Accademia Barocca di Santa Cecilia
Conductor Federico Maria Sardelli
Concerts for many instruments (RV574, 535, 577, 576, 162, 562)
The extension of the definition of “concert for many instruments” indicates, in the work of Antonio Vivaldi (1678-1741), a genre of concert in which the string orchestra dialogues with various string and wind instruments, and more rarely, with chordophones and keyboard instruments. Vivaldi wrote these concerts for the female orchestra of the Ospedale della Pietà in Venice or for the Hofkapelle in Dresden. Summa of this is the Concerto RV 562a, «magnificent fresco in which a reckless main violin is constantly competing with two opposing trios», as the conductor of this concert, Federico Maria Sardelli, wrote. Concerts RV 576 and 577 were written for Dresden. The first has violin and oboe as its protagonist; the second violin and wind instruments for two (flutes, oboes, bassoons). Both are under the “sign of a collective virtuosity and of a dark and tumultuous expressive register.” The festive Concerto RV 574 belongs to a group of compositions that can be traced back to the musical Chapel of the Prince of Hesse-Darmstadt: “main violin – played by Vivaldi himself- solo cello, two oboes, two horns (here called “hunting trombones”), bassoon, strings and continuo. A strict hierarchy puts the main violin at the top, followed by the oboe and then by horns and the bassoon. Basically, Vivaldi reserved for his violin the most spectacular and impervious passages, leaving to others the role of supporting musicians. »The Concerto RV 535 belongs, instead, to the so-called “double concerts”, that is written for a solo couple, in this case of oboes, inserted in a structure that recalls the ancient dialogue between solos and everybody of the concerto grosso.
Federico Maria Sardelli
In 1984 Federico Maria Sardelli founded the Baroque orchestra Modo Antiquo, with which he appears at major festivals and concert halls throughout Europe as both soloist and conductor. He is regularly invited to the most prestigious European concert halls. Since 2006 he has been principal guest conductor of the Turin Philharmonic Orchestra. He appears as a guest conductor with many symphony orchestras, including the Gewandhaus Leipzig, the Staatskapelle Halle, the Kammerakademie Potsdam,the Real Filarmonia de Galicia, the Maggio Musicale Fiorentino,the Arena di Verona, the Orchestra da Camera di Mantova, etc.
Federico Maria Sardelli records for Naïve and Deutsche Grammophon. He has made more than forty recordings as soloist and conductor, some of them in co-production with the German broadcast company Westdeutscher Rundfunk (WRD 3). He has twice been nominated for the Grammy Awards, the most prestigious recording prize, and he is one of the top artists of the Vivaldi Edition by Naïve.
Federico Maria Sardelli has been a notable protagonist in the Vivaldi renaissance of the past few years: he conducted the world premiere recording and performance of the operas Arsilda Regina di Ponto, Orlando Furioso, Tito Manlio, Motezuma, and Atenaide.
Alongside his career in the concert hall, he is also extremely active as a musicologist. He is a member of the musicological committee of the Istituto Italiano Antonio Vivaldi, and has published many musicological essays and critical editions (he is the author of the study Vivaldi’s Music for Flute and Recorder, translated by Michael Talbot and published in the UK by Ashgate). He is general editor of the collection of facsimile editions Vivaldiana and of the Opere Incomplete (SPES, Florence). Peter Ryom has chosen him to be the person in charge of the continuing Vivaldi Catalogue (RV).
For his artistic merits, on 28th november 2009, the Government of Tuscany decorated Federico Maria Sardelli with the Gonfalone d’Argento, the highest medal of honour.
His next book on music is forthcoming: the Catalogue of Vivaldi’s musical concordances, by Fondazione G. Cini and Olschki.
Federico Maria is also a painter, engraver and satirical writer.