Jupiter
Performers
Jupiter
·· Thomas Dunford, Artistic Director and Lute
·· Rachell Ellen Wong, Violin
·· Augusta McKay Lodge, Violin
·· Manami Mizumoto, Viola
·· Bruno Philippe, Cello
·· Douglas Balliett, Double Bass
·· Tom Foster, Harpsichord and Organ
Lea Desandre, Mezzo-Soprano
Program
"Vedrò con mio diletto" from Giustino
"Armatae face" from Juditha triumphans
VIVALDI Trio Sonata for Violin and Lute in C Major, RV 82
"Cum dederit" from Nisi Dominus
"Veni, veni, me sequere fida" from Juditha triumphans
Concerto in D Major for Lute, Strings, and Continuo, RV 93
"Gelido in ogni vena" from Farnace
"Gelosia" from Ottone in Villa
Concerto for Cello, Strings, and Continuo in G Minor, RV 416
VIVALDI "Onde chiare che sussurrate" from Ercole su'l Termodonte, RV 710
VIVALDI “Scenderò, volerò, griderò” from Ercole su ’l Termodonte, RV. 710
Encore:
THOMAS DUNFORD/DOUGLAS BALLIETT "We are the Ocean"
Event Duration
The printed program will last approximately two hours, including one 20-minute intermission.At a Glance
Although he is best known for his endlessly imaginative instrumental music, Vivaldi also produced a significant body of alluring vocal works, ranging from operas to small-scale religious pieces. Tonight’s program illustrates his prowess in several musical genres, both secular and sacred, that came to maturity in the Baroque era: opera, concerto, trio sonata, oratorio, and cantata. One of the most prolific and influential composers of his era, Vivaldi is a staple of modern concert programs. But the extraordinary popular appeal of his music is a fairly recent phenomenon. As early as 1720, Marcello pilloried Vivaldi’s operas in his satire Il teatro alla moda (The Fashionable Theater), and by the late 1700s most of his music had been consigned to obscurity. Not until the 1920s and ’30s, with the rediscovery of many of his manuscript scores, did interest in Vivaldi begin to pick up again. The introduction of long-playing recordings after World War II gave a further fillip to the “Vivaldi craze,” a development that one musicologist called “as momentous for lovers of Baroque music as that of the Dead Sea Scrolls for students of religion.”