The Baroque Music Foundation is a non-profit organization created to safeguard Western civilization’s rich musical heritage by bringing to life through recordings and performances the finest rare and/or unknown manuscripts from the 17th- and 18th-centuries. By so doing we strive to promote an overshadowed facet of our cultural patrimony whose emotional power continues to move and enrich auditors to this day and whose historical importance indisputably deserves to be shared, recognized and preserved.
The Baroque Music Foundation contributes to the on-going recording of the little know collection of Vivaldi manuscripts housed in the National Library in Turin, Italy. This is the composers private library of manuscripts, over 450 works including operas, sacred music and instrumental music, much of it unknown to today’s public. The recording project, begun in 2000 and known as the Vivaldi Edition, has released 58 albums to date and radically changed our narrow vision of this composer into that of one of the major composers of the 18th-century.
October 2018 saw the release of Fabio Biondi’s recording for the Vivaldi Edition, “Concerti per violino VI ‘Il ballo’. The review, which appeared in The Strad in February, 2019, began with “There’s an extent to which Naïve’s Vivaldi edition doesn’t even need to be reviewed” and goes on to describe “…the utter naturalness, energy and charm with which Biondi and Europa Galante speak Vivaldi’s multiple languages here”. Have a listen:
The 58th release in the Vivaldi Edition series came out in December of 2018 with the Vivaldi opera Il Giustino, under the baton of Ottavio Dantone conducting Accademia Bizantina and a stellar cast of singers: Silke Gäng, Delphine Galou, Emöke Barath, Arianna Vanditelli, Emiliano Gonzalez Toro, Veronica Cangemi and Alessandro Giangrande.
THE STORY OF THE VIVALDI EDITION
Rarely has a collection of music manuscripts in the hand of an eighteenth-century composer and/or his scribes come down to us intact. The greater the fame of the composer, the more likely it was that the manuscripts would be hastily sold off for profit upon his death. Yet, serendipity would have it that in 1930, after it had repeatedly changed hands over several centuries, the Italian National Library in Turin purchased the personal collection of autograph manuscripts by the great Venetian composer Antonio Vivaldi. Without this fortuitous incident, we would forever have had only a very partial picture of a man who was arguably the most significant Italian composer of the eighteenth century.
Known as the Foà and Giordano collection, after the donors who made the purchase possible, this assemblage of music scores contains nearly 450 works by Vivaldi: hundreds of concertos for various instruments and much vocal music, both secular and sacred. With few exceptions, it is the only source we have of his sacred music and operas, and until recently much of this music had never been heard by today’s public.
Conceived by the Italian musicologist Alberto Basso at the beginning of this century, the ambitious Vivaldi Edition project set out to record this archive of music in its entirety. They have now released more than fifty titles, all neatly categorised by genre and performed by many of the most notable specialists in historical performance practice today. Creating an aural rendering of this collection has significantly increased our knowledge and appreciation of Antonio Vivaldi and clarified his influence and decisive role in the history of Western music. Morover, one must not underestimate the impact of more than one hundred hours of first-class works being made accessible to the music-loving public.
Bringing music manuscripts to life is a complex process, from the creation of a modern performing edition to interpretational decisions, rehearsals and performances. Yet, while performances are unique, they remain ephemeral. It is in the recording of this music that lasting documents are created, documents that will for evermore bear witness to the beauty of this music.
Please consider joining us in preserving and disseminating our musical heritage by becoming a member of the Baroque Music Foundation. Your contributions are essential to completing this project, now two thirds finished. Without public support the Vivaldi Edition would not be a realty.
The Baroque Music Foundation is a non-profit public charity recognized as tax-exempt by the IRS under section 501 (c)(3). Contributions in the U.S. are tax deductible.
For additional information on our sponsorship opportunities contact us at: firstname.lastname@example.org
Who We Are
Board of Directors
Susan Orlando, Chair – Baroque music specialist, music consultant for the Vivaldi Edition recording project, producer, Paris
Anne Fairfax, AIA, RIBA, Treasurer – President of Fairfax and Sammons Architects, New York & Palm Beach
Richard Miller, Esq. – President of the Metropolitan Opera Guild, Attorney at Morris & McVeigh LLP, New York
John Lewis – owner and creator of John Lewis Jewellery, Boston
Alberto Basso – distinguished musicologist and author of many books, among them his much translated monograph on J.S. Bach, Frau Musica. He conceived and spearheaded the ground-breaking Vivaldi Edition recording project, Italy
Michael Marissen – Daniel Underhill Professor Emeritus of Music, Swarthmore College. He is the author of several books on Bach and on Handel.
Susan Orlando – Baroque music consultant and project coordinator
Wendy Heller – chair and professor, department of music, Princeton University,
Giuseppe Gerbino – chair, Music Humanities, Colombia University
Cesare Fertonani – professor of music history, University of Milan
Luca Della Libera – professor of music history, Conservatory of Music, Frosinone, Italy