[ Ramée / CD ]
Release Date: Friday 8 January 2021
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The 1750 Project proposes a journey from 1720 to 1750, each stage of which will allow us to discover the richness and specificity of a city's musical life at a key juncture in its history. For the first episode in the 1750 Project, we stop off in Venice around 1726, at a pivotal moment in the history of music when the meeting of two styles led to an aesthetic turning point. The city, then dominated by Antonio Vivaldi (1678-1741), also welcomed several other leading Italian composers, including the Neapolitan Nicola Porpora (1686-1768) and the Milanese Giuseppe Sammartini (1695-1750), who was about to revolutionise the world of wind instruments. The city on the lagoon was a cultural hub and a mandatory destination in the itinerary of many nobles and musicians from northern Europe who wished to round off their training and culture. Several German composers, including Pisendel, Quantz, Hasse and Handel, passed through Venice in the early eighteenth century before returning to their native regions to spread the gospel of Italian music. Let us therefore, for a short while, put ourselves in the shoes of an imaginary traveller discovering the musical life of Venice around 1726.
Antonio Vivaldi
(1678-1741)
Concerto for Oboe, Strings and B.C. in D minor, RV 454
Cantata All'ombra di sospetto
for Soprano, Traverso and B.C., RV 687
Sonata for Violin and B.C. in A major, RV 758
Domenico Scarlatti (1685-1757)
Sonata for Harpsichord in E major, K. 162
Nicola Porpora (1686-1768)
(from the opera Arianna e Teseo)
Aria Pietoso Ciel difendimi
for Soprano, Oboe, Strings and B.C.
Cantata: Questo è il platano frondoso
for Soprano and B.C.
Giuseppe Sammartini (1695-1750)
Sonata for Oboe and B.C. in C major, GSM 1323
Antonio Vivaldi
Cantata: Che giova il sospirar, povero core
for Soprano, Strings and B.C., RV 679