Programmes

Our concert programs are very carefully prepared in many ways: musically, historically and rhetorically.

The presentation of the pieces and the interaction with the audience are crucial for us; we would like the listener to listen actively, to become a part of the music itself. We understand the performance as a journey through emotions, giving it unity from the first to the last note.

Lectures

In addition to our concerts, an introductory lecture is available.

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New Programmes

Take a look at the new world premieres for 2020

Other progrmmes

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1717. Memories of a Journey to Italy 

Forces: violin, cello, harpsichord [optional: theorbo]

[Recorded for Snakewood Editions in February 2018]

September, 1717.
The young virtuoso Johann Georg Pisendel returned to Germany after almost a year travelling across Italy. Pisendel, who was to become one of the most renowned musicians in Europe, arrived in Dresden later that year to take the position of Premier Violon in the Dresden Hofkapelle. During his Italian sojourn he earned the respect and friendship of the most important musicians of the time, including Vivaldi, Montanari and Albinoni. Pisendel brought with him not only the teachings of these great virtuosos but also a luggage full of musical manuscripts, selecting for the return trip the most valuable scores that he could gather. It was a baggage full of musical treasures, some of them performed for the last time 300 years ago.

New Discoveries of Vivaldi

Forces: violin, cello, harpsichord [optional: theorbo]

[Recorded for Ayros in November 2015]

Vivaldi is perhaps one of the most famous composers of all time, and yet we are still discovering his work. Scaramuccia‘s present program features the most recently discovered Vivaldi sonatas for violin, and the exciting presentation of two completely and newly discovered works (2015) by the Venetian composer, as identified by our violinist Javier Lupiáñez.

These two findings were recently added to the RISM as RV 820 and RV 205/2. 

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The Handel Experience

Forces: 2 violins, violoncello and harpsichord

Works by Handel, Veracini, Geminiani, Vivaldi, Telemann, Oswald and Jimi Hendrix

The Handel Experience will offer a journey through the life of Handel: the people he met, the places he visited and the music he listened to; all connected make a web of characters and relationships where the central character is Handel and the music. (A concert program by Scaramuccia tailored for the competition of the Göttingen Historical Music Series 2016).

Lament

Forces: 2 violins, viola da gamba, harpsichord [optional: theorbo]

Works by Jean-Féry Rebel, Johann Heinrich Schmelzer, Pandolfi Mealli, Niel Gow, Turlough O’Carolan

INSTRUMENTAL LAMENTS IN THE BAROQUE

“Lament” is a look at one of the most beautiful and poignant instrumental repertoires of European Baroque. From the traditional “Scottish lament”, French “tombeau” or instrumental laments in Italian or German music we will embark on a musical journey through the 17th and 18th centuries from a different and daring perspective, discovering melodies inspired by the most profound sadness and discouragement but which end up becoming the most powerful apology to hope and beauty, in a world that, on many occasions, seems to be in need of beauty and hope.

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Irish Coffee. Irish and Scottish baroque music

Forces: violin, cello and guitar/theorbo [optional: harpsichord]

Works by Oswald, McGibbon, O’Carolan, Playford, Geminiani and Veracini, that include reels, gigs, piborchs, and Irish and Scottish airs from the first half of XVIII century.

For any baroque music lover, it is easy to listen to Italian baroque music, which is considered to be different from French baroque music, which is considered different from German baroque music… and that is all! We are provided with three national styles… but we forget the baroque music from Scotland and from Ireland. Authors such as Veracini or Geminiani were amazed with this music; for baroque musicians, this music was especial; and today it still is.

“[…] the fame harmonies the fame modulations were practised in the compositions of the Flemish the Italian the German the French and the English musicians and nothing characteristic of the genius or humour of a particular country or province […] except in those of the Scots and Irish the former where of are in a style so peculiar”

John Hawkins, “A General History Of The Science and Practice Of Music: In Five …, Vol. 4” London, 1776

Nicola Matteis. “Wonders upon a note”

Forces: violin, cello and guitar/theorbo

A programme entirely devoted to Nicola Matteis. This is a concert filled with the passion of a composer who was able to change English national musical taste with music that grew from Italianate traditions.

“I heard that stupendious Violin Signor Nicholao (with other rare Musitians) whom certainly never mortal man Exceeded on that instrument., he had a stroak so sweete, & made it speake like the Voice of a man; & when he pleased, like a Consort of severall Instruments: he did wonders upon a Note: was an excellent Composer also … nothing approch’d the Violin in Nicholas hand: he seem’d to be spiritato’d & plaied such ravishing things on a ground as astonishd us all.”

John Evelyn’s diary for November 19, 1674


We are working on new and exciting programs, discovering new repertoire! Stay tuned or write to info@scaramucciaensemble.com