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Voices of Music presents “La Follia: A Baroque Pageant”, HD video of the performance of Vivaldi’s variations on “La Follia” (RV 63), choreographed and danced by baroque dancers Robin Gilbert and Carlos Fittante.
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Q. What is Early Music performance, or historical performance?
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A. As instruments became modernized in the 19th century, builders and players tended to focus on the volume of sound and the stability of tuning. Modern steel strings replaced the older materials, and instruments were often machine made. Historical instruments, built individually by hand and with overall lighter construction, have extremely complex overtones—which we find delightful. Modern instruments are of course perfectly suited to more modern music.
Q. Why is the pitch lower, or higher?
A. Early Music performance uses many different pitches, and these pitches create different tone colors on the instruments. See https://goo.gl/pVBNAC
In 1705, eager to make his mark as a composer of both opera and instrumental music, the young Vivaldi published his first set of twelve trio sonatas as Opus 1. The last sonata, which is a highly virtuosic set of variations on the “La Follia” dance pattern (titled only “Follia” in the print), is one of his most famous works; Vivaldi takes Corelli’s variations on the same theme-and-bass pattern from Corelli’s Opus 5 (1700), which was already a famous work, and adds figuration of even greater complexity.
a baroque pageant
masks: jane stein
based on baroque originals
carved by renu of singapadu, bali, indonesia
The Musicians and their Instruments
Carla Moore, baroque violin by Johann Georg Thir, Vienna, Austria, 1754
Katherine Kyme, baroque violin by Johann Gottlob Pfretzichner, Mittenwald, 1791
William Skeen, five string baroque cello, Anonymous, Italy, c1680
David Tayler, baroque guitar by John Rollins, after Jean Voboam, Paris, 1687
Hanneke van Proosdij, harpsichord by Joop Klinkhamer, Amsterdam (1996), after Ruckers-Goujon, Neuchâtel, Switzerland
Lid painting by Millicent Tomkins, Marin, 2012