We have made a little video to present our new and exciting program: New Discoveries of Vivaldi. The program features two new discoveries of Vivaldi’s music and the most recent findings of Vivaldi’s works for violin and continuo.
Although we made the video fun and with a lot of humor sense, the video is quite geek and features a lot of new and well informed facts about the pieces and the research involved. Let’s see some of them! 1:23 – How the research was done – The analysis of the internal features of the sources such as paper, watermarks and copyist is followed by an analysis of the music. This musical analysis is mostly based in the a new research method developed by Federico Maria Sardelli (Catalogo delle concordanze musicali vivaldiane, 2012), it is based in the recognition and analysis of concordances. In a few words, these concordances are blocks of musical material (a little musical idea or a big passage) that Vivaldi re-uses in his works. Example of concordance between the RV 432 and the RV 484
The analysis of these concordances had been used as a tool to assure the vivaldian paternity of other works such as the violin sonata RV 810. 1:38 – Vivaldi speaks – It is great to have Vivaldi himself speaking about his own pieces! And he gives us a lot of musicological information. The RV 820 – It is now the earliest work known by Antonio Lucio Vivaldi. An analysis of the watermark and the date of the paper has shown that the piece was copied in Ansbach. This fact links Vivaldi and Torelli. The vivaldian scholars were not sure if Vivaldi studied with Torelli, but thanks to this discovering now the relationship is clear and we know a little bit more about the study years of Vivaldi. 1:50 – The influence of other composers it is shown in these early years, it is possible to see the great influence of Corelli in this work, it is remarkable the material taken from Corelli’s op. V, third sonata. Vivaldi, RV 820, Adagio Corelli, op. 5, N.3, Adagio2:07 – The Sonata in A major for violin and continuo features a very strong concordance with other vivaldian work, which is the use of the second movement of the violin concerto RV 205 as opening movement of the sonata. In addition more than fifty concordances have been found in the sonata. End of the Violin Sonata in A major (2 upper lines) and RV 2052:22 – Vivaldi speaks about Pisendel – Pisendel is the copyist of these sonatas. He was pupil and a good friend of Vivaldi. Johann Adam Hiller tell us about the travel of Pisendel to Venice and his encounter with Vivaldi. (Hiller, Johann Adam, Wöchentliche Nachrichten und Anmerkungen, die Musik betreffend, Volumen 1 Verlag der Zeitungs-Expedition, 1766, p.287).
Hiller speaks about two nice anecdotes, one is about how Pisendel played together with Vivaldi and the other was about an encounter with the police in Venice. It seems that the secret police of Venice mistook Pisendel for a criminal! This guy is not Vivaldi! Other geek facts: Vivaldi’s profile picture in Skype. It seems that the well known portrait of Vivaldi (Anonymous painter and found at Civico Museo Bibliografico in Bologne) was not really Vivaldi. The picture shown in the video is from an Anonymous painter of Milano. Recent studies point to this portrait as the authentic Antonio Lucio Vivaldi. It is possible to read more on the studies by François Farges and Michel Ducastel -Delacroix. Yes! The real Vivaldi.
Javier Lupiáñez
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Patrícia, Portuguese harpsichordist, grew up in Viana do Castelo, where she discovered her passion for music at a young age and began her violin and harpsichord studies.
In 2009 graduated in harpsichord at the Escola Superior de Música de Lisboa under the tutelage of Ana Mafalda Castro. The desire to cross borders, deepen his knowledge and broaden her experience in the field of Early Music took her to the Netherlands, where in 2013 she completed a Bachelor’s degree in harpsichord under the guidance of Jacques Ogg and a Master’s degree in 2015 with Fabio Bonizzoni.
She has performed live for radio stations such as France Musique, Radio Klara, Concertzender and Musiq3.
As a performer she has won some awards such as the Internationaal van Wassenaer Concours and the Göttinger Reihe Historischer Musik, and her recordings have been nominated several times for the ICMA awards and have received several critics’ awards from the international press.
She regularly performs as a soloist and continuist in major festivals and concert halls in Portugal, Spain, France, Belgium, the Netherlands, Germany, Italy, Lithuania, and Japan.
She also devotes her musical career to music education and has studied Music Therapy at Codarts University for the Arts.
Inés Salinas
Born in Zaragoza (Spain) in 1985, Inés developed a passion for historical performance practice and specialized in the baroque cello and the viola da gamba.
She holds a Bachelor and a Master’s degree in baroque cello from the Royal Conservatory of The Hague (Netherlands), where she studied under the guidance of Jaap ter Linden and Lucia Swarts (baroque cello), and Mieneke van der Velden (viola da gamba). She also holds a Bachelor in classical cello from CSMA (Zaragoza, ES), where she studied with Ángel Luis Quintana, Cuarteto Casals, and Cuarteto Quiroga, among others.
She has performed live for Dutch radio stations Radio 4 and Concertzender and has recorded for record labels Naïve, Ayros, and Snakewood Editions. In 2016, her ensemble, Scaramuccia, was awarded the Audience Prize at the Göttinger Reihe Historischer Musik Competition. Her recordings have been nominated several times for ICMA awards and have received several critics’ awards from the international press.
He plays a baroque cello built by André Mehler in 2019 based on the original by Alessandro Gagliano, Napoli 1704, as well as a viola da gamba built by Matthew Farley in 2017 based on the original by Michel Collichon, Paris 1683, and bows by Jerôme Gastaldo and Antonino Airenti.
He began his musical journey in his hometown Melilla, where he started his studies. After years of study and practice, he received numerous diplomas, including a Bachelor in modern violin, a Master in Musicology, a Master, with distinction, under the guidance of Enrico Gatti at the Royal Conservatory in The Hague and a PhD in Musicology (cum laude) from the University of Guanajuato.
Javier has given concerts in Europe, Japan and United States, and has recorded for Harmonia Mundi, Ayros, France Musique, Musiqu3, Concertzender, Radio Klara, and Snakewood Editions, among others.
As a performer he has won some awards such as the Internationaal van Wassenaer Concours and the Göttinger Reihe Historischer Musik; in 2021 he was nominated for Best Performer and Revelation Artist at the Opus Klassik awards. His recordings have been nominated several times for ICMA awards and have received several critics’ awards from the international press.
Javier plays a baroque violin built in 1683 attributed to Cornelis Kleynman, which is on loan from the NMF.
As a researcher he specializes in ornamentation and instrumental improvisation of the 18th century. He has identified works by Westhoff, Leclair, Lonati and Corelli, and discovered new works by Vivaldi and Pisendel. Together with Fabrizio Ammetto and Luis Pinzón he is in charge of preparing the new catalogue of works by Pisendel (PW).
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Example of concordance between the RV 432 and the RV 484
Vivaldi, RV 820, Adagio
Corelli, op. 5, N.3, Adagio
End of the Violin Sonata in A major (2 upper lines) and RV 205
This guy is not Vivaldi!
Yes! The real Vivaldi.
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