Concerto grosso No. 5 in D minor (after Domenico Scarlatti) for strings and continuo
Sinfonia concertata c-Moll for cello, strings and continuo in C minor
Concerto No. 8 in A major La pazzia
Concerto for cello, strings and continuo No. 1 in D major
Concerto armonico No. 5 in F minor
Brandenburg Concerto No. 3 in G major BWV 1048
Concerto for violin, strings and continuo in B flat major
While Italian instrumental music in the Baroque period was profoundly shaped by the solo concerto and the concerto grosso, the enthusiasm for the “grand concerto” (as the concerto grosso was called in England) in the 18th century grew to sheer immeasurable proportions. As the demand soon exceeded what was on offer, composers and publishers began to pass over to adapting older works as “concertos”. Among them was Charles Avison, born in 1709 in Newcastle upon Tyne as the son of a musician. In 1744, he published “Twelve Concertos in Seven Parts” based on harpsichord pieces by Domenico Scarlatti, in which the music of the source material was also submitted to an adaptation process, since “many delightful passages,” as is stated in the foreword to the score, “are almost completely disguised through a capricious introduction […] or in many places through unnecessary repetitions”. In the Chamber Music Hall the Akademie für Alte Musik Berlin will devote itself to the fifth piece from Avison’s spirited collection, followed by Durante’s peculiar Concerto No. 8 in A major La pazzia (Madness), van Wassenaers Concerto armonico No. 5 in F minor, Bach’s third Brandenburg Concerto BWV 1048 and Tartini’s blithe and sparkling violin concerto La Serenissima. The soloist is the violinist and violist Sergey Malov, who can also be experienced in the Sinfonia Concertata and the Concerto No. 1 by Leonardo Leo playing the violoncello da spalla – the so-called “shoulder cello”, which has advanced to a real character actor on the historically informed Baroque performance stage.