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Ottorino Respighi (1879-1936):  Ancient Airs and Dances for the Lute, Set 1

In addition to composing and conducting, Ottorino Respighi was a serious musicologist, and a number of his works were influenced by his interest in music from the Renaissance and Baroque periods.  The Ancient Airs and Dances are a set of three orchestral suites that were written between 1917 and 1931.  Set 1, from 1917, focuses on lute pieces from the Renaissance period (from around 1550 to the end of the 16th century).  Simone Molinaro is the composer of the first movement (Balletto), Vincenzo Galilei (yes, the father of the renowned astronomer Galileo Galilei!!) is the composer of the second movement (Gagliarda);  movements three and four (Villanella and Passo mezzo) are unattributed.  Respighi scores the work for 2 flutes, 2 oboes plus English horn, 2 bassoons, 2 horns, trumpet, harp, harpsichord, and strings.   

Johann Sebastian Bach (1685-1750):  Concerto No. 1 in D Minor for Clavier and String Orchestra, BWV 1052

The D Minor Harpsichord Concerto, BWV 1052, by Johann Sebastian Bach, is the first in a series of six clavier concerti that were written during his earliest years in Leipzig, dating from the early 1720s.  The earliest manuscript, penned by C.P.E. Bach, dates from the mid-1730s, with earlier versions having been used in two of J.S. Bach’s church cantatas as organ sinfonias.  In the past, there has been some speculation that this material may have been used in a violin concerto, though recent scholarship would appear to contradict this.  The concerto is scored for solo harpsichord and strings, though it will be performed on the piano for this concert set.  It proceeds in the usual three movement structure (fast-slow-fast) that one associates with concertos from the Baroque period.  While there is no definitive history regarding early performances of the work, it was quite popular in the 19th century, being frequently performed in Leipzig and Berlin by close associates of Felix Mendelssohn.

Arcangelo Corelli (1653-1713):  Concerto Grosso in G Minor, Opus 6, No. 8, “Christmas Concerto”

Arcangelo Corelli’s “Christmas Concerto” is scored for two solo violins and one solo cello, with support provided by tutti strings plus continuo.  The inscription, “Fatto per la notte di Natale" (made for the night of Christmas), explains the work’s nickname.  It was commissioned by Cardinal Pietro Ottoboni, and published posthumously in 1714 as part of Corelli’s Twelve Concerti Grossi, Opus 6.  The actual composition date of this work is uncertain, but it appears that there might have been a performance of it for his patron around 1690.  The work is six movements in length, concluding with the lovely Pastorale ad libitum, which is its best known movement.

Igor Stravinsky (1882-1971):  Suite form Pulcinella (1949 revision)

First Performance (Suite):  Boston Symphony Orchestra, Pierre Monteux, conductor.  Boston:  December 1922.

Pulcinella, based on an 18th century Italian commedia dell’arte manuscript, is from the beginning of Igor Stravinsky’s second phase of composition, and is considered to be one of the first works in what has come to be known as the Neoclassical style.  The older music, including selections by Domenico Gallo, Unico Wilhelm van Wassenaer, Carlo Ignazio Monza, and Allesandro Parisotti, uses 20th century composition techniques, but also features the balance, clarity, and restraint associated with earlier historical periods.  It was originally commissioned for the Ballet Russes by Sergei Diaghilev, and was premiered in Paris in its original form in 1920.  The orchestral suite, which was extracted form the complete ballet, omits the trio of singers and reduces the number of movements down from 21 to 8.  The scoring includes 2 flutes plus piccolo, 2 oboes, 2 bassoons, two horns, trumpet, trombone, and strings.  The strings are divided into concertino and ripieni, making this a work that recalls the Baroque period concerto grosso in its tone colour and texture.