There is an old joke that says Antonio Vivaldi wrote one concerto 500 times. But anyone who believes that has never listened to La Stravaganza, a collection of 12 concertos the Italian composer published in 1713 as his op. 4. “There is some stylistic consistency among [Vivaldi’s] concertos,” said Gerald Elias, “but he doesn’t repeat himself. There is an internal integrity to his works.”
Three of the concertos (nos. 1 in B flat, 4 in A minor and 8 in D minor) will be on the program at this Saturday’s Vivaldi by Candlelight concert, led by music director Gerald Elias, who celebrates his 10thanniversary leading this popular winter concert.
Gerald Elias
“I’ve always been fond of op. 4,” Elias said, “and my admiration for Vivaldi has grown exponentially through these works.”
The concertos of op. 4 are scored for solo violin, strings and continuo – typical for the period – but they also show the composer at his most experimental in terms of harmonic language and choice of keys. “Vivaldi is in your face, like Beethoven,” Elias said. “The D minor Concerto has the weirdest beginning. He’s really pushing the envelope with that one.”
Without question, Vivaldi was one of the most important composers of the baroque. His influence was widespread, reaching as far as northern Germany. J.S. Bach, for example, learned how to write concertos by studying and transcribing a number of the Italian master’s violin concertos for harpsichord.
A generation earlier, it was Arcangelo Corelli who was extolled as one of the most significant composers and violinists of the time. As a composer, his greatest contributions were to the concerto grosso. Unlike the solo concerto, which is written for one solo instrument and orchestra (Vivaldi’s preferred form), the concerto grosso is scored for a small group of soloists (called the concertino) and orchestra (called the ripieno).
Today, Corelli is best remembered for his Christmas Concerto from his op. 6 collection of 12 concerti grossi. This work, along with no. 4 in D major and no. 11 in B flat from op. 6, will also be on the program Saturday.
“These are all gorgeous works,” Elias said. “Unlike Vivaldi, there are no rough edges in Corelli’s music. You just can’t find anything wrong about them.”
Elias said it was difficult picking three works from each composer, but he’s confident he chose well. “I think these are a pretty good sampling.” Bringing these two composers together on the same program will highlight their stylistic differences, something that Elias deliberately wanted to do. “In pairing them, the contrast is much starker.”
In the past, Elias has let others play the solos while he conducted. But this year he decided to take on the solo parts in the Vivaldi concertos as well. And to help him celebrate his decade with Vivaldi by Candlelight, Elias has invited some of his former students to be part of the orchestra. Among those who will be playing at the concert are Amanda Chamberlain, who is now a freelance violinist in Houston, and Bonnie Terry, the associate concertmaster of the San Antonio Symphony. “I’m really excited to have them join me,” Elias said.
Elias will be performing on the famed 1718 Firebird Stradivarius, whose previous owners include Antoine Saint-Exupéry and Salvatore Accardo, “It’s been provided for the Vivaldi by Candlelight performance thanks to the wonderful generosity of Peter Prier and Sons, Violins, of Salt Lake City,” said Elias.
The concert is a benefit for the Utah Council for Citizen Diplomacy.
(Click here to read Gerald Elias’ essay on Vivaldi and Corelli.)
- CONCERT DETAILS
- What: Vivaldi by Candlelight
- Venue: First Presbyterian Church, South Temple at C Street
- Time and Date: 8 p.m. Dec. 7
- Tickets: $45 reserved, $125 per person sponsorships (includes private pre-concert dinner and priority seating selection)
- Web: http://vivaldi.brownpapertickets.com