“A noisy dance ... with instruments”
“La Follia” (or Folia) is one of the oldest remembered European musical themes on record. Literally meaning “madness,” “folly,” or “empty-headedness,” it was described in a 1610 Spanish dictionary as ‘a noisy dance in which many people take part with instruments,’ and which is played so fast that ‘they all seem to be out of their minds.’

In 1700, Arcangelo Corelli published his famous violin sonatas, including a set of modern variations on the “old” Follia theme. Five years later, prior to his appointment as maestro di violino at the Pietà in Venice, Antonio Vivaldi published his own set of twelve trio sonatas for two violins and continuo. Perhaps as a tribute to Corelli (or maybe to stake a claim as being his equal), Vivaldi included as the last work a virtuosic set of 19 variations on the Follia theme. Despite never deviating from the opening key of d-minor or from the 3/4 time signature, Vivaldi created a work that keeps the audience engaged from the first note to the last.

Antonio Lucio Vivaldi was born on March 4, 1678, in Venice, Italy. His father, Giovanni Battista Vivaldi, was a professional violinist who taught his young son to play. Through his father, Vivaldi met and learned from some of the finest musicians and composers in Venice. While his violin practice flourished, a chronic shortness of breath barred him from mastering wind instruments. Vivaldi sought religious training as well as musical instruction. At the age of 15, he began studying to become a priest, and he was ordained in 1703. Due to his red hair, Vivaldi was known locally as il Prete Rosso, or “the Red Priest.” Vivaldi's career in the clergy was short-lived. Health problems prevented him from delivering mass and drove him to abandon the priesthood shortly after his ordination. 

At the age of 25, Vivaldi was named master of violin at the Ospedale della Pietà (Devout Hospital of Mercy) in Venice. He composed most of his major works in this position over three decades. The Ospedale was an institution where orphans received instruction—the boys in trades and the girls in music. The most talented musicians joined an orchestra that played Vivaldi's compositions, including religious choral music. Under Vivaldi's leadership, the orchestra gained international attention. In 1716, he was promoted to music director.

Musicians

Aisslinn Nosky, Violin
Evan Few, Violin
Guy Fishman, Cello
Heather Miller Lardin, Bass
Francis Yun, Keyboard

FESTIVAL EVENTS

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• The Complete Brandenburg Concertos
• Jerrick Cavagnaro: Organ Recital
• Threads: Pius Cheung, Goldberg Variations
• All in the Familie: JS Bach & Sons Chamber Music
• Artist Spotlight: Gene Stenger
• Tuning In: JS Bach's Nun komm, der Heiden Heiland, BWV 61
• Follia & Fantasy: The Art of the Trio Sonata
• Tuning In: JS Bach's Meine Seel erhebt den Herren, BWV 10
• Mozart at the Keyboard: The Virtuoso Genius
• Mozart Requiem