Serenissima: A Musical Portrait of Venice Around 1726 Perrine Devillers & The 1750 Project, Benoît Laurent

• Antonio Vivaldi (1678 - 1741): Concerto for Oboe, Strings and Continuo in D Minor, RV 454:
• 1 Vivaldi: Concerto for Oboe, Strings and Continuo in D Minor, RV 454: I. Allegro 03:04
• 2 Vivaldi: Concerto for Oboe, Strings and Continuo in D Minor, RV 454: II. Largo 02:06
• 3 Vivaldi: Concerto for Oboe, Strings and Continuo in D Minor, RV 454: III. Allegro 02:41
• Cantata All'ombra di sospetto for Soprano, Traverso and Continuo, RV 687:
• 4 Vivaldi: Cantata All'ombra di sospetto for Soprano, Traverso and Continuo, RV 687: I. Recitativo "All'ombra di sospetto" 00:18
• 5 Vivaldi: Cantata All'ombra di sospetto for Soprano, Traverso and Continuo, RV 687: II. Aria "Avezzo non è il core" 05:33
• 6 Vivaldi: Cantata All'ombra di sospetto for Soprano, Traverso and Continuo, RV 687: III. Recitativo "Ò quanti amanti" 00:46
• 7 Vivaldi: Cantata All'ombra di sospetto for Soprano, Traverso and Continuo, RV 687: IV. Aria "Mentiti contenti" 04:10
• Sonata for Violin and Continuo in A Major, RV 758:
• 8 Vivaldi: Sonata for Violin and Continuo in A Major, RV 758: I. Preludio Largo 03:37
• 9 Vivaldi: Sonata for Violin and Continuo in A Major, RV 758: II. Corrente Allegro 02:31
• 10 Vivaldi: Sonata for Violin and Continuo in A Major, RV 758: III. Andante 04:15
• 11 Vivaldi: Sonata for Violin and Continuo in A Major, RV 758: IV. Corrente Presto 02:34
• Domenico Scarlatti (1685 - 1757): Sonata for Harpsichord in E Major, K. 162:
• 12 Scarlatti: Sonata for Harpsichord in E Major, K. 162: I. Andante - Allegro 07:00
• Nicola Porpora (1686 - 1768):
• 13 Porpora: Aria "Pietoso Ciel difendimi" for Soprano, Oboe, Strings and Continuo 07:22
• Cantata Questo è il platano frondoso for Soprano and Continuo:
• 14 Porpora: Cantata Questo è il platano frondoso for Soprano and Continuo: I. Aria "Questo è il platano frondoso" 03:44
• 15 Porpora: Cantata Questo è il platano frondoso for Soprano and Continuo: II. Recitativo "O rimembranza al mio pensier funesta" 01:49
• 16 Porpora: Cantata Questo è il platano frondoso for Soprano and Continuo: III. Aria "Se mai torna ò pianta amica" 05:34
• Giuseppe Sammartini (1695 - 1750): Sonata for Oboe and Continuo in C Major, GSM 1323b:
• 17 Sammartini: Sonata for Oboe and Continuo in C Major, GSM 1323b: I. Andante spirituoso 03:33
• 18 Sammartini: Sonata for Oboe and Continuo in C Major, GSM 1323b: II. Andante lento 02:21
• 19 Sammartini: Sonata for Oboe and Continuo in C Major, GSM 1323b: III. Allegro 02:10
• Antonio Vivaldi: Cantata Che giova il sospirar, povero core for Soprano, Strings and Continuo, RV 679:
• 20 Vivaldi: Cantata Che giova il sospirar, povero core for Soprano, Strings and Continuo, RV 679: I. Recitativo "Che giova il sospirar, povero core" 00:59
• 21 Vivaldi: Cantata Che giova il sospirar, povero core for Soprano, Strings and Continuo, RV 679: II. Aria "Nell'aspro tuo periglio" 05:39
• 22 Vivaldi: Cantata Che giova il sospirar, povero core for Soprano, Strings and Continuo, RV 679: III. Recitativo "Ma tu nume d'amo" 00:39
• 23 Vivaldi: Cantata Che giova il sospirar, povero core for Soprano, Strings and Continuo, RV 679: IV. Aria "Cupido tu vedi" 03:46
• Total Runtime 01:16:11

Info for Serenissima: A Musical Portrait of Venice Around 1726

The 1750 Project proposes a journey from 1720 to 1750, each stage of which will allow us to discover the richness and specificity of a city’s musical life at a key juncture in its history. For the first episode in the 1750 Project, we stop off in Venice around 1726, at a pivotal moment in the history of music when the meeting of two styles led to an aesthetic turning point. The city, then dominated by Antonio Vivaldi (1678-1741), also welcomed several other leading Italian composers, including the Neapolitan Nicola Porpora (1686-1768) and the Milanese Giuseppe Sammartini (1695-1750), who was about to revolutionise the world of wind instruments. The city on the lagoon was a cultural hub and a mandatory destination in the itinerary of many nobles and musicians from northern Europe who wished to round off their training and culture. Several German composers, including Pisendel, Quantz, Hasse and Handel, passed through Venice in the early eighteenth century before returning to their native regions to spread the gospel of Italian music. Let us therefore, for a short while, put ourselves in the shoes of an imaginary traveller discovering the musical life of Venice around 1726.

Perrine Devillers, soprano
The 1750 Project

No biography found.

Booklet for Serenissima: A Musical Portrait of Venice Around 1726