Vivaldi: Teatro alla moda Amandine Beyer & Gli incogniti

• Antonio Vivaldi (1678-1741): Sinfonia de L'Olimpiade in C Major, RV 725
• 1 I. Allegro 02:08
• 2 II. Andante 02:31
• 3 III. Allegro 01:10
• Concerto per Violino in F Major, RV 282
• 4 I. Allegro poco 04:29
• 5 II. Largo 02:02
• 6 III. Allegro 03:47
• Concerto per Violino scordato in B Minor, RV 391
• 7 I. Allegro non molto 04:30
• 8 II. Largo 02:41
• 9 III. Allegro 03:44
• Concerto per Violino in D Major, RV 228
• 10 I. Allegro 02:54
• 11 II. Largo 01:59
• 12 III. Allegro 04:31
• Concerto per Violino, RV 314a.
• 13 I. Adagio 03:07
• Concerto per Violino in G Minor, RV 323
• 14 I. Allegro 02:23
• 15 II. Largo 01:42
• 16 III. Allegro 02:21
• Concerto per Violino in G Minor, RV 322
• 17 I. Allegro 03:53
• 18 II. Largo 02:43
• 19 III. Allegro 02:34
• Concerto per Violino in Tromba in G Major, RV 313
• 20 I. Allegro 02:32
• 21 II. Andante 02:18
• 22 III. Allegro 02:17
• Ballo Primo de Arsilda Regina di Ponto in G Minor, RV 700
• 23 I. Largo 01:45
• 24 II. Allegro 00:46
• Concerto per Violino in G Minor, RV 316
• 25 III. Giga (Presto) 01:44
• Concerto per Violino in B Flat Major, RV 372a
• 26 I. Andante 04:30
• Version de J.G. Pisendel
• 27 Largo, RV 228 01:51
• Total Runtime 01:12:52

Info for Vivaldi: Teatro alla moda

1720: In seinem berühmten Pamphlet »Il teatro alla moda« macht sich der Komponist Marcello über die Auswüchse der neuen venezianischen Oper lustig: Kadenzen, Variationen, 'divismo', Virtuositat, modische Tänze, unterschiedlichste Klangeffekte: Fast 300 Jahre später geriet jeder dieser so karikierten 'Vorzüge' zur Inspiration für die neue Aufnahme von Gli Incogniti zu Ehren Vivaldis. Denn derjenige, der die vornehmen Ansichten Marcellos beleidigt hatte, konnte mit solchen Verboten wenig anfangen! Vivaldis Experimente, seine Spontaneität, seine Mixturen und Kontraste dienen nur einem rhetorischen Zweck: der theatralischen Dimension seiner Instrumentalmusik. Schnallen Sie sich an!

Amandine Beyer, Violine
Gli incogniti

Amandine Beyer
Since some years ago, Amandine Beyer is recognized as a reference in the interpretation of the baroque violin repertoire. Her recording of the Sonatas & Partitas by J. S. Bach in 2012, has been awarded the best international critics (Diapason d’or de l’année, Choc de Classica de l’année, Editor’s choice de Gramophone, Prix Academie Charles Cros, Excepcional de Scherzo....). The work in this masterpiece is being continued with the performance "Partita 2", choreographed and danced by Anne Theresa de Keersmaeker and Boris Charmatz.

She plays regularly in the most important halls and festivals worldwide (Théatre du Chatelet, Festival de Sablé, Innsbruck Festwochen, Konzerthaus de Viena...). She shares her time between between different music ensembles were she takes part off : les Cornets Noirs, the duos with Pierre Hantai, Kristian Bezuidenhout or Laurance Beyer and her own ensemble: Gli Incogniti (their CD's devoted to Vivaldi's Four Seasons and Corelli's Concerti Grossi have been welcomed by the international critic as new highlights in the performance of this repertoire).

Her other passion is teaching, giving lessons at the ESMAE of Porto (Portugal), as well as masterclasses worldwide (France, Taiwan, Brasil, Italy, Spain, USA, Canada). Since 2010 she teachs baroque violin at the Schola Cantorum Basiliensis in Switzerland.

Gli Incogniti
was founded in 2006 by a group of friends, brought together by the violinist Amandine Beyer. It is named after the Accademia degli Incogniti, an artistic and academic circle that was amongst the most active and libertarian of 17th century Venice. The spirit of this Accademia is indeed what drives the Incogniti today: a taste for the unknown in all its forms, for sound experimentation, research for new repertoire, for rediscovery of the “classics” and of lesser-known masterpieces.

The genuine pleasure they take in rehearsing and playing together meets their core ambition – to transmit a committed and coherent vision of the pieces they perform, connected to their combined sensitivities and personal preferences. The group now ranks among the top reference ensembles for historically informed performance, exploring a repertoire from baroque (Vivaldi, Bach, Pachelbel) to classic with Haydn, CPE Bach or even Mozart.

Booklet for Vivaldi: Teatro alla moda