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Baroque

L’Eleganza Capricciosa

April 4, 2022

It is like rock and roll for a violinist to discover his music. So many different patterns within a definite form. So much passion in Vivaldi to push our instrument to its limits, as far as he could.

For me, this music expresses the joy, sun, excitement, vitality, passion, and all the feelings and experiences you encounter in Venice, including the light, different smells, colours of the sky and buildings, the sounds of the crowd, the special energy of the people.

Vivaldi’s music is strongly connected to the Carnival. Even if mainly operas were written for that period, the music business was strongly focussed on this, the most festive time of the year. I feel that instrumental music was no less affected by this Carnival energy than opera.

Stefan Plewniak

And thus, Stefan Plewniak’s anthology is inspired by the astounding variety of the 230 violin concertos written by Vivaldi. It reflects a very personal choice made by the Polish violinist and conductor according to how he was touched by their diverse character, their virtuosity, varying personality and expressivity.

Two of them, RV 237 and RV 242, both in D minor, were composed for Vivaldi’s friend Johann Georg Pisendel (1687-1755). Considered one of the greatest German violin virtuosos of the late Baroque period, Pisendel was well acquainted with Telemann, Graupner, J. S. Bach. Moreover, he was concertmaster of the famous court orchestra of the Electorate of Saxony in Dresden. Part of the Elector’s entourage visiting Venice in 1616/17, Pisendel became a great friend of Vivaldi’s, who dedicated him a number of sonatas, concertos and a sinfonia. The first movement of the Concerto RV 237 – with the solo part written in the seemingly free and improvised style of a capriccio – , and the wild third movement of RV 242 exhibit Pisendel’s outstanding technical craftsmanship, the boundless freedom and overwhelming vitality of his playing. They are still a great challenge and inspiration for any soloist today.

The Concerto in C, RV 177, was selected for its operatic dramaturgy and the way in which the main themes are presented. The memorable rhythmical pattern that runs through the first movement of RV 177 shows the clockwork mechanics of an Italian opera overture that seems to look far ahead into the future, even foreboding Rossini’s most popular specimens from this genre. And indeed, Vivaldi evidently sensed that this propelling quality was befitting for an opera when he reused it as an opening to L’Olimpiade. The second movement, on the other hand, brightens up the atmosphere with a hauntingly beautiful melody, which may well be imagined as an opera aria, while in the third extremely energetic moments are interspersed with graceful solos.

English version

Similar striking contrasts and narrative moments characterize the Concerto in E minor, RV 273, presumably one of Vivaldi’s last concertos for violin. Whereas in the first movement some of them clearly evoke the style of the Four Seasons, the second is pervaded by an unusually heart-rendering sadness, a mood which the last movement managest o disperse only in part.

The Concerto in D, RV 208, finally, is one of the rarest gems amongst Vivaldi’s violin concertos. Its title „Grosso Mogul“ possibly refers to an opera libretto popular at the time, even though Vivaldi himself used it only two decades later for his opera Argippo, produced

in Vienna and Prague in 1730. The cadenzas in this concerto are unique in that Vivaldi fully wrote them out in the first and third movement, while the second is improvised in a gipsy or pseudo- Indian style alluding to the work’s exotic title.

Until the late 20th century, Vivaldi had been remembered only for his Four Seasons, some other violin concertos, maybe the Gloria. Although it is true that he wrote about 500 concertos, he was in his time an extremely popular composer of nearly 50 operas, which after his death were soon forgotten and only very recently rediscovered one by one.

But from the music presented on this CD it is evident that Vivaldi himself did not see any particular boundary between the genres: his instrumental music can be songlike, even grand and operatic, while we realize today just how many of his vocal works contain beautiful lines and strings of ornaments that might as well suit the masterful bowing of an excellent violinist. Naturally, the baroque affetti – the standardised basic emotions generated in the listener by a particular type of music – determine both Vivaldi’s instrumental and vocal oeuvre. It is Vivaldi’s free and imaginative play with the affetti, however, the feeling of sunlight and elation, which set him apart from so many other composers and make his music so unique and enjoyable.

Enemies in Love

April 4, 2022

 

 

ENEMIES IN LOVE

Love, jealousy, war, complex web of intrigue, religious conflict in the background, and additionally a whole galaxy of special effects. Sounds like a description of a modern action movie? Yes, but it could successfully correspond to a large number of Händel operas! Let’s look for example at Rinaldo, the first opera, created by the composer for the London scene. Story taken from Torquato Tasso’s Jerusalem Delivered, rich in expressive characters, and political forces is here supported by magic. During premiere presentation in 1711, the scenes in which sorceress Armida appeared were accompanied by pyrotechnic effects, and the whole staging was a resounding success.

It is hardly surprising – even if we forget for a moment about the visual aspect, the music itself is enough to repaint the explosive nature of the heroine. For what are the rapid instrumental interventions played with vigor by strings, if not an image of full of anger monsters that are imperiously summoned by Armida ((Furie terribili)? Insidious witch knows it well how to thwart the plans of noble Rinaldo, yet her cruelty loses with the sudden affection for the enemy.

In the duo of representatives of two camps (Fermati) rapid exchange of views takes place: short, broken phrases intertwine more and more closely, wrapping the protagonists with a surprising feeling, that from hatred smoothly transforms into fascination.

Strong personality of Armida is once again manifested in a great aria in the end of the second act of the opera – Vo’ far guerra, when the Queen of Damascus becomes the victim of own machinations – having led the lover astray, discovers that he begins to develop a romantic attraction towards the rival.

The desire for revenge is revealed in the spontaneous explosion of jealousy, that is perfectly highlighted by Händel with a brilliant harpsichord accompaniment, by weaving into subsequent parts of the aria a spectacular cadenza of the instrument.

Faces of love portrayed by Händel can be very different, and among the many feelings that accompany it, there is also the joy sung with enthusiasm by the loving and loved Ginevra  (Volate amori). Even happy love is however sometimes tested, especially when around the lovers a circle of intrigue is tightened, and when there is an allegation of sexual irregularity – this is the situation of Romilda and Arsamene, who,  despite mutual commitment, are caught in a treacherous situation, discrediting their mutual trust. Their argument (Troppo oltraggi) resembles a typical marital quarrel, in which suspicion turns up the temperature of emotions. Parts of both lovers are mirrored to each other, giving the impression as if the singers mimicked each other – his slightly ironic effect is emphasized also in part of the band, the lively accompaniment of which introduces here a little humorous distance.

A completely different atmosphere is brought by a heartbreaking aria of Tolomeo (Stille amare) that being convinced that will swallow in a moment a bowl of poison, bids farewell to life and love. It is one of the most beautiful arias intended by the composer for male alto voice

(in this case, the first performer was a famous castrato Senesino). The background of a rolling, metering the inevitably passing time, accompaniment, is dominated by lyrical melody of the part of Tolomeo.

Also Bertarido, tragic hero of Rodelinda (1725), singing a few songs later the legendary Dove sei must face the topic of death and loss. Melancholy of the king, that has been found to be dead, is mixed with longing for his beloved, and the sense of emptiness is perfectly captured by a wide, wistful phrase. The aura of sadness fills also the duo of Bertarido and Rodelinda Io t’abbraccio, ending the second act of the same opera. Parting of this famous couple is surely one of the most sensual moments in the stage music of the Baroque – singing in the same register lovers cling to each other with voices so closely that sometimes their parties become almost indistinguishable.

With a moving tenderness bid farewell also Clizia and Arcane (Addio) with a powerful five-act Teseo, opera in which Händel broke his three-act scheme, reaching for the french patterns, however at the same time returned to the present in Rinaldo world of magic.

Spells are also present in Orlando, based on the text of epic poem of Ludovico Ariosto Orlando Furioso.  In this full of contrasts work certainly worth noting is the aria of the shepherdess Dorinda (Amor è qual vento), that with grace and fantasy compares the dynamics of falling in love to changing wind directions: joyful daze can quickly turn into an obsessive fear and pleasure may be undermined by jealousy.

And about jealousy Tamerlando has plenty to say, who tormented by this feeling sings bristling with fury aria, which literally sparkles with the desire for revenge (in the original cast another castrato excelled here – Andrea Pacini).

It is however the most difficult in love to face rejection. This was the fate of lover of the title queen Partenope – Arsace, who ends second act of the opera with his brilliant aria called Furibondo spira il vento. This daring show of vocal technique, filled with coloraturas and sudden interval surges, recalls the mood of the opening the CD temperamental arias of Armida, that constitute room to maneuver both for the singer, and the vigorously accompanying him band.

It is hard for a better culmination of album, which with its narration keeps you in suspense from the first to the last minute, bringing moments of respite only in beautiful instrumental passages: overture to Rinaldo and cheerful sinfonia to the third act of the Solomon oratorio known as the Arrival of the Queen of Sheba.

***

Today, it is difficult to imagine a world, the musical landscape of which would miss the music by Händel, however the history has been closed for his operas for many decades, already during the composer’s lifetime. Virtuosic, bristling with difficulties, multithreaded works in the Neapolitan style quickly went out of fashion, and over time they have almost completely been forgotten.

Only the twentieth century cracked open the doors to this extraordinary music, whetted the appetites of music lovers with performances of the most daring arias.

There is nothing surprising in this – Händel’s sense of opera was incomparable, as evidenced by not only the ease of writing subsequent stage works, but also an exceptional talent for portraying human emotions with music.

What we find so attractive in the music of Händel is the powerful emotional charge, making it timeless. What are actually the most successful arias from his operas, if not the musical essence of various shades of infatuation, hatred, despair or joy? Even though characters of the tacks mentioned in the recording come from distant times and spaces, their feelings, lively voices of great singers, still resonate with sensibility of contemporary listeners, allowing a deeper insight into the full of mysteries dynamics of love.

The Heart of Europe

April 3, 2022

Poland’s fascinating location on worlds maps is often discussed in the context of past centuries. It’s central location in Europe was one of the reasons for many political disagreements, but it also allowed for numerous and rich cultural exchanges. The meetings of East and West has many dimentions and, in this context, Poland lies in the center, linking various cultures and religions and
serving as carrier of diverse cultural and social trends. Traveling to the XVII century we can observe amazing process in which Poland played important role of the fighter, being one of the military super powers, but also role of important cultural partner for the countries from North, South, East and West.
The XVII century for the Polish-Lithuanian Commonwealth it was the time of the military and political importance in Europe. Time of many battles and wars against empires like Sweden and Turkey, but also against Russia and Zaporozhian Cossacks.

Open to the West, Polish literatury and musical culture drew on the discoveries and ideas emanating from Venice, Padua, and other important centres in Italy. Sweden during the “Age of Greatness” (1648-1721) by communication with Poland and other countries in northern Europe was growing and flourishing culturaly.

On the other hand Polish political environment during the seventeenth century places it against the Ottoman Empire’s Islamic culture. Fascinated by the influence of the totally different Oriental world, Poland engaged in a cultural exchange with the Seraglio – the Topkapi Palace and residence of the Ottoman Slutans – with the colorful figure of Wojciech Bobowski – his Turkish name: Alī Ufqī : Horizon (1610 – 1675) who was a musician, a composer, a painter, and as a multilingual interpreter who made a brilliant career in diplomacy of the Sublime Porta. Born in Poland in 1610 he was captured by Tartars and sold as a slave to the seraglio in Istanbul, where he spent next 20 years and where his incomparable skills could shine: he played instruments and as the first he wrote down turkish music (with european notes). His psalms written in a european, but very simple (Calvinist) manner, sung in Turkish language and probably in Turkish way, possibly with an accompaniament of instruments from the seraglio… This was a real meeting point and melting pot of west-east tradition.

Traveling to the Nordic countries we can find Adners and Gustav von Düben who belongs to one of the most important musical families in XVII century Sweden. Gustav was born and died in Stockholm. He was the son of the German-born Andreas Düben, who had been organist at the Thomaskirche in Leipzig, and son of the composer and court kapellmeister Anders Düben (the Younger). In 1663, he succeeded his father as both hovkapellmästare, director of the Royal Swedish Court Orchestra, and organist of the German St Gertrud Church in Stockholm.

Polish music of 17th century is expressed in the genious composers of Mikołaj Zieleński, Marcin Mielczewski, and Bartłomiej Pękiel, mostly in Venetian style. The casp of the 16th and 17th centuries in Italy marks the development of the opera on the one hand, and the blossoming of the church music on the other. The need for contrasts, the introduction of instruments to lithurgical music, polychoral music, and the concertizing style – all part of the Venetian School – were taken up and developed further on polish soil by various local composers who studied this style abroad. Mikołaj Zieleński’s ( c.1500 – c. 1616 ) Offertoria et Communiones were published in Venice in 1611. His style was highly regarded in the city on water. Zieleński’s younger compatriot, Marcin Mielczewski ( c.1600 – c.1651 ) used Renaissance techniques for liturgical forms and applied canti firmi of Gregorian origin into his compositions but, as a master of counterpoint, he also gave them a modern and powerful sound in terms of tonality and instrumentation. The youngest Bartłomiej Pękiel ( ? – c.1670 ) served the court in Warsaw from at least 1633. He was the assistant to Marco Scacchi when the latter was head of the Royal Chapel there, and later was Kapellmeister himself from 1649 to 1655. His music stile and expression is real treasure needed to be rediscovered.

Originality of the project lies in this juxtaposition of three worlds – Nordic, East and West – and in a showing a way necessary to achieve their synthesis in language, religion, and culture – a way originated in the works and lifes of 17th-century musicians from so many different and far backgrounds.

  1. Fulget in templo legifer – anthem to st. Wojciech (Anonymus, XIII w.)
  2. Anonymous – Tabulatur Joannis de Lublin (1490 – 1550 ) – Rex
  3. Anonymous – Tabulatur Joannis de Lublin (1490 – 1550) – Szewczyk
  4. Grzegorz Gerwazy Gorczycki (1665 1734) – Laetatus sum
  5. Grzegorz Gerwazy Gorczycki (1665 1734) – In Virtute tua
  6. Heinrich Isaac von Biber (1644 1704) Battalia
  7. Mikołaj Zieleński (1550 – 1616) – Offertoria totius anni – Magnificat
  8. Ali Ufki/Wojciech Bobowski (1610 – 1675) – Uyan Ey Gözlerim Gafletten Uyan
  9. Psallat chorus in hac die – sekwencja o św. Stanisławie (Graduał KlarysekGnieźnieńskich, XIII w.)
  10. Anonymous – Cantional Zamoyskich – Pieśń o posiędźieniu y o zniewoleniużałosnym ziemie węgierskiey
  11. Johann Joseph Fux (1660 – 1741) – Turcaria – Eine musikalische Beschreibung derBelagerung Wiens durch die Türken anno 1683
  12. Marcin Mielczewski (1600 – 1651) – Triumphalis Dies – Ode to st.Marcin
  13. Tabulatura Amoenitatum Musicalium Hortulus – Caspar Klosemann (1616 – 1657)
  14. Mikołaj Gomółka – Już się zmierzka

Amor Sacro Amor Profano

February 6, 2014

The vocal content of AMOR SACRO AMOR PROFANO program has been carefully selected and arranged. It conveys a caleidoscope of feelings and states of love, so different for the French and the Italians. The aria from Vivaldi’s cantata Cessate omai cessate – Ah! Ch’infelice sempre depicts a betrayed love, for which there is no hope but death. Vivaldi chose a calm semiquaver for accompanying pizzicato strings, which symbolize the tears of an unhappy lover. The aria from Vivaldi’s In furore Iustissimae Irae leads to a tempestous furioso, signifying God’s wrath and power, contrasted by the B part, depicting grace and forgiveness, which come in consolation and serenity. How willing my paternal love from Haendel’s Samson speaks of a father’s love. Afterwards the record fluidly moves on to a French chanson populaire from the 16thcentury, Une Jeune Fillette, which tells the story of a pure-hearted girl in love with a boy with whom she would like to be every night. The lovely melody and sweet words subtly and sensuously depict waiting for a beloved. Next we have

chanson a boire, Bachus et Amour, and chanson a danser, Celle qui fait tout mon tourment by Charpentier which paint a still different picture of French popular music, a feasting song and a dance song. The lyrics and the melodies are easy and catchy, very suggestive in their simplicity and directedness. Rameau’s Puisque Pluton plays nicely with Lully’s Trop indiscret Amour from Ballet de Muses. Both speak of love transcending death and heroes descending into Hell in search of their loved ones. Lully’s idea in particular, which was given the subtitle Recit d’Orfeo, is extraordinary. Solo violin represent Orpheus, who plays the lute to accompany Euridice in their journey through Hell. The last two pieces come from two important seats of Italian music – Venice and Naples, the capital of Italian popular song. Monteverdi’s Quel sguardo sdegnosetto is a light song about flirting through quick glances, which always reach the naïve heart. Dormi o nimo from Caresana’s Christmas cantata La Veglia, is one of the most beautiful lullabies in the history of music.

The vocal pieces intertwine with instrumental ones, which are interesting in both the musical and historic context. “Il Grosso Mogul” is an exceptional concert in Vivaldi’s body of work. It was dedicated to an Indian maharaja from the “Mogul” dynasty, one of the most powerful in the history of the world. Apart from drawing inspiration from Indian music and his impression of what Indian music is, Vivaldi has composed for himself a cadence of pure virtuosity, unique among his concerts. The authorship of Bach’s BWV 1023 sonata is a constant source of discord among the musicologists, some of whom ascribe it to Bach, and some to a different composer. The piece is very dark and brooding, filled with dissonance and decreased accords. It was an inspiration to Respighi, Italian composer from the Romantic period, who arranged the sonata for solo violin and string orchestra. This very intimate rendering has been for the first time recorded by Il Giardino d’Amore with the use of period instruments. Stradella and Corelli were composers active in the Eternal City. Sinfonia of Stradella is a three-part overture to the Christmas serenade Ah!Troppo e ver, composed for 6 voices, strings and continuo. It has an explicitly pastoral theme and conveys a Christmas pastoral atmosphere.

Sinfonia is written as a concert, with intertwining concertino and grosso parts. Sinfonia of Stradella paves the way to Corelli’s Concerto Grosso op. 6 no. 4. Corelli was a true precursor of purely instrumental and concert music, and his collection of Concerti Grossi op. 6 was for many years treated as the template for this type of concert.

Cantates & Petits Macarons

August 16, 2013

CANTATAS AND LITTLE MACAROONS

„On a quiet summer afternoon, with the living room door half open, through the doorway comes a smell of perfume, muffled laughter from the courtesans and the sweet sounds of the violin virtuoso…”
There is a generous buffet, gently decorated with a Croquembouche – a pyramid of cream puffs stuffed with candied fruit, sugared violets from Toulouse, a sprig of dill sprinkled with tinted icing sugar, nutmeg spiced pastilles, almond dragees from Verdun and mounds of delicately fla- voured macaroons.

This is a place where you can read, play billiards or backgammon and listen to the newest canta- tas, that tell of the deeds of the gods and of idyllic landscapes with shepherds and shepherdesses. The cantatas provide the perfect excuse to talk about love, to tell short stories and simple tales often ending with a plain moral: „We watch pleasure ́s departure, just as we are trying to learn about it” (LN Clérembault La Muse de l’Opera). In that way Mirtil and Amaryllis from Le berger fidèle („Faithful Shepherd” by JP Rameau) triumph over Diana’s murderous rage with the purity of his love, and the great sacrifice becomes a covenant, that breaks the curse of Arcadia.

These cantatas, just like the short salon operas, are composed of symphonic ariettas and recita- tives. They are as exquisite as the delicate flavoured desserts pictured above. It could be said that with the works of Clérambault, Montéclair and Rameau, the French Cantata reached a kind of apogee, pushing the limits of its theatricality and becoming increasingly more operatic. On one hand, these composers borrow the varied pace, exuberance and quick modulations from the Italian style. In the first story, „The Faithful Shepherd” by JP Rameau, Mirtil „sighs and moans all the time” – an effect achieved with a tearful chromatic line in the basso continuo, obtaining amazing and agonising minor harmonies. On the other hand, they expand the instrumental parts, using trumpets, horns, violins and even timpani, which far from being a mere accompaniment to the story also set the scene. In Clérembault’s La Muse de l’Opéra there are numerous descriptions of the context of the scenes such as the Tempest (Tempest), Sommeil (Dream) and the Prélude infernal (Prelude for hell). There are several scenic images: „terrible floods” literally presented by the billows, contrasting with morning bird songs played on the flute or the shepherd’s bagpipe mimicked by the buzzing bass viola. JP De Montéclair’s great orchestration creates an amazing dialogue between the martial trumpet and the joyful bagpipe in Le Retour de la Paix. François Couperin, less engaged with cantata writing than his contemporaries (his vocal secular works uses a stiff „serious aria – light aria” structure) is one of the most important chamber music composers of the French Baroque, in which he reaches an artistic peak with Le Gouts Reunis (The combined tastes). As if he were a master alchemist, and using his music as a sort of philosophers’stone, he combines the French and Italian style, represented by J.B. Lully and A. Corelli, in a perfect mix. L’Apothéose de Corelli (Apotheosis of Corelli) is built as a big Ita- lian sonata in seven parts. At the beginning of each part, a description of the piece is written, allowing the listener to follow the story and enjoy the adventures of our hero, Corelli himself.

The titles read as follows:
« Corelli at the feet of Parnassus asks the Muses to take care of him. » (Grave)
« Corelli, fascinated by his welcome on Parnassus, expresses his joy. He moves on with his companions. » (Joyful)
« Corelli drinks from the spring of Hippocrene, and his company moves on. » (Moderately) « Corelli is full of enthusiasm, caused by the waters of Hippocrene. » (Lively)
« Corelli, exhausted by all his enthusiasm, falls asleep; his troupe plays a gentle lullaby. » (Equal and fluent notes)
« The Muses wake Corelli up, leading him to Apollo. » (Lively)
« Corelli’s gratefulness. » (Cheerfully)

Marin Marais was one of the first to introduce trio compositions, typically used by the Italians, into France. His famous Sonnerie de Sainte Geneviève du Mont de Paris (Bells of St. Genevieve in the Hills of Paris) is an amazing example of virtuosity on the viola da gamba. All of it is achieved by a very simple material – three tones that imitate bells and a never ending passacaglia, that allow the viola da gamba, a French instrument, to engage in a competition with the Italian violin, and win?…At the royal court, salons, theaters, and churches the Italian style remained fashionable; it was the pinch of salt that enhanced the aroma of cloves and macaroons, but only when tamed, and refined to the gentleness and depth of the French delicacy. François Couperin said „Let us pronounce Sonada and Cantada (instead of sonata and cantata) as we already pronounce ballada and serenada. No matter what the recipe, each of these works portrayed in the CD is an invitation to celebrate the combined flavours (Goûts Réunis), a tiercake made of layers and flavours, that makes us succumb to the pleasures of the feast.

Macaroons (recipe)
<< Grind half a pound of fresh, blanched almonds, washed and well dried, when rubbed sprinkle them with a few drops of orange blossom water and fine sugar, in order not to turn almonds into oil, then remove them from the mortar and beat well in a stoneware bowl with half a pound of sugar, add four eggwhites, beat them neatly with sugar and almonds; put button size macaroons on paper; bake on a low heat; when they are baked and in a beautiful color, serve it in that form. In order to frost them, if somebody likes, put fine sugar through a sieve on a plate, add lemon juice and a bit of eggwhite, whip them together with a spatula until it becomes white; cover macaroons with it and put them into the stove for a moment in order to dry the frosting >>

„Sciences of a pastry chef ” 1776

Carnevale di Venezia

August 16, 2013

Throughout the early to mid Eighteenth Century, Venice, Italy was considered to be one of the most exciting, alluring, and culturally diverse cities throughout Europe. The grandeur attracted a multitude of intellects, artists, musicians, travelers, foreigners, merchants, traders, prostitutes, tourists, nobility, and clergy alike, (Hanning, pp.263-264). Venice was a city filled with excitement and adventure.

What Ospedale means exactly? Ospedale (literally “hospital”) should be seen in a broader perspective than we use the word. It can mean hospital, but it also is “sanitarium,” “orphanage,” or any number of institutions of that era.

The Ospedale della Pietà was one of four such homes in Venice. The Pietà took in mostly girls, and by Vivaldi’s time had become well known for the quality of the musical education. The girls of the Pietà became such accomplished musicians that by Vivaldi’s time the institution had developed a reputation as one of the best music school in Europe. In XVIII century Italy, however, there occurred a veritable explosion of musical activity in these ospedali, orphanages-turned-conservatories. This was especially true in Venice and Naples.

In Venice as early as the XIV century there were already four functioning ospedali: the Ospedale dei Mendicanti (originally for lepers and later beggars), once visited by Goethe who wrote of it, “I never imagined such voices could exist,” the Ospedaletto di SS. Giovanni e Paulo – a poorhouse and orphanage, and the Conservatorio degl’ Incurabili as the name implies. Finally there was the extraordinary Ospedale della Pietà. The Pietà Hospital had been founded in 1346. It was an institution for orphaned or illegitimate girls, foundlings and the female children of poor families. Already in the 17 th century this ospedale had achieved fame for its work with disadvantaged girls, especially for their singing and instrumental musicianship.

Vivaldi`s connection with the Pieta began in 1703 and lasted nearly forty years until 1740. In 1704 he was named Maestro di Violino di Choro. He also was in charge of of purchasing musical instruments.. He later became a violin teacher, Master of Concerts and resident composer. He was required to compose two masses per year – for Easter and the Feast of the Visitation, two Vesper services a year and two new motets each month among other things. Vivaldi worked daily with girls, writing and performing music for their special needs, choral and instrumental works. The girls were divided into two categories: the figlie di comun or commoners who received a general education and the figlie di coro or choristers and musicians who received an exactin musical training in solfeggio, singing and instrumental technique. Vivaldi supervised the teaching and served as concert master and composer. The reputation of the Pieta surpassed anything in Europe and drew visitors from all over Europe. Even Pope Pius IV came to hear the girls play and sing. The putte did not travel and were not allowed to perform outside the ospedale.

Ever since the Renaissance, Italy became a Mecca for students and musicians who would make the long pilgrimage to Italy to absorb the spirit and culture found there. In later centuries the trek continued until modern times. Mozart, Wagner, Tchaikovsky, Liszt were but a few of the many great musicians who drew inspiration from all that sunny Italy had to offer. Yet it seems the miracle of the 18th century ospedale and the Pieta was never to flower again.

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