The music of ancient Europe will be performed in the Music Room of the Vasilchikov Estate at the Venice Vivaldi concert on December 22.

On a December evening, guests will hear the amazing and magnificent music of the era of Antonio Vivaldi, which became triumphant for ancient Europe, which is especially noticeable in his famous instrumental concerts, in which you can find and hear how the endless whirlwind of holidays, balls and carnivals became stronger and more powerful, dragging Italy in its whirl, in the wake of which was in a hurry to come the time of a new era.

The concert will feature music by Antonio Vivaldi, Giuseppe Tartini, Johann Pachelbel.

The ensemble of ancient chamber music “Russian Baroque” will perform in front of the audience.

The ensemble consists of laureates of All-Russian and international competitions: Daniil Fedorkov (harps), Dmitry Zagorsky (harps), Sergey Rychkov (guitar), Alexander Sheskin (cello), Marina Belaya (harpsichord).

The name of the band was not chosen by chance, because the composition of the ensemble is extremely unusual and even unique: psaltery, guitar, harpsichord and cello. The task of the collective is to perform works of the Baroque and classicism era.

Basically, these are various arrangements of ancient masterpieces by composers of the XVII – XVIII centuries.

On the one hand, the ensemble includes the most colorful Russian folk instruments – the sonorous Psaltery, on the other – the traditional participants of European music-making “basso continuo”, that is, instruments that create a harmonious background in an ancient orchestra or ensemble.

It would seem that the symbols are not connected, alien spheres … And, nevertheless, surprisingly coincide in their sound! This interaction is based on the plucked principle of sound production.

The only exception is the cello, a stringed bowed instrument, which is historically inextricably linked with the sound of the harpsichord, as well as the music of the great Italians who are included in the program.

Also, the merging of such distant timbres is facilitated by the peculiarities of the overtone scale, the uniqueness of the structure of these instruments – in general, it gives quite understandable prerequisites, because in any culture and epoch there are similar instrumental “voices”.

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