rarament ħafna fil-funzjoni konċertistika tal-epoka Mal-kompożizzjonijiet mużikali rridu nżidu 'l madwar 100 xogħol ta' mużika sagra u 100 xogħol ieħor ta' mużika vokali. Il-kompożizzjonijiet operistiċi nstabu mill-ġdid riċentement. Dawn jkkonsistu f'madwar 45 titlu li għal ħafna minnhom intilfet il-parti mużkali tagħhom.
 Reputazzjoni wara mewtu
 Vivaldi baqa' mhux magħruf għall-kunċerti ppubblikati u injorat għal kollox sa wara li reġa' beda jkun hemm interess fil-mużika ta' Bach, bis-saħħa ta' Felix Mendelssohn-Bartholdy. Anke x-xogħol famuż tiegħu, Le quattro stagioni, ma kienx inkluż fl-edizzjoni oriġinali. Fil-bidu tas-seklu 20 il-kunċert fl-istil Vivaldjan kompost fl-1913 minn Fritz Kreisler li għaddieh bħala xogħol oriġinali tal-Prete Rosso (RV Anh. 62), ikkontribwixxa għall-irxoxtar tal-fortuna ta' Vivaldi. Dan ta spinta lill-istudjuż Franċiż Marc Pincherle, biex jibda xogħol akkademiku fuq ix-xogħlijiet tal-kompożitur Venezjan. I-sejba ta' bosta manuskritti ta' Vivaldi u l-akkwiżizzjoni tagħhom mill-Biblioteca Nazionale Universitaria di Torino wasslet għal interess ġdid fil-mużika ta' Vivaldi.
 It-twelid mill-ġdid tax-xogħlijiet mhux pubblikati ta' Vivaldi fis-seklu 20 sar l-aktar bis-saħħa tad-dedikazzjoni ta' Alfredo Casella, li fl-1939 organizza is-Settimana di Vivaldi, issa storika, li fiha instabu mill-ġdid il-Gloria RV 589 u L'Olimpiade (RV 725). Mit-Tieni Gwerra Dinjija 'l hawn il-kompożizzjonijiet ta' Vivaldi kellhom suċċess universali. Fl-1947 il-kummerċjant Venezjan Antonio Fanna waqqaf l-Istituto Italiano Antonio Vivaldi, bil-kompożitur Gian Francesco Malipiero bħala direttur artistiku, bl-intenzjoni li jimppromwovi l-mużika ta' Vivaldi u l-pubblikazzjoni ta' edizzjonijiet ġodda tax-xogħlijiet tiegħu.
 Il-mużika strumentali
 Għalkemm Il-kunċert solistiku, li ġej mill-concerto grosso, kien bdieh Giuseppe Torelli xorta lil Vivaldi għandna nattribwixxu l-elaborazzjoni ta' forma li kienet użatat bħala mudell sat-twelid tal-kunċert klassiku. Il-parti l-kbira mill-kunċerti tiegħu hi kkaratterizzata minn żewġ movimenti mgħaġġlin b'alternazzjoni ta' "kollha" bbażati fuq ritornell, li jerġa' jiġi propost f'diversi tonalitajiet ta' soli modulanti ta' karattru tematiku ħieles. Din il-forma, li ma kinetx invenzjoni Vivaldjana, intużat mill-kompożitur Venezjan b'libertà kbira; pereżempju matul il-moviment iqassar ir-ritornell waqt li fl-istess ħin itawwal is-soli, jew jirrepeti darbtejn ir-ritornell finali bl-inserzjoni ta' episodju soliistiku qasir li juża materjal mużikali mill-ewwel solo. Fil- movimenti bilmod, kultant juża forma ta' ritornell semplifikata, u drabi oħra juża forma b'tema waħda u b'żewġ partijiet maħruġa mis-sonata.
 Vivaldi kkompona 329 kunċert għal strument solista wieħed u arki, li 220 minnhom huma għal vjolin, 37 għal fagott, 27 għal vjolinċell, 19 għal obwe, 13 għal flawt travers, 2 għal flawt dritt, 3 għal flautino (flawt dritt sopran irqieq), wieħed għal mandolina u 7 għal viola d'amore. Barra minn dawn hemm xi erbgħin kunċerti għall-żewġ strumenti u arki, l-aktar għal żewġ strumenti ugwali (żewġ vjolini jew żewġ obwejiet), imma fosthom hemm ukoll il-famuż kunċert għal viola d'amore u ljutu. Imbagħad hemm aktar minn tletin kunċerti multipli, għal aktar minn tliet solisti. Ma dawn irridu nżidu xi sittin "kunċert mimli" (kunċert għall-arki mingħajr solisti), jixbhu ħafna s-sinfoniji tal-opra, li fihom kultant insibu attenzjoni għall-elaborazzjoni kontrappuntistika 'l bogħod ħafna mill-immaġini stereotipata ta' Vivaldi bħala kompożitur "faċli" u superficjali. Hemm numru żgħir ta' kunċerti b'solista u żewġ orkestri, infatti din hu qsim tal-orkestra f'żewġ gruppi separati, fit-tradizzjoni tal-polikoralità sagra Venezjana fli fjorixxiet bejn l-aħħar tas-seklu 16 u l-bidu tas-sbatax. Fl-aħħar hemm xi għoxrin "kunċert mingħajr orkestra", miktubin għal grupp ta' numru ta' strumenti, minn tnejn sa sitta, akkompanjati mill-basso continuo: dawn mhumiex tal-forma li fiha jiġu trattati s-soltu dawn il-gruppi, jiġifieri il-forma tas-"sonata da camera" jew tas-"sonata da chiesa", imma f'dik tal-kunċert "bir-ritornelli".
 Ħafna kunċerti huma programmatiċi jew onomatopejċi: fost dawn hemm pereżempju l-fumużissmi Stagioni (Staġuni, RV269, 315, 293, 297) li huma l-ewwel erba' kunċerti fl-opra 8, Il Gardellino (Il-Gardell, RV90, 428), La Tempesta di Mare (It-Tempesta tal-Baħar, RV98, 433, 570), Il cornet[t]o da posta (Il-Kurunetta tal-Posta, RV363), La Caccia (Il-Kaċċa, RV 362), La notte (Il-Lejl, RV104, 501). Imbagħad ħafna kunċerti oħra għandhom titlu li jista' jirreferi għall-istil mużikali, bħall-Concerto madrigalesco (Kunċert madrigalesk, RV129) jew il-Concerto alla rustica (Kunċert bi stil rustiku, HRV151), jew għall-emozzjoni ġenerali tal-mużika, bħal L'inquietudine (RV23) jew L'amoroso (RV271), għall-modalità partikulari tal-eżekuzzjoni bħal L'ottavina (RV763), li fiha is-soli kollha jindaqqu fuq l-ottava l-għolja, jew anke għall-eżekutur li jkun ħa jdoqqu, bħal Il Carbonelli (RV366) jew għall-okkażżjoni li jkun kompost għaliha tkun bħall-kunċerti "per lal-la solennità di S Lorenzo" (RV286, 556, 562).
 Waslulna madwar 90 sonata, li jippreżentaw stil inqas innovattiv min tal-kunċerti. Kemm fis-sonata solistika (għal strument wieħed u basso continuo) kif ukoll fis-sonata "għal tlieta" (għal żewġ strumenti u basso continuo) tintuża sistema formali u kitba marbuta mal-mudelli komuni tal-musica da camera ta' dak iż-żmien (Arcangelo Corelli, Tomaso Albinoni, l-iskola Bolonjiża u dik Venezjana). Is-sonati għal tlieta, miġburin fl-opra 1 u l-opra 5, huma influwenzati ħafna mix-xogħlijiet da camera ta' Arcangelo Corelli, anke jekk huma "dinamizzati" mill-vitalità tal-kitba strumentali Venezjana, filwaqt li s-sonati għall-istrument wieħed, miktubin l-aktar għall-vjolin, jew għall-vjolinċell, jew għal strument tan-nifs, għandhom stil tipikament da camera personalizzat minn żvilupp partikolari tal-kantabilità fil-movimenti bil-mod u minn distakkament progressiv fir-ritmu mill-mudelli taż-żfin.
 Fost is-sonati tiegħu, ta' min jiftakar ir-RV 68, RV 70, RV 71 u RV 77, miktubin għall-żewġ vjolini u kontrabaxx ad libitum, li x'aktarx kienu komposti qabel id-dwetti għall-żewġ vjolini op. 3 ta' Jean-Marie Leclairu allura huma fost l-ewwel u l-aktar eżempji interessanti ta' sonati għall-żewġ vjolini mingħajr akkompanjament mill-basso continuo.
 Ġabriet li ġew stampati f'ħajtu
 Meta neżaminaw x-xogħijiet ippubblikaati waqt li Vivaldi kien għadu ħaj, mal-ewwel nindunaw li fl-ewwel snin tal-karriera tiegħu kien hemm prevalenza ta' sonati, waqt li fit-tieni parti ta' ħajtu, meta kien diġa kompożitur stabilit, kien hemm maġġoranza assoluta ta' kunċerti. L-aħħar żewġ pubblikazzjonijiet, Opus XIII u oħra bla numru, li jikkonsistu f'sonati huma każijiet partikolari. L-ewwel waħda hi żgur falza u min id Franċiża imma fiha jintużaw elementi tematiċi ta' oriġni Vivaldjana. It-tieni waħda min-naħa l-oħra hi pubblikazzjoni magħmula mingħajtr il-kontroll tal-kompożitur, kif jidher ċar mill-fatt li m'għandhiex numru u skont Kolneder x'aktarx fiha mużika komposta ħafna snin qabel. Ta' min jgħid li l-pubblikazzjoni tal-kunċerti kienet tqum ħafna iżjed minn pubblikazzjoni ta' sonati u allura kienet operazzjoni kummerċjali ħafna iżjed ta' riskju għal kompożitur żagħżugħ. Għalhekk ma nistgħux neskludu l-possibbiltà li Vivaldi kkompona l-kunċerti fl-ewwel snin tas-sarvizz tiegħu mal-Ospedale della Pietà, kif forsi jista' jidher mill-fatt li ngħata aktar responsabbiltà fl-1705, miż-żieda fl-istipendju li kiseb fl-1708 u minn diversi affinitajiet stilistiċi bejn is-sonati għal vjolin u ċimbalu f' Opus II (1708) u xi kunċerti ta' l'Estro Armonico (Opus III, 1711).
 Il-mużika vokali
 Opri
 Vivaldi kien isostni li kien ikkompona 94 opra. Fir-realtà, ġew identifikati inqas minn 50 titlu, u xi 20 biss għadhom jeżistu. Min-naħa l-oħra, il-kalolu tal-kompożizzjonijiet hu magħmul aktar kompless mid-drawwa tal-epoka li jieħdu opri qodma u jbiddlulhom it-titlu u li jikkomponu pastiċċi li jkun fihom mużika ta' diversi awturi, kemm miktuba għall-okkażżjoni u kemm adatta minn opri ta' qabel.
 Waslulna 21 opra minn Vivaldi, xi wħud sħaħ o oħrajn le, kollha drammi għall-mużika li mill-punto di vista drammatiku jsegwu il-kanoni tipiċi tal-opera seria tal-epoka. Madankollu l-mużika hi dinamika u rikka fl-invenzjoni. Però mhux rari li nsibu f'xi pastiċċi tard fil-ħajja tal-Prete Rosso, arji ta' kompożituri kontemporanji, bħal Leonardo Leo, Geminiano Giacomelli, Johann Adolf Hasse u Giovanni Battista Pergolesi.
 Creso tolto alle fiamme (RV Anh. 138), Venezja 1705
 Ottone in villa (RV 729-A), librett: Domenico Lalli, Vicenza 1713
 Orlando furioso (RV Anh. 84), librett: Grazio Braccioli; mużika: Giovanni Alberto Ristori; opra li nkitbet għall impreża Vivaldi modifikata ħafna drabi minn Antonio Vivaldi, Venezja 1713
 Orlando finto pazzo (RV 727), librett: Grazio Braccioli, Venezja 1714
 Orlando furioso (RV 819), librett: Grazio Braccioli; fiha wkolli xi tratti mill-opra omonima ta' Ristori tal-1713 (RV Anh. 84), Venezja 1714
 Nerone fatto Cesare (RV 724), librett: Matteo Noris, Venezja 1715
 La costanza trionfante degl'amori e degl'odii (RV 706-A), librett: Antonio Marchi, Venezja 1716
 Arsilda, regina di Ponto (RV 700), librett: Domenico Lalli, Venezja 1716
 L'incoronazione di Dario (RV 719), librett: Adriano Morselli, Venezja 1717
 Tieteberga (RV 737), libretto: Antonio Maria Lucchini, j717
 Il vinto trionfante del vincitore (RV Anh. 58), librett: Antonio Marchi, Venezja 1717
 Artabano, re de' Parti (RV 701/706-B), librett: Antonio Marchi, Venezja 1718
 Armida al campo d'Egitto (RV 699-A), librett: Giovanni Palazzi, Venezja 1718
 Scanderbeg (RV 732), librett: Antonio Salvi, Firenze 1718
 Armida al campo d'Egitto (RV 699-B), librett: Giovanni Palazzi, Mantova 1718
 Teuzzone (RV 736), librett: Apostolo Zeno, Mantova 1719
 Artabano, re de' Parti (RV 701/706-C), librett: Antonio Marchi, Vicenza 1719
 Tito Manlio (RV 738), librett: Matteo Noris, Mantova 1719
 Tito Manlio (RV 778), librett: Matteo Noris, Ruma 1720
 La verità in cimento (RV 739), librett: Giovanni Palazzi, Venezja 1720
 La Candace, o siano Li veri amici (RV 704), librett: Francesco Silvani u Domenico Lalli, Mantova 1720
 Filippo, re di Macedonia (RV 715), librett: Domenico Lalli, Venezia 1720
 La Silvia (RV 734), librett: Enrico Bissari, Milan 1721
 Ercole su'l Termodonte (RV 710), librett: Giacomo Francesco Bussani, Ruma 1723
 La virtù trionfante dell'amore, e dell'odio, overo Il Tigrane (RV 740), librett: Francesco Silvani, Ruma 1724
 Giustino (RV 717), librett: conte Nicolò Beregan (1683), irranġat minn Pietro Pariati (1711) għal Tomaso Albinoni, u b'modifiki serji oħra (forsi minni Antonio Maria Lucchini), Ruma, 1724
 L'Artabano (RV 706-D), librett: Alessandro Marchi, Mantova 1725
 L'inganno trionfante in amore (RV 721) (pasticcio), librett: Matteo Noris, irtokkat minn G. M. Ruggieri, mużiċiista u kittieb dilettant, Venezja 1725
 Venezia (nascente?) (RV Anh. 139) mużika ta' Antonio Vivaldi, ippreparata għall-1726 f'Sant'Angelo, imma mbagħad ma tlestietx.
 Cunegonda (RV 707) x'aktarx pastiċċ), librett: Agostin Piovene, Venezia 1726
 La fede tradita e vendicata (RV 712), librett: Francesco Silvani, Venezia 1726
 La tirannia gastigata (RV Anh. 55) (pastiċċ, bi ħdax-il arja ta' Vivaldi), librett di Francesco Silvani, Praga 1726
 Dorilla in Tempe (RV 709-A), librett: Antonio Maria Lucchini, Venezja 1726
 Ipermestra (RV 722), librett: Antonio Salvi, Firenze 1727
 Farnace (RV 711-A), librett: Antonio Maria Lucchini, Venezja 1727
 Farnace (RV 711-B), librett: Antonio Maria Lucchini, Venezja 1727
 Siroe, re di Persia (RV 735-A), librett: Pietro Metastasio, Reggio Emilia 1727
 Orlando (RV 728), librett: Grazio Braccioli, Venezja 1727
 Rosilena ed Oronta (RV 730), librett: Giovanni Palazzi, Venezja 1728
 L'Atenaide (RV 702-A), librett: Apostolo Zeno, Firenze 1728
 Farnace (RV 711-C), librett: Antonio Maria Lucchini, Praga 1730
 Argippo (RV 697), libretto: Domenico Lalli, Praga 1730
 L'Atenaide (RV 702-B), librett: Apostolo Zeno, Firenze 1731/1732
 Farnace (RV 711-D), librett: Antonio Maria Lucchini, Pavia 1731
 Alvilda, regina de' Goti (RV Anh. 88), librett: Apostolo Zeno, Praga 1731
 Dorilla in Tempe (RV 709-B), librett: Antonio Maria Lucchini, b'modifiki sostanzjali kkomparata mal-verżjoni oriġinali tal-1726, Praga 1732
 Farnace (RV 711-E), librett: Antonio Maria Lucchini, Mantova 1732
 Semiramide (RV 733), librett: Francesco Silvani, Mantova 1732
 La fida ninfa (RV 714), librett: Scipione Maffei, Verona 1732
 Argippo (RV Anh. 137), librett: Domenico Lalli, Praga 1733. Misjuba riċentement fi Praga.
 Motezuma (RV 723), librett: Girolamo Alvise Giusti, Venezja 1733
 Dorilla in Tempe (RV 709-C) (pastiċċ, b'żewġ arji ta' Hasse, tnejn ta' Giacomelli, waħda ta' Leo u tlieta ta' kompożituri mhux magħrufin), librett: Antonio Maria Lucchini, b'modifikiazzjoni sostanzjali kkomparata mal-verżjoni oriġinali, Venezjaj 1734
 La Dorilla (RV 709-D), librett: Antonio Maria Lucchini, l-unika partitura kkonservata (Torino) mid-diversi verżjonijiet ta' La Dorilla in Tempe (ibbażata fuq l-edizzjoni Venezjana tal-1734, b'xi żidiet u tħassir)
 L'Olimpiade (RV 725), librett: Pietro Metastasio, Venezja 1734
 Il Bajazet (Tamerlano) (RV 703), librett: Agostin Piovene, Verona 1735
 L'Adelaide (RV 695), librett: Antonio Salvi, Verona 1735
 Griselda (RV 718), librett: Apostolo Zeno u Carlo Goldoni, Venezja 1735
 Aristide (RV Anh. 89), librett: Carlo Goldoni, Venezia 1735
 Ginevra, principessa di Scozia (RV 716), librett: Antonio Salvi, Firenze 1736
 La bottega da cafè (RV Anh. 43), librett: Carlo Goldoni, Venezia 1736
 Il giorno felice (RV Anh. 92), librett: Scipione Maffei, Vjenna 1737 (reviżjoni ta' La fida ninfa)
 Farnace (RV 711-F), librett: Antonio Maria Lucchini, Treviso 1737
 Catone in Utica (RV 705), librett: Pietro Metastasio, Verona 1737
 L'oracolo in Messenia (RV 726), librett: Apostolo Zeno, Venezja 1737
 Rosmira (fedele) (RV 731), librett: Silvio Stampiglia, Venezia 1738
 Armida al campo d'Egitto (RV 699-D), librett: Giovanni Palazzi, Venezja 1738
 Farnace (RV 711-G), librett: Antonio Maria Lucchini, Ferrara 1738
 Siroe, re di Persia (RV 735-B), librett: Pietro Metastasio, Ancona 1738
 Siroe, re di Persia (RV 735-C), librett: Pietro Metastasio, Ferrara 1739
 Feraspe (RV 713), librett: Francesco Silvani, Venezja 1739
 Ernelinda (RV Anh. 45) x'aktarx pastiċċ magħmul minn arji, barra ta' Vivaldi, ta' Gasparini u Galuppi, speċjalment minn La fede tradita e vendicata, Venezja 1750
 Medea e Giasone (RV 749.21)
 Kantati u serenati
 Vivaldi ikkompona l-kantati tiegħu jibbaża ruħu prinċipalment fuq il-manjiera Naplitana tipika tal-kompożituri ta' wara Alessandro Scarlatti u Benedetto Marcello: huma magħmulin minn sensiela ta' tnejn jew iżjed arie da capo li jalternaw ma' reċitattivi. Ix-xenarju hu meħud dejjem minn temi mill-Arkadja: rgħajja fid-dwiefer tat-turmenti tal-imħabba u ta' ninfi infidili (jew kontra) li Kupidu jagħmel straġi minn qalbhom.
 Instabu dawn il-kantati ta' Vivaldi:
 22 kantati għal soprano u basso continuo;
 8 għal contralto u basso continuo;
 5 għal soprano u akkumpanjament strumentali;
 4 għal contralto u akkumpanjament strumentali.
 Ikkomparata mal-cantata, is-serenata kienet xogħol ta' dimensjonijiet aktar importanti b'ouverture orkestrali, arji solistiċi, reċitattivi u kultant anki korijiet. Is-serenati kollha ntilfu ħlief tlieta: is-Serenata a tre RV 690, is-serenata taż-żwieġ, Gloria e Himeneo RV 687 u fuq kollox La Sena festeggiante RV 693, ikkommissjonata lil Vivaldi fl-1726 minn Jean-Vincent Languet, konti ta' Cergy u ambaxxatur ta' Franza f'Venezja, għal xi okkażjoni li ma nafux x'kienet, forsi għaċ-ċerimonji tal-insedjament tal-amaxxatur stess jew forsi għaż-żjara tal-Kardinal Pietro Ottoboni, protettur uffiċjali tal-interessi ta' Franza fis-Santa Sede.
 Mużika sagra
 Il-mużika sagra ta' Vivaldi kient ftit magħrufa barra mill-Italja u, bħax-xogħlijiet kollha tiegħu wara mewtu intesit għal kollox u ftit ftit ftit reġgħet saret magħrufa u apprezzata ħafna fil-bidu tat-tletinijiet tas-seklu 20. Waslulna madwar 50 xogħol ta' mużika sagra ta' ġeneri differenti: partijiet mill-Quddiesa Tridentina u l-introduzzjonijiet tagħhom (Kyrie, Gloria, Credo), salmi, innijiet, antifoni, mottetti. L-impenn tal-Prete Rosso fir-repertorju sagru kien ftit jew xejn okkażjonali billi la kellu kommissjonijiet u lanqas qatt ħa b'mod fiss il-kariga prestiġjuża ta' maestro f'San Marco. Il-mużika sagra tiegħu kien f'dak li jgħidulu l-istil modern (jiġifieri kunċertat, tipiku tal-mużika Venezjana, b'kuntrast mal-istil antik jew osservat sever tal-mużika ta' Palestrina), anke jekk hekk jew hekk bosta movimenti tax-xogħlijiet tiegħu baqgħu marbutin mal-istil osservat. Anke x-xogħlijiet tiegħu a cappella bħall-Lauda Jerusalem b'4 vuċijiet u l-Credidi b'5 vuċijiet jimxu mal-istil kunċertat fejn l-istrumenti bilkemm jastakkaw ruħhom mill-gruppi tal-kor. Barra minn hekk dan ir-repertorju kien suġġett għall-influwenzi operistiċi tal-epoka. Dan nistgħu nosservawh fuq kollox fil-mottetti tiegħu għal vuċi waħda.
 Barra minn hekk Vivaldi ikkompona tmien mottetti ta' "introduzzjoni" li kienu jservu bħala daħla għal xogħlijiet fuq skala akbar (Gloria, Dixit Dominus, Miserere); dan is-sottoġeneru rari kien jintuża minn kompożituri oħra. Partikularità oħra li tiddistingwi l-mużika sagra tal-Prete Rosso hi li kien sikwit jassenja l-parti melodika għall-vjolin fil-movimenti korali, b'hekk iħalli l-kor ikanta f'omofonija fl-isfond (pereżempju l-ewwel u l-aħħar moviment tal-Credo RV 591). B'dan il-mod Vivaldi antiċipa l-quddies sinfoniku tal-ġenerazzjoni ta' Haydn. Anke l-inflwenzi tal-kunċert jidhru ċarament. Biżżejjed ninnotaw il-Beatus vir RV 598, li fiha intervall twil ta' 420 battuta fil-forma ta' ritornell. Fost ix-xogħlijiet sagri l-aktar famużi tiegħu hemm il-Gloria RV 589, iż-żewġ Magnificat RV 610 u RV 611, l-iStabat Mater RV 621 u l-oratorju Juditha triumphans.
 Influwenza kulturali
 Il-kratere Vivaldi fuq Merkurju hu msemmi għal Vivaldi.
 Noti
 Biblijografija
 Kotba
 Anna Laura Bellina, Bruno Brizi e Maria Grazia Pensa, I libretti vivaldiani, Firenze, Olschki, 1982. ISBN 88-222-3089-2
 Lorenzo Bianconi e Giovanni Morelli (kura ta'), Antonio Vivaldi, Teatro musicale, cultura e società (vol. 2), Firenze, Leo S. Olschki editur, 1982. ISBN 88-222-3090-6
 Gianfranco Formichetti, Venezia e il prete col violino. Vita di Antonio Vivaldi, Milan, Bompiani, 2006. ISBN 88-452-5640-5
 Remo Giazotto (katalgu tax-xogħlijiet kura ta' Agostino Girard, diskografija kura ta' Luigi Bellingardi), Antonio Vivaldi, Torino, ERI, 1973.
 Carlo Goldoni, Mémoires de M. Goldoni, pour servir à l'histoire de sa vie, et à celle de son théatre, (3 volumi), Pariġi, Veuve Duchesne, 1787 (aċċessibbli online f' books.google: Tomo primo e Tomo terzo - Edizioni storiche in italiano pure aċċessibbli online in books.google: L-ewwel tom, Venezja, Zatta, 1788, It-tieni volum, Firenze, Barbèra, 1861, u Tom III, Lucca, Bertini, 1811)
 Walter Kolneder, Vivaldi, Milan, Rusconi, 1978 (prima ed.: 1965). ISBN 88-18-70060-X
 Gian Francesco Malipiero, Antonio Vivaldi, il Prete Rosso, Milan, Ricordi, 1958
 Benedetto Marcello (stampat anonimament), Il teatro alla moda - o sia - Metodo Sicuro, e facile per ben comporre, & esequire l'Opere Italiane in Musica all'uso moderno - Nel quale - Si danno Avvertimenti utili, e necessarij à Poeti, Compositori di Musica, Musici dell'uno e dell'altro sesso, Impresarj, Suonatori, Ingegneri e Pittori di Scena, Parti buffe, Sarti, Paggi, Comparse, Suggeritori, Copisti, Protettori e Madri di Virtuose & altre Persone appartenenti al Teatro, Venezia, "Stampato ne Borghi di Belisania per Aldiviva Licante all'Insegna dell'Orso in Peata", 1720 (ristampat fl-epoka moderna: Il teatro alla moda - 1720, Milan, Il Polifilo, 2006. ISBN 978-88-7050-332-6)
 Marc Pincherle, Vivaldi et la musique instrumentale, Pariġi, Floury, 1948
 Egidio Pozzi, Antonio Vivaldi, Palermo, L'Epos (Porti di Ulisse), 2007. ISBN 978-88-8302-242-5
 Eduardo Rescigno (kura ta'), Antonio Vivaldi (testi ta' Eduardo Rescigno, Anelide Nascimbene u Luigi Di Fronzo), Milan, SKIRA, 22/02/2007
 Mario Rinaldi, Antonio Vivaldi, Milan, Istituto d'Alta Cultura, 1943
 Peter Ryom, Répertoire des œuvres d'Antonio Vivaldi. Les compositions instrumentales, Copenaghen, Engstrøm & Sødring, 1986. ISBN 87-87091-19-4
 Federigo Stefani (kura ta'), Sei lettere di Antonio Vivaldi veneziano maestro compositore di musica della prima metà del secolo XVIII, Venezja, Visentini, 1871 (aċċessibbli b'xejn on-line bħala ebook-gratis Google)
 Reinhard Strohm, The operas of Antonio Vivaldi, 2 vol., Firenze, Olschki, 2008. ISBN 978-88-222-5682-9
 Michael Talbot, Vivaldi, Londra, Dent & Sons, 1978)
 Michael Talbot (kura ta'), Vivaldi. Fonti e letteratura critica, Firenze, Olschki, 1991. ISBN 978-88-222-3846-7
 Katalgi u dokumenti
 Wilhelm Altmann, Thematischer Katalog der gedruckten Werke Antonio Vivaldis, «Archiv für Musikwissenschaft», 1922, vol. IV, 262/279
 Piero Damilano, Inventario delle composizioni musicali manoscritte di Antonio Vivaldi esistenti presso la Biblioteca Nazionale di Torino, «Rivista Italiana di Musicologia», 1968, vol. III, 109/179
 Antonio Fanna, Antonio Vivaldi: Catalogo numerico-tematico delle opere strumentali, Milano, Ricordi, 1968 (seconda ed. riv. e ampl.: 1986. ISBN 88-7592-022-2)
 Fabio Fano, Una traccia prossima alla prima origine della raccolta di musiche vivaldiane conservata alla Biblioteca Nazionale di Torino, «Medioevo e umanesimo», 1976, vol. XXVI, 83-93
 Alois Fuchs, Thematisches Verzeichniss über die Compositionen von: I. Antonio Vivaldi, II. Arcangelo Corelli, III. Giuseppe Tartini, anno di compilazione: 1839
 Karl Heller, Die deutsche Überlieferung der Instrumentalwerke Vivaldis, Lipsia, Deutscher Verlag für Musik, 1971
 Arlan Stone Martin, Vivaldi violin concertos: a handbook, Metuchen (N.J.), Scarecrow Press, 1972
 Giacomo Manzoni, Guida all'ascolto della musica sinfonica, Milano, Universale Economica Feltrinelli, 1998. ISBN 978-88-07-80539-4
 Noriko Ohmura, A reference work concordance table of Vivaldi's instrumental works, Tokyo, Academica Music Limited, 1972
 Livia Pancino, Le caratteristiche grafiche della mano di Vivaldi secondo il metodo grafologico, «Informazioni e Studi Vivaldiani. Bollettino dell'Istituto Italiano Antonio Vivaldi» (ISV), 1992, vol. XIII, 67-95
 Marc Pincherle, Inventaire - Thématique, in id., Antonio Vivaldi et la musique instrumentale, op. cit., volume secondo
 Mario Rinaldi, Catalogo numerico tematico delle composizioni di Antonio Vivaldi, Roma, Editrice Cultura moderna, 1945
 Franca Porticelli e Susan Orlando (a cura di), Vivaldimania. Una storia torinese. Catalogo della mostra (Torino, 23 aprile-8 giugno 2008), Milano, Silvana Editoriale, 2008. ISBN 978-88-366-1118-8
 Peter Ryom, Antonio Vivaldi: table de concordances des œuvres (RV) Copenaghen, Engstrøm & Sødring, 1973. ISBN 87-87091-00-3
 Peter Ryom, Inventaire de la documentation manuscrite des œuvres de Vivaldi, I. Biblioteca Nazionale di Torino, Première Partie: le fonds Foà, «Vivaldi Informations», 1973, vol. II, 61-112
 Peter Ryom, RV 749, «Informazioni e Studi Vivaldiani. Bollettino dell'Istituto Italiano Antonio Vivaldi» (ISV), 1993, vol. XIV, 5-49
 Peter Ryom, Antonio Vivaldi Thematisch-systematisch Verzeichnis seiner Werke, Wiesbaden, Breitkopf & Härtel, 2007. ISBN 978-3-7651-0372-8
 Reinhard Strohm, Italienische Opernarien des frühen Settecento (1720-1730) (2 voll.), Colonia, Volk, 1976. Primo volume: ISBN 3-87252-095-4; secondo volume: ISBN 3-87252-098-9
 Ħoloq esterni
 Bijografija kompluta u xogħlijiet
 Partitura tal-Gloria RV 589
 Kompożituri Barokki
 Kompożituri Taljani
 Kompożituri Venezjani
 Vjolinisti klassiċi
 Twieldu fl-1678
 Mietu fl-1741


text:
Долно Кобиле е село в Западна България. То се намира в община Трекляно, област Кюстендил.
 География
 Село Долно Кобиле (по местния изговор Кобилье) се намира в планински район, в северозападната част на Кюстендилското Краище, в югоизточните склонове на Милевска планина, по поречието на Кобилска река. Срещу селото, над махалите Козарска и Кушинци е Кобилската планина. Най-високият връх е Бели камик – 1362 м. Старият първенец, Чардак, е 1312 м.
 Асфалтирани пътища водят през с. Средорек и с. Уши, съответно за гр. София (110 км) и гр. Кюстендил (50 км). Съседни села са Горно Кобиле, Киселица, Чешлянци, Средорек и Уши. От другата страна на сегашната българо-сръбска граница е с. Извор – център на някогашната Изворска околия. Селото се намира, по сегашното административно деление, в община Трекляно, която граничи с община Босилеград, която след Ньойския договор от 1919 г. е в Сърбия.
 Селото е образувано от махали: Ковачева, Динева, Момчилова, Станчова, Аврамска и Козарска.
 Население
 История
 Няма запазени писмени данни за времето на възникване на селото. Останките от праисторическо и късноантично селище и укрепление свидетелстват, че районът е населяван от дълбока древност. В землището на селото има останки от стара крепост – „Градище“, до местността Рупе и стражева кула на Горно Градище (1091 м) в Кобилската планина.
 Село Долно Кобиле е старо средновековно селище, регистрирано в турски данъчни документи от 1570 – 1572 г. под името Долна Кобила (Долне Кубле) като зиамет към нахия Сирищник на Кюстендилския санджак с 30 домакинства, 26 ергени и 1 бащина. В стари турски регистри е записвано като Кобиле зир. Зир означава „долно“. Съседното Горно Кобиле е изписвано като Кобиле баля. Баля означава „горно“.
 В края на XIX век селото има 2491 декара землище, от които 1123 дка гори, 1121 дка ниви и 247 дка естествени ливади.
 Основен поминък на селяните са земеделието (основно овес, ръж, ечемик, царевица, цвекло, тикви и картофи) и животновъдството. Развити са домашните занаяти. В селото е имало няколко воденици. Сега е останала една, недействаща. Това е така наречената Чикина воденица, по прякора на собственика ѝ Йордан Стойков. Воденицата е продадена на нов собственик.
 През 1911 г. е открито училище, а през 1933 г. е основано читалище „Наука“.
 През 1956 г. е учредено ТКЗС „Н. С. Хрушчов“, което от 1961 г. преминава в ДЗС – Трекляно, от 1979 г. в АПК „Краище“, което от 1983 г. е в състава на ЦКС. Селото е електрифицирано (1949) и водоснабдено (1967). Стопанските постройки са разрушени, с изключение на склада за зърнени храни. Разрухата е постигната с „усилията“ на примитивни и безкнижни хора.
 Селото е агроекологичен район – липсват промишленост и замърсители.
 Религии
 Село Долно Кобиле принадлежи в църковно-административно отношение към Софийска епархия, архиерейско наместничество Кюстендил. Населението изповядва източното православие. Останки от средновековна църква в местността Св. Петка, в района на местностите Блато и Кремици, в близост до Славчето. Останки от средновековна църква в местността Цръквище до крепостта Градище.
 Обществени институции
 Читалище „Чавдар“, слято с читалище „Наука“ в с. Средорек. Сградата се ползва за селски магазин. В миналото тук се е помещавала селската радиоуредба. Има салон за театрални представления. До края на шестдесетте години на Двадесети век салонът е ползван за кинопрожекции.
 Начално училище „Св. св. Кирил и Методий“ – закрито през 70-те години на XX век. В сградата е канцеларията на кметския наместник.
 Културни и природни забележителности
 Оброк „Свети Георги“. Намира се на около 200 метра североизточно от селските гробища, в местността Ридо.(Неточност. Няма как да се локализира такъв обект, поради теренните особености. Населението няма памет за такъв оброк.)
 Оброк „Света Троица“. Намира се на около 800 метра североизточно от селските гробища, в местността Църквище (над валявиците).
 Чешми: Стубъл – зад Ковачева махала, Добрил – махала Козарска, Момчилов кладенъц – под селските гробища, Плоча – на пътя за с. Средорек, Чешма-паметник пред селското читалище. На чешмата Плоча е поставена паметна плоча, посветена на поета Емануил Попдимитров, който е роден в близкото с. Груинци. Партизански паметник, посветен на основаването на Средоречкия партизански отряд – изграден в местността Оресите. Войнишки паметник в местността Славчето – посветен на загиналите за България.
 Редовни събития
 В землището на селото е местността Славчето, където се провежда ежегоден събор.
 От незапомнени времена селският празник (собор) е на „Св. Дух“. Провеждал се е в местността Котлене под Градище, между извора Топлик и сливането на Кобилска река с Киселичка река.
 Личности
 Стефчо Димитров Стойков. Род. 1951 г. – философ и писател („Адресът на дедите“, „Островът“, „Тътен вековен прошепва“, „Чаровният въртоп на суетата“, „Ветрогонът“).
 Литература
 Захариев, Йордан. Сборник за народни умотворения и народопис. книга XXXII. Кюстендилско Краище, София, 1918 г., изд. БАН., с.475 – 477;
 Соколоски, Методија. Турски документи за историјата на македонскиот народ. Опширни пописни дефтери от XVI век за Ќустендилскиот санџак. т.V, кн.I, Скопије, 1983 г., с.678 – 680;
 Дремсизова-Нелчинова, Цв. и Слокоска, Л. – Археологически паметници от Кюстендилски окръг, София, 1978 г., с.17;
 Енциклопедичен речник КЮСТЕНДИЛ А-Я, София, 1988 г., изд. БАН., с.196;
 Чолева-Димитрова, Анна М. – Селищни имена от Югозападна България: Изследване. Речник. София, 2002, изд. Пенсофт.;
 Генадиева, Венета и Чохаджиев, Стефан – Археологически паметници от Кюстендилско. Част I. Археологически паметници от Кюстендилското Краище., Велико Търново, изд. Фабер, 2002 г., с.25 – 2619;
 Стойков, Михаил и Стойков, Стефчо. Адресът на дедите, ИК „Екопрогрес“, София, 2007 г.
 Стойков, Стефчо – Островъ Ф, ИК Колбис, София 2009
 Стойков, Стефчо – „Тътен вековен прошепва“ роман, ИК Колбис, София 2011.
 Стойков, Стефчо – „Чаровният въртоп на суетата“ роман, ИК „Екопрогрес“, София 2014.
 Стойков, Стефчо – „Ветрогонът“ – половин роман, ИК „Екопрогрес“, София, 2017.
 Външни препратки
 Села в област Кюстендил
 Населени места в община Трекляно