Vladimir Waltham | Andrew Benson-Wilson : Early Music Reviews +

Vivaldi Double Concertos
La Serenissima, Adrian Chandler
St Martin-in-the-Fields. 11 February 2023

In what was described as “a carnival of double concertos from 18th century Venice – music of fantasy, flamboyance and virtuosity to the power of two”, La Serenissima and its “charismatic founder” Adrian Chandler bought its “no-holds-barred flamboyance” to St Martin-in-the-Fields. It was a reminder of St Martin’s endless ‘Vivaldi by Candlelight’ tourist concerts, although their concert promotions are rather more elevated these days. As the publicity blurb enthused: “Baroque Venice was a city of doubles – of shimmering reflections and masked revellers. And since nothing succeeds like excess, when Vivaldi wrote concertos for two soloists, the results were spectacular: a carnival of colour, illusion and sparkling sonic conversation”.

Continue reading →

The Grand Tour: Naples
La Serenissima, Tabea Debus, Vladimir Waltham, Adrian Chandler
St John’s, Smith Square. 18 January 2017

Music by: A Scarlatti, Durante, Porpora, Sarro, Leo

The penultimate concert in La Serenissima’s current series of ‘Grand Tour’ concerts at St John’s, Smith Square focussed on the music of Naples. A complex history of multiple occupations from the founding Greeks through to the 16th century Spanish (with brief Austrian and French incursions in the early 18th century) made it one of the most cosmopolitan (and the second largest) of all European cities in the later 17th and early 18th centuries. As such, it attracted artists and musicians of extraordinary ability.

Alessandro Scarlatti (pictured) was one of the founders of the Naples opera scene. He first moved there in 1684, aged around 24, as Maestro di Cappella to the Spanish Viceroy, and spent much of his following life there. All the other composers in La Serenissima’s concert were influenced by him. He left little instrumental music alongside his operas, but one such was the Sinfonia di Concerto Grosso II in D (for recorder, trumpet, strings & continuo) that opened this concert. It can be a surprise to those not used to period instruments to realise that the trumpet and recorder can be combined as fellow solo instruments, as Bach demonstrated so well. Scarlatti was less adventurous in his combining of these instruments in this concerto, with the two instruments generally kept apart, and the two melodic Adagio movements only using the recorder. Continue reading →