Happiness exists! Here is the proof...

If I understand this concerto correctly, there is no conflict or struggle in it — it is simply a flawless experience of being, where everything happens as it should. I have already posted on this site one of Vivaldi's concertos and Bach's reflection of it in their various metamorphoses. That was No. 11 from L'estro Armonico, the Harmonic Inspiration, Vivaldi's Opus 3, consisting of 12 concertos. Six of these twelve concertos exist in Bach's arrangements: Nos. 3, 9, and 12 for solo harpsichord (BWV 978, 972, and 976, respectively), Nos. 8 and 11 for organ (BWV 593 and 596), and No. 10 for four harpsichords, BWV 1065). If the eleventh concerto goes through a complex shift of moods, including sadness, loss of hope, and consolation, the tenth concerto (RV 580) seems to me more even in emotional terms. On the other hand, this concerto is simply filigree in terms of the logic of development of each phrase. Having spent some time browsing YouTube, I chose three recordings which, to my taste, best convey the three stages of transformation of Vivaldi's original text. The first stage: Vivaldi's concerto RV 580. Here is a powerful performance by the Estonian Prof. Mari Tampere-Bezrodny Õpilaste Kammerorkester. First movement (source): Second and third movements (source): The second stage. Vivaldi's concerto was transcribed by J. S. Bach for four harpsichords as concerto BWV 1065. Here it is performed by a small ensemble, in whose performance it sounds quite intimate. The performers are not listed where I found this, but the name «The Pocket Symphony» is given. The advantage of harpsichords is that every single note is heard evenly and separately, and the harmonic pattern is drawn very distinctly: And finally, the third stage. A performance on modern pianos, supported by a considerably more powerful orchestra. It appears to be performed by some Israeli orchestra (which one is unclear from the recording where I found it). The performance, in my view, is impeccable. There are several recordings of this concerto by ensembles featuring the remarkable Martha Argerich, but here the spirit of Vivaldi, as I understand it, is embodied in the best possible way: What is embodied in these recordings? A well-ordered conception reflecting "harmonic inspiration," the coherent logic of building each phrase, each movement, and the concerto as a whole. This is not joy — a sharp, transient state — but happiness: whole, stable, having resolved internal contradictions.