Concerto grosso x 6
From 22 November to 22 November Estonia / Tallinn
Anthony Marini, violin and leader
Floridante
Finnish Baroque Orchestra
Floridante
Finnish Baroque Orchestra
Anthony Marini, programme planning
Many of the Baroque masters composed their most spectacular orchestra music in the concerto grosso form. This popular structure is based on colourful alternation between a group of soloists and the full orchestra. In FiBO’s and the Estonian Floridante’s joint concert, we hear concertos by Händel, Corelli, Geminiani, Muffat and Locatelli. For the violinist Anthony Marini, who often performs as concertmaster in both orchestras, this concert will be his final one in the role of FiBO’s artistic planner.
Georg Friedrich Händel’s (1685–1759) concerto grosso collection opus 3 is thought to have been completed without the composer’s close supervision. The publisher responded to the British demand for works in the genre established by Corelli by arranging earlier pieces. The result was a collection of beloved and diverse works, featuring material from oratorios and operas, instrumental numbers resembling arias, and organ solos. The first concertos by the star violinist Francesco Geminiani (1687–1762), who was working in London at the time, were skilful arrangements of violin sonatas by his teacher Corelli.
Like Händel, Georg Muffat (1653–1704) met Corelli in Rome and learned his style. The concerto Bona nova (Good news)combines French temperament with Italian texture – an approach Muffat brought with him to the German-speaking regions of Europe. Pietro Locatelli (1695–1764), born in Lombardy, later settled down in Amsterdam. He sought to merge Corelli’s style with newer galant influences.
Like Händel, Georg Muffat (1653–1704) met Corelli in Rome and learned his style. The concerto Bona nova (Good news)combines French temperament with Italian texture – an approach Muffat brought with him to the German-speaking regions of Europe. Pietro Locatelli (1695–1764), born in Lombardy, later settled down in Amsterdam. He sought to merge Corelli’s style with newer galant influences.
Arcangelo Corelli’s (1653–1713) concertos captivate with their refined interplay of light and shade, as well as their sense of form. From the perspective of the development of tonal methods, these important works appeared at just the right moment: the music publishing industry was flourishing. The musical landscape featured both archetypal motifs and the most up-to-date techniques.
Duration: 1 h 45 min (incl. intermission)
FiBO's artistic planner Anthony Marini introduces the concert at the House of Nobility on 21 November from 6 pm to 6.30 pm.
