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Inspired by Italy

EUBO showcases music associated with the baroque heartland of Italy on the concert tours in September and October 2015. In the baroque era, as now, musicians travelled far and wide, and the cosmopolitan Handel’s sojourn in Italy between 1706 and 1710, when he studied with Corelli in Rome and met Vivaldi in Venice, influenced his composing style for the remainder of his career.


EUBO

Lars Ulrik Mortensen, director & harpsichord

Zefira Valova, concertmaster


Concert programme

GF HANDEL (1685-1759)

Ouverture to Alessandro, HWV21

Sonata in G, HWV399 (orchestral version)

Allegro – A tempo ordinario.Allegro non presto.Adagio – Passacaille –

Gigue: Presto – Menuet: Allegro moderato

Concerto Grosso in F, Op 3 No 4

Andante.Allegro – Andante – Allegro – Minuetto alternativo: Allegro

– interval –

A VIVALDI (1678-7141)

String Sinfonia in D, RV124

Allegro – Grave – Allegro

T ALBINONI (1671-1751)

Concerto for 2 oboes in F, Op 9 No 3*

Allegro – Adagio – Allegro

A VIVALDI

String Sinfonia in g minor, RV157

Allegro – Largo – Allegro

A CORELLI (1653-1713)

Concerto Grosso in D, Op 6 No 4

Adagio.Allegro – Adagio – Vivace – Allegro – Allegro

*oboe soloists Tatjana Zimre and Ana Inés Feola


With composers such as Albinoni, Vivaldi and especially Corelli – whose orchestra was famous throughout Europe – Italy was the musical starting point for the baroque. From there, the focus shifted gradually northwards; we find Lully, an Italian in Paris who becomes French; Handel, a German who flourishes first in Rome and then London and becomes English; whilst Bach in Germany is writing in both the Italian and French styles. Many of the forms identified with baroque music originated in Italy, including the concerto, oratorio, cantata, sonata and opera, but as musicians and composers travelled all over Europe, the new practices they encountered made subtle impressions on them. Every nation played a role and new national styles emerged, inviting both contrast and comparison between musical conventions in Italy, Germany, England and France. The cosmopolitan Handel travelled far and wide, and his stay in Italy between 1706 and 1710 had a particular influence on his work. There he met many of the greatest Italian musicians of the day; he studied with Corelli in Rome, and may also have met Vivaldi and his contemporary Albinoni in Venice, and was profoundly influenced by the ‘Italian’ scene. Handel wrote in the Italian baroque style: singing, long, florid melody lines over string chords that could chug briskly, or flow with languid, slow grace. Although his harmonic language was fairly straightforward, compared to, for example, the complex dissonances found in Bach’s music, Handel had a clear knack for writing memorable yet profound tunes. His fame spread throughout Italy, and his mastery of the Italian opera style made him an international figure.