{"id":37319,"date":"2025-04-07T11:00:00","date_gmt":"2025-04-07T09:00:00","guid":{"rendered":"https:\/\/operakrolewska.pl\/?post_type=repetoire&p=37319"},"modified":"2025-04-07T12:04:54","modified_gmt":"2025-04-07T10:04:54","slug":"sacred-music-of-the-italian-baroque","status":"publish","type":"repetoire","link":"https:\/\/operakrolewska.pl\/en\/repetoire\/sacred-music-of-the-italian-baroque\/","title":{"rendered":"SACRED MUSIC OF THE ITALIAN BAROQUE"},"content":{"rendered":"\n

The fame of Francesco Geminiani, a virtuoso violinist and outstanding composer, reached far beyond his native Italy. The English compared his mastery to the achievements of Haendel and Corelli, and the composer himself eagerly drew upon the work of these great masters. He based his Concerti Grossi<\/em> Op. 3 on the four-movement model developed by Corelli. He also referenced his teacher\u2019s work in rhythm, melody, and harmony of his compositions; nevertheless, his concertos exude freshness and originality.<\/p>\n\n\n\n

Although purely instrumental music was often used to embellish religious ceremonies during the Baroque period, vocal compositions remained at the very heart of the worship. Sophisticated musical techniques emphasized the meaning of liturgical texts and amplified their message. Such deep reflection on the substance of the Marian antiphon Salve Regina<\/em> is conveyed in the moving arrangement by Giovanni Battista Pergolesi, who died at the young age of just 26.<\/p>\n\n\n\n

The concert will also feature two motets by the master of musical imagery, Antonio Vivaldi. In the leaping intervals that open In furore iustissimae irae<\/em> RV 626, and in the energetic passages of the soprano voice – perfectly aligned with the instrumental parts – we can hear God\u2019s power bursting forth with remarkable force. The second aria, however, is in a completely different spirit, emanating the modesty and simplicity appropriate for repentance. The concert concludes with Nisi Dominus<\/em> RV 608, rich in diverse rhetorical devices. Particularly noteworthy is the descending bass melody on the word doloris<\/em> (sorrow), which closes the third movement and alludes to the hardships of earthly life. Another highlight is the Cum dederit<\/em> section, written in the rhythm of a siciliana<\/em> – a dance often associated with sleep during the Baroque era and considered a kind of lullaby. The work culminates in a zealous Amen<\/em>, with a string part reminiscent of the Monteverdian stile concitato<\/em> and a highly expressive mezzo-soprano line.<\/p>\n\n\n\n

<\/div>\n\n\n\n

PROGRAM<\/h4>\n\n\n\n

Francesco Geminiani \u2013 Concerto grosso d-moll Op. 3 No. 4<\/p>\n\n\n\n

Largo e Staccato | Allegro | Largo | Vivace<\/p>\n\n\n\n

Giovanni Battista Pergolesi \u2013 Salve Regina<\/em><\/p>\n\n\n\n

Antonio Vivaldi \u2013 In furore iustissimae irae<\/em> RV 626<\/p>\n\n\n\n

Francesco Geminiani \u2013 Concerto grosso e-moll Op. 3 No. 3<\/p>\n\n\n\n

Adagio e Staccato | Allegro\u2013Adagio | Adagio | Allegro<\/p>\n\n\n\n

Antonio Vivaldi \u2013 Nisi Dominus<\/em> RV 608<\/p>\n\n\n\n

Nisi Dominus
Vanum est vobis
Surgite
Cum dederit
Sicut sagitt\u00e6
Beatus vir
Gloria Patri
Sicut erat in principio
Amen<\/em><\/p>\n\n\n\n

<\/div>\n\n\n\n

PERFORMERS<\/h4>\n\n\n\n

JULITA MIROS\u0141AWSKA<\/a><\/strong> SOPRANO<\/p>\n\n\n\n

ANETA \u0141UKASZEWICZ<\/a><\/strong> ALTO<\/p>\n\n\n\n

THE PERIOD INSTRUMENTS ENSEMBLE OF THE POLISH ROYAL OPERA CAPELLA REGIA POLONA<\/a><\/strong><\/p>\n\n\n\n

KRZYSZTOF GARSTKA<\/a><\/strong> POSITIVE ORGAN \/HARPSICHORD, CONDUCTOR<\/p>\n\n\n\n

<\/div>\n\n\n\n
\n\n\n\n
Duration: approx. 1 h<\/h5>\n\n\n\n
The seats in the auditorium are not numbered.<\/h5>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

The fame of Francesco Geminiani, a virtuoso violinist and outstanding composer, reached far beyond his native Italy. The English compared his mastery to the achievements of Haendel and Corelli, and the composer himself eagerly drew upon the work of these great masters. He based his Concerti Grossi Op. 3 on the four-movement model developed by […]<\/p>\n","protected":false},"author":15,"featured_media":11656,"template":"","meta":{"_acf_changed":false,"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","footnotes":""},"categories":[1,21],"cykle":[],"sezon":[86],"class_list":["post-37319","repetoire","type-repetoire","status-publish","has-post-thumbnail","hentry","category-bez-kategorii","category-uncategorized","sezon-2024-2025-en"],"acf":[],"yoast_head":"\nSACRED MUSIC OF THE ITALIAN BAROQUE - Polska Opera Królewska<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/operakrolewska.pl\/en\/repetoire\/sacred-music-of-the-italian-baroque\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"SACRED MUSIC OF THE ITALIAN BAROQUE - Polska Opera Królewska\" \/>\n<meta property=\"og:description\" content=\"The fame of Francesco Geminiani, a virtuoso violinist and outstanding composer, reached far beyond his native Italy. 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