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18/19 Monday 21st May Exotic Baroque


7.30pm Wigmore Hall Tickets £15, £20, £25 and £30 How to Book: In person 7 days a week: 10am–8.30pm. Days without an evening concert: 10am–5pm. No advanced booking in the half-hour prior to a concert. Telephone 020 7935 2141. 7 days a week: 10am–7pm. Days without an evening concert: 10am–5pm. There is a £2 administration fee for all telephone bookings, which includes the return of your tickets by post if time permits. Online www.wigmore-hall.org.uk. 7 days a week; 24 hours a day. There is a £1 administration fee for online bookings, which includes the return of your tickets by post if time permits.


Academy Baroque Orchestra Rachel Podger director


Vivaldi Concerto in E minor for four violins and strings, op.3 no.4, RV550 CPE Bach Concerto in D minor for harpsichord and orchestra, H427 (W23) Vivaldi Violin Concerto in D, ‘Il Grosso Mogul’, RV208 Locatelli Concerto Grosso in E flat, op.7 no.6, ‘Il pianto d’Arianna’ Vivaldi Concerto in D minor for two violins, violoncello and strings, op.3 no.11, RV565 Locatelli Concerto in F for four violins, op.4 no.12


Rachel Podger, Micaela Comberti Chair of Baroque Violin, directs the Academy Baroque Orchestra in a showcase concert at Wigmore Hall.


Vivaldi’s set of concertos L’estro Armonico op.3, for two and even four solo violins, were to define the history of the concerto for much of the eighteenth century. Virtuosic, dramatic, they thrilled audiences then and now with their brilliance and invention. The famous Il Grosso Mogul concerto for a single soloist takes virtuosity to even greater heights.


Locatelli, another violinist/composer, was like so many others influenced by Vivaldian models. But in Il pianto d’Arianna he uses the solo violin in a totally different and innovative way, treating it as an operatic voice for the tragic story of Ariadne being abandoned by Theseus.


Alongside these string concertos, the CPE Bach harpsichord concerto reveals another exotic twist to the journey of the concerto during the mid- eighteenth century, when gesture and fantasy were beginning to define a new sound picture that would emerge as the Classical style.


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