This program presents virtuoso violin concertos from the Baroque era.  In the early 17th century, Italy enjoyed a flourishing industry of building string instruments, paired with an abundance of skilled musicians to play them. Composers of the era were motivated to write works that pushed the limits of technique. Vivaldi’s Concerto for Four Violins was part of a group of 12 concerti published under the title L’estro armónico, and performed by the students of a music school for orphaned girls, where Vivaldi taught. Albinoni’s Concerto No.12 is one of nine collections of instrumental work he wrote during his lifetime, including 59 concerti. A gifted violinist in his own right, Tartini was critical of composers who wrote both instrumental and vocal music. His Concerto in E minor is an example of the nearly 350 works he wrote, almost exclusively for instruments. Bach was a fan of Vivaldi and very interested in his Italian style of concerto writing. His Concerto for Two Violins reflects certain Italian Baroque characteristics, such as its three-movement structure (fast – slow – fast). The four solo Baroque violinists in this performance showcase the “…plush, seductive tone’’ (New York Times) of Chloe Fedor; a frequent concertmaster of the ensemble Les Arts Florissants, Augusta McKay Lodge; Aisslinn Nosky, concertmaster of Boston’s Handel and Haydn Society; and Edson Scheid, who “amazes with his seemingly superhuman technique…” (Fanfare Magazine).

The American Classical Orchestra recreates the sound world of the master composers.

The ACO is devoted to preserving and performing the repertoire of 17th, 18th and 19th century composers.  By playing the music on original instruments and using historic performance technique, we attempt to recreate the sounds an audience would have experienced when the music was written and first performed.  We pass along skills and appreciation for this practice to future generations through concert performances and educational programs.

Because period instruments were made of different materials, they produce a profoundly different sound from the 20th century instruments used in modern orchestras.  Historical instruments, with their softer and more transparent tone, produce a delicacy in the gentler phrases and a pungent bite in the stronger passages.  Using period instruments, the ACO can, in the 21st century, bring audiences closer to the musical genius of Bach, Mozart, Beethoven and other master composers.