Concerti Napoli: Concerto Copenhagen & Kenneth Weiss

イベント情報

After the concerto grosso in Rome, we head for the mez­zo­giorno with the concerto in Naples. Per­go­lesi, Ge­mi­niani, Du­rante and Scar­latti were all born or spent time in Naples, a pri­mary mu­si­cal hub in Italy du­ring the 18th cen­tury.

In this po­li­ti­cally di­vi­ded pe­nin­sula, tastes and styles chan­ged from one city to ano­ther as qui­ckly as the mores. This Nea­po­li­tan school is mostly known for its vocal music — for the opera and the church — but its ins­tru­men­tal music is also of great im­por­tance. The evo­lu­tion of this music is in­se­pa­rable from the ex­tra­or­di­nary pro­gress of the lu­thier’s art in Italy du­ring this per­iod, with the vio­lin slowly but stea­dily gro­wing more pro­minent and qui­ckly be­co­ming the equal of the human voice for the Ita­lian com­po­sers, who them­selves be­came pro­gres­si­vely more pro­minent throu­ghout Eu­rope. And the concerto grosso, which jux­ta­po­sed so­loists wi­thin the group, thus high­ligh­ting the in­di­vi­dua­lity of the ins­tru­ments, is the me­dium that best hel­ped launch this ap­proach. Ge­mi­niani, for example, was the first to in­tro­duce the viola, thus contri­bu­ting to es­ta­bli­shing its place in stan­dard ins­tru­men­ta­tion (two vio­lins, viola and bass).

Ex­pe­rience this in­cre­dible wind of in­ven­tion and vir­tuo­sity that arose from the re­gion of Ve­su­vius with the Concerto Co­pen­ha­gen, whom you could have heard per­form Ba­ch’s can­ta­tas last sea­son, and Ken­neth Weiss, for­mer as­sis­tant to William Chris­tie and one of to­day’s lea­ding harp­si­chord players.