Giovanni Legrenzi (1626 – 1690); Sonata La Benaglia
Dario Castello (1602 – 1631); Sonata terza per due soprani
Giovanni Girolamo Kapsberger (ca 1580 – 1651);
From Libro quarto d’Intavolatura di Chitarrone: Ballo Primo
Giovanni Gabrieli (ca 1557 – 1612); Canzon a quattro detta la Spiritata
Fuga del tono IX
Recercar dei toni VII e VIII
Biagio Marini (1594 – 1663); Sonata quarta per sonar con due corde Sonata sopra La Monica
Giovanni Battista Fontana (1589 – 1630); Sonata VIII
Francesco Cavalli (1602 – 1676); Canzona á 3 in la minore
Benedetto Marcello (1686 – 1739); Sonata seconda
Largo – Allegro – Allegro – Allegro
Johann Georg Pisendel (1688 – 1755); Sonata per violino senza basso
Antonio Vivaldi (1678 – 1741); Trio sonata op 1 nr 6 in D major, RV 62
Preludio – Corrente – Adagio – Allemanda
Ah, Venezia!
Many of the new trends within music that were to define baroque music – opera, sonata, solo concerto – started in Italy around 1600, more precisely: in Venice. In the beginning of the 17th century, this rich city with its spectacular architecture and art, pittoresque canals and international connections was also a hotspot for musical experimenting, and a magnet for musicians from all over Europe. Music scores printed in Venice were distributed in Europe, and established Venice’s position as an influential music centre. This program includes music by Antonio Vivaldi, his teacher Giovanni Legrenzi, his German student Johann Georg Pisendel, as well as music by the Venetians Dario Castello, Giovanni Girolamo Kapsberger, the early violin pioneer Biagio Marini, Giovanni Battista Fontana, Francesco Cavalli and Benedetto Marcello. Harpsichord virtuoso and renowned early music conductor Rinaldo Alessandrini is one of the most authorative baroque interpreters these days. He joins the Norwegian baroque ensemble Oslo Circles and its leader Astrid Kirschner for this concert.
