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Vivaldi’s Virtuosic Violin Concertos


Cecilia Bernardini – solo baroque violin, artistic direction
Alice Evans – baroque violin
Alfonso Leal de L'Ojo – baroque viola
Femke Huizinga – baroque viola
Petr Hamouz – baroque cello
Ondřej Štajnochr – double bass
Pawel Siwczak – harpsichord


Tuesday 19. 7. 2016, 7.30 pm
Prague Castle, Rudolf Gallery

In collaboration with the Netherlands Embassy, ING Bank, and the Prague Castle Administration, and within the concert cycle “Music of the Prague Castle”.


There is no better known musical symbol of the legendary City on the Lagoon than Antonio Vivaldi. Even today his musical spirit pervades the city and in mid-July, the echo of the Red Priest’s fame resounded in Prague. In the Rudolf Gallery of the Prague Castle, the brilliant Dutch-Italian violinist Cecilia Bernardini with her musical “Amici” performed concertos dedicated to one of Vivaldi’s favorites among the students at the Ospedale della Pietà who was called, due to her exceptional talent and dedication, Anna da Violin (Anna of the Violin). The programme commemorated some of the other gifted pupils of Vivaldi’s, such as Candida dalla Viola, Lucietta Organista, and Anneta dal Basso. But the spotlight shone primarily on the world-renowned soloist who might be dubbed “Cecilia da Violin”.


Concert Programme

Antonio Vivaldi (1678–1841)
Violin Concerto in B minor per [la] Sig.ra Anna Maria
Violin Concerto in E major, RV270a, “Il Riposo”
Sinfonia for strings and b.c. in G minor, RV 156
Violin Concerto in B-flat major, RV363 “Il Corneto da Posta”
Violin Concerto in D major, RV772 (224)
Concerto for strings and b.c. in D minor, RV128
Violin Concerto in F major, RV283


Antonio the Divine, 19. 7. 2016, Luboš Stehlík
Her playing was full of decently expressed emotions, sweetness, and good musical phrasing. The capturing of the style, the changing affects, and the ornamentation were brilliant!
[...] The musical night with Cecilia Bernardini and her Amici was very pleasant. Offering some very beautiful music it outlined several of the various kinds of Vivaldi’s instrumetal concerto, thus testifying to his important role in the development of the ritornello form and the codification of the three-part structure of instrumental concerto.