At the end of the 17th century, Arcangelo Corelli established the form of the concerto grosso, in which a small ensemble of soloists, the concertino, opposes the mass of the orchestra. The solo concerto will be born from this concerto grosso by reducing the size of the concertino. Although he was not its inventor, Antonio Vivaldi imposed its form with this singular name « L'Estro armonico » Op. 3 published in 1711. This prestigious collection of twelve concertos for strings comprising bold instrumental combinations with one, two or four violins, sometimes with a cello, presents a concentration of rhythmic and melodic formulas, each more daring than the other, the virtuosity of the writing, however, never alters a depth marked by an inner tension present throughout the work. No. 3, 6, 9, 12 (one violin) and 5 (two violins) are authentic solo concertos. The modernity of this collection will fascinate generations of musicians, until the 20th century. With its contrasts, the beginning of Concerto No. 11, for two violins and cello, is particularly fascinating: a two-part canon for the two solo violins leads abruptly to a few measures of the solo cello, which introduces a long fugue whose very elaborate construction profoundly influenced the « genius » of the Baroque period, otherwise known as Johann Sebastian Bach. It is rejoicing that in this repertoire so well represented by new performers possess a technique at this point accomplished and at the service of an imagination also poetic. *Lucien*
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What an outstanding performance... I love Vivaldi's music 🎶
Thank you! 🤗
At the end of the 17th century, Arcangelo Corelli established the form of the concerto grosso, in which a small ensemble of soloists, the concertino, opposes the mass of the orchestra. The solo concerto will be born from this concerto grosso by reducing the size of the concertino. Although he was not its inventor, Antonio Vivaldi imposed its form with this singular name « L'Estro armonico » Op. 3 published in 1711. This prestigious collection of twelve concertos for strings comprising bold instrumental combinations with one, two or four violins, sometimes with a cello, presents a concentration of rhythmic and melodic formulas, each more daring than the other, the virtuosity of the writing, however, never alters a depth marked by an inner tension present throughout the work. No. 3, 6, 9, 12 (one violin) and 5 (two violins) are authentic solo concertos. The modernity of this collection will fascinate generations of musicians, until the 20th century. With its contrasts, the beginning of Concerto No. 11, for two violins and cello, is particularly fascinating: a two-part canon for the two solo violins leads abruptly to a few measures of the solo cello, which introduces a long fugue whose very elaborate construction profoundly influenced the « genius » of the Baroque period, otherwise known as Johann Sebastian Bach. It is rejoicing that in this repertoire so well represented by new performers possess a technique at this point accomplished and at the service of an imagination also poetic. *Lucien*
Thank you 😊
Congratulations to Maestro Cristian Măcelaru and all the musicians. 👏🏻💐
Thank you! 🤗
Magnifiiiique ❤❤❤❤❤
Merci! 🥰
Thank you. These short pieces help a lot.
Our pleasure!
We're happy that you like it 😊
Love this in Exeter NH USA
😊
RV580❤🎉
❤❤
Uma razão realmente digníssima para crer na humanidade. Bravíssimo. 👏👏👏👏👏👏💐💐💐💐
Obrigado 🤗
Perfection itself. Thank you very much! 😍❤️🌻
Thank you! 🤗