Venice Baroque Orchestra: Unleashing the cause of baroque sound
By playing the music of Antonio Vivaldi (1678-1741), one of the greatest exponents of Venetian baroque music, it is possible to caress the freedom that does not occur with other ancient composers, he says. Excelsior Gianpiero Zanocco, director of the Venice Baroque Orchestra, which will perform for the first time in Mexico, within the framework of the 51st International Cervantino Festival (FIC), with two presentations: on October 11, at 8:00 p.m.: 00 hours, in the Main Room of the Palace of Fine Arts; and at the Teatro Juárez, in Guanajuato, on October 14 at 9:00 p.m.
We have traveled to South America, but we have never been to Mexico before, although it is a country that I feel close to because my mother is Peruvian, says Zanocco, who is also first violinist in the group and whose repertoire covers composers ranging from the year 1500 to 1700. , like Pietro Antonio Locatelli, Giuse-
ppe Tartini, Johann Sebastian Bach and GF Händel, although on this occasion their concerts will be dedicated to the music of Vivaldi, known as Il prete rosso (the red priest), for being a priest and redhead.
Despite the age of baroque music, Zanocco believes that there is a natural connection with the public. “There is an immediate connection with the public, because early music has had the ability to renew itself. It seems to me, for example, that the way it was played before, around 1900, was a bit boring for me, but now it is different, thanks to the studies carried out,” he says.
Regarding the group's recordings, Zanocco highlights two albums: Tartini: violin concertosand Duello d'archi a Venezia (Duel of Bows), made in collaboration with the Armenian violinist Chouchane Siranossian. The first is dedicated to the repertoire of Giuseppe Tartini, and the second, which contains works by Vivaldi, Tartini and Locatelli, confronts the composers' writings and their virtuosity.
What images run through your mind when you perform this type of repertoire? “I have to say that when I play Vivaldi it is easier to imagine something while playing, because there is more freedom and I imagine all kinds of landscapes or people to whom I dedicate what I am playing. But when I play Bach's music it is different, because there are more rules to follow and the preparation is different, so there is less freedom while playing his music and so it is more difficult to imagine something."
Do you consider that the role of baroque orchestras and ensembles is to prevent the death of early music? “I have never seen music this way, because for me it is something natural to listen to it. I was born with music in my house, so I have never thought that it could die. There is a difference between pop and baroque music.
In the case of pop it is difficult for a song to last more than a year, unless it is a very particular song. This is music that, just as it has come, passes very easily and is forgotten. On the other hand, baroque and concert music, in general, persists and never ceases to surprise us, so I don't think I'm doing anything in particular,” he asserts.
Finally, he asks the public not to confuse baroque music with religious music. “They are two totally different things. Baroque music is pure joy, although it also has music written for masses, but most of it is not like that.
Vivaldi was a priest who never celebrated mass and his music does not seem to be written for the church, at times it can be sad, but most of it is happy and denotes a desire to live, which the music of today does not have, so I would ask you to "They came to listen to the concert to change their minds," he concludes.
The Venice Baroque Orchestra will perform works by Antonio Vivaldi such as: Symphony in G major, RV 146, he Concerto in B minor for four violins, strings and basso continuo, RV 580; he Concerto in G minor, RV 157; he Concerto in G minor for two cellos, strings and basso continuo, RV 531 and The four Seasons.
The Venice Baroque Orchestra was founded by the scholar and harpsichordist Andrea Marcon, in 1997, and is currently recognized as one of the leading ensembles dedicated to the performance of period instruments. His repertoire spans the years 1500 to 1700, but he has also performed contemporary music by Philip Glass.
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