»Eine Reise durchs barocke Italien«

Like almost all of Antonio Vivaldi's concertos, his Concerto for strings in A major, RV 158 is structured in a three-movement sequence of fast-slow-fast. In this, particular mention should be made of the dialogue between the two groups of violins and of the slow movement, which is unusually extensive in comparison with most other concertos for string orchestra. The finale of the work also points forward to the classical sonata form.

Within the over 500 surviving works of Leonardo Leo, his six cello concertos, including his Concerto for cello and strings no. 3 in D minor, have a particular importance. They are typified by their masterful control of both the passionate, elevated style and a more naive delicacy.

The Bergamo-born composer Pietro Antonio Locatelli is sometimes called the »Paganini of the 18th century«. His Concerto à quattro No. 6 in E flat major, op. 7, which is subtitled »Il pianto d’Arianna« (Die Klage der Ariadne / The weeping of Ariadne) – a reference not only to the ancient tale of Ariadne and Theseus, but also to Claudio Monteverdi's opera fragment »Lamento d’Arianna« of 1608 – shines the spotlight almost exclusively on the first solo violin, which is supported by another violin, a cello and a string orchestra.

Tomaso Albinoni, who was extremely highly regarded throughout Europe because of his operas in particular, reached the high point of his career in 1722 when he published his hitherto most ambitious collection of concertos, the 12 Concerti a cinque, op. 9, including the Concerto for two oboes, strings and continuo no. 12 in D major, which he dedicated to the Elector Prince Maximilian II Emanuel of Bavaria. In contrast to the virtuoso works of his fellow countryman Vivaldi, the solo parts in these concertos are less demanding and considerably more sparing in their use of chromaticism and unexpected modulations, but are still captivating because of their advanced stylistic maturity and clarity of form.

Unlike most of his composing contemporaries, the Neapolitan Francesco Durante did not tackle secular music drama, but devoted himself far more to the sacred and instrumental musical genres of his time. His many surviving works, including the Concerto for strings no. 1 in F minor, show all the essential components of Baroque musical language in terms of their formal construction, development of melody and instrumentation.

Arcangelo Corelli's work had a far-reaching influence on the development of chamber music and in particular the genre of the concerto grosso, which he helped to develop. His Concerti grossi op. 6, including the Concerto grosso no. 4 in D major, were played in England until well into the 19th century and even preferred to those by Handel. His virtuoso style of playing became the foundation of the modern violin-playing technique of the 18th and 19th century, which in turn influenced numerous later composers.

Antonio Vivaldi Concert for strings in A major, RV 158
Leonardo Leo Concert for violoncello and strings number 3 in D minor
Pietro Antonio Locatelli Concerto à quattro number 6 in E major, opus 7 "Il pianto d’Arianna"
Tomaso Albinoni Concert for two oboes, strings and basso continuo number 12 in D major, opus 9
Francesco Durante Concert for strings number 1 in F minor
Arcangelo Corelli Concerto grosso number 4 in D major, opus 6