1717. Memories of a Journey to Italy
Forces: violin, cello, harpsichord [optional: theorbo]
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.
This program begins with THE CABINET II PROJECT: a deep exploration into the Schrank II (Cabinet II) in Dresden, which contains Pisendel’s collection, one of the most important archives of 18th century music compiled exactly 300 years ago.
The Cabinet II Project
Unknown Masterpieces from the Schrank II Collection of Dresden.
The project is the result of years of intense research: It began about four years ago when we started to research on one of the most important archives of instrumental music in the first part of the eighteenth century: The Schrank II (Cabinet II) of the Dresden Court Church. The archive contains the instrumental music of the Dresden Hofkapelle at the time of the Saxon Polish Union and which to a large extent came from the legacy of Concert Master Johann Georg Pisendel. At that time the Dresden Hofkapelle was one of the most important and influential musical centers in Europe, attracting the attention of composers like Bach, Telemann, Vivaldi, Veracini, Handel, Quantz, Zelenka, Hasse and a very big list of great artists.
New Discoveries of Vivaldi
Forces: violin, cello, harpsichord [optional: theorbo]
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.
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).
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.
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