surroundings of the Medici court.
Lodovico has given Antonio a guided tour of the great
building. It appears from their conversation that Lodovico has met
his countryman Haendel on several occasions when the latter was
a guest of Ferdinando. Antonio grasps this chance of interrogating
his ex-colleague and intrigues Lodovico with his obsession
concerning the organist from Halle. Lodovico has also introduced
Antonio to instrument-maker Bartolomeo Cristofori, for years
attached to the court. Apparently he has made a nice instrument,
one that will certainly be of interest to Vivaldi.
‘Interesting’ is the first word Antonio utters after hearing the
elaboration offered him by Cristofori and feeling beneath his
fingers the keyboard of the Arpcembalo. Like a child at a harpsichord
for the first time, Vivaldi strikes arbitrarily with his forefinger on a
key, softly at first and then pressing down harder. ‘There you are,’
says the delighted Lodovico. ‘It’s up to you how much volume you
use and so you can give more expression to a note.’ Puckering his
brow, Vivaldi allows his hands to glide over the keys, picking out a
tune. Cristofori stand quietly behind his instrument, studying the
face of the priest as he excitedly explores every octave before
suddenly lifting his hands clear of the keys.
Then comes his verdict: ‘Piano, too soft.’ The instrument-
maker looks up, stunned.
‘What do you mean?’
‘Much too soft! Even if the volume can be varied, at its
loudest it is still too soft to hold its own in a concerto.’ Antonio
walks over to a nearby harpsichord. ‘Listen!’ He plays the same
melody as before, but now much louder. Cristofori remarks timidly
that it is not the loudness that is at issue, but precisely the variation
in volume. ‘Perhaps,’ adds Bartolomeo, ‘the Arpcembalo is more
suited for chamber music.’
‘Hmm, then the chamber won’t need to be too big,’ retorts
Vivaldi with scorn, ‘or else the music will evaporate before it
reaches the ear of the listener.’ Il Prete Rosso is clearly unimpressed
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