Tuesday / August 24 / 8:30 p.m. / Church of St. Barbara
BAROCCO GOES TO KUTNÁ HORA
Antonio Vivaldi: Concerto da camera in G minor (traverso, violin, cello and theorbo)
Antonio Vivaldi: Sonata in G minor RV 51 (traverso, cello, theorbo)
Antonio Vivaldi: Sonata for Cello a Continuo (cello, theorbo)
Giovanni Benedetto Platti: Sonata in C major (violin, cello, theorbo)
Niccolo Dothel: Sonata No. 5 (traverso, cello)
Giuseppe Tartini: Trio Sonata in G major (traverso, violin, cello, theorbo)
Jana Semerádová – flauto traverso, Magdalena Malá – violin, Jiří Bárta – cello, Marek Kubát – theorbo
In the history of music, the seventeenth century marked the age of the continuo. What is this supposed to mean? Well, to put it simply, it means that composers wrote out a numbered bass line to which players of the gamba, cello or other stringed or keyboard instruments added chordal accompaniment. Superimposed over this “base” are one of two solo voices which carry melody. The listener should thus not be surprised to hear four players get together for the performance of a “trio” sonata. The trio sonata, as established by the Italians Tartini, Corelli, Vivaldi and others, consists of between two and five movements alternating fast and slow times. Similarly liberal as the number of movements is the catalogue of names for these forms, which may vary widely (sonata, canzona, partita, concerto…). There, Italian composers quite often draw on the repertoire of dance numbers known from the Baroque suite, including both fast (giga, corrente) and slow ones (allemanda, sarabanda).
Chamber-scale trio sonatas represent an opposite pole to opulent Baroque oratorios and operas – music destined for private music-making for a narrow circle of connoisseur listeners. While many were originally intended for amateur musicians, tonight´s programme brings only works whose performance requires from the players virtuoso skills.
All but one composers represented in this concert are Italians. The odd man out here is French flautist Niccolò Dôthel. Even he, however, spent much of his lifetime in Tuscany. as a musician active in court and military orchestras.
sleeve-note: Dita Hradecká / translation: Ivan Vomáčka