The Violin Concerto in D major dating from c. 1712 is one of the few Vivaldi concertos for which the composer’s original cadenzas have survived. These solos stretched the limits of playability because their fingering went beyond the range of the fingerboard of violins commonly used around 1712, and as such they give us a real picture of the astonishing virtuosity of Vivaldi’s skills. There is a note on the score sheet: “… for the Padua Festival of the Holy Tongue of St. Anthony”, which refers to the performance in St. Anthony, Padua. A particular hallmark of the concerto in three movements is the orchestra’s ‘call’ and ‘response’ effect, which Vivaldi drew from the music of the church.

Vivaldi devoted a surprisingly large amount of attention to the bassoon, the repertoire of which he extended with 37 concertos. In the G minor concerto following the Presto – Largo – Allegro movement order the overture is fiery; its dramatic sudden stops only serve to heighten its dynamism. In the slow movement, Vivaldi completely renounces the use of violins and violas: it is restricted to the passionate and beautiful dialogue of the bassoon and the continuo. The unison ritornello theme of the final movement starts up storm music, in the course of which the bassoon receives a virtuoso role, the like of which very few have composed for this instrument since. 

Händel wrote one of his finest operas, Giulio Cesare, in 1724. The duet Caro, più amabile beltà is the work’s closing scene where Caesar and Cleopatra finally declare their love for each other, thereby overcoming all intrigue. At the premiere, Senesino, the most famous castrato of the age, sang the part of Caesar, and Francesca Cuzzoni was Cleopatra. In this performance, the sensual, triumphant duet is brought to life on instruments.