Armoniosa

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Francesco Cerrato

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Armoniosa Armoniosa was founded in 2012 following the artistic and cultural activi-

ties experienced within the Diocesan Institute for Liturgy and Music of the

Diocese of Asti, thanks to the ideas of the artistic team, Francesco and

Stefano Cerrato, Marco Demaria and Daniele Ferretti. The ensemble aims

to be at the peak of excellence in the international panorama, and adopts a

rigorous method of study and work concerning style and interpretation.

The ensemble chose to use original instruments in order to obtain the best

sound results and strive for a genuine interpretation, all based on the

friendship between the members and sharing their wealth of ideas and

professional experience.

Armoniosa immediately worked and grew up in Italy, taking part in festi-

vals and events such as the Festival of "Settimane Barocche" in Brescia

(2012), Stagione di Sala Greppi in Bergamo (2012), Stagione of the Unione

Musicale in Turin (2014) and performing in particularly evocative places,

such as the Theatre "All'antica" in Sabbioneta and the Auditorium "A. Co-

relli" in Fusignano. A special partnership has been established with the

"Grandezze & Meraviglie" Festival of Modena, a particularly prestigious

event in which Armoniosa is now a regular guest, presenting annually a

complete performance of operas such as "L'Estro Armonico" op.3 (2012)

and "La Stravaganza" op. 4 by Antonio Vivaldi (2013). From the collabora-

tion with this festival independent "live" recordings were produced, in-

cluding a selection of concerts at the Church of San Carlo in Modena.

Armoniosa has collaborated with internationally renowned soloists such

as Enrico Bronzi, Marco Brolli, Gemma Bertagnolli, Lorenzo Girodo, Ro-

man Perucki, Marco Berrini and Susanna Crespo-Held. On a regular and

continuous basis, Armoniosa has involved the great harpsichord player

and basso continuo praxis expert, Maestro Michele Barchi, who is now a

permanent part of the artistic team of the group.

Armoniosa was invited to collaborate with the great Maestro Reinhard

Goebel in an advanced course in the Department of Ancient Music of the

Universität Mozarteum Salzburg (Austria), starting from the Academic

Year 2013/2014.

Armoniosa is also active in education and its members are regularly teach-

ing in Masterclasses in Italy and abroad. Since the Academic Year

2014/2015 Armoniosa has taken care of the Early Music Department of

the School for Advanced Musical Studies in Saluzzo, a foundation with

which the ensemble had an active educational cooperation and a dynamic

concerts project.

Armoniosa was invited to join the prestigious catalogue of the German

record label MDG - Musikproduktion Dabringhaus und Grimm, with a

five-year recording project (2014/2018) containing Italian repertoire of the

XVIII century, and with the modern world premiere of unpublished music

found in the wealthy Chapter Archive of the Cathedral of Asti. These pro-

ductions will be distributed worldwide.

Francesco Cerrato

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Armoniosa

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Armoniosa

La Stravaganza - Gramophone review

The exquisite chaconne from the final concerto of Vivaldi's La Stravaganza may be worth

the entry price alone. But this second set of 12 concertos for violin and strings with contin-

uo – published, like the hugely influential 1711 set L'estro armonico, by Estienne Roger of

Amsterdam – positively o'er brims with further musical delights. So it's hard to believe it

was less well received than its predecessor, especially when performed by such persua-

sive advocates of Vivaldi's bravura originality as Italian period instrument band Ar-

moniosa and violinist/director Francesco Cerrato.

Cerrato and Armoniosa enter, well, if not a crowded field then one distinguished more by

quality than quantity, and among my enduring favourites are the suavely elegant Monica

Huggett with the Academy of Ancient Music under Hogwood, the characterful Rachel

Podger with Arte dei Suonatori and the ardently stylish Fabio Biondi with Europa Ga-

lante (Virgin, 7/11 – though the latter's is not a complete recording). But the new kids on

the block – Cerrato founded Armoniosa only in 2012 – have convincingly staked their

claim with this debut recording for MDG. Using both harpsichord and organ continuo for

colouristic effects throughout, the general approach is however immediately apparent

with the opening B flat major concerto. The strongly accented down-bows of

the Allegro anchor a gentler flow enlivened by strong contrasts between solo and concer-

tante episodes, presaging Cerrato's deliciously ornamented line in the Adagio before he

cuts loose in the final stages of the closing Allegro with some typically Vivaldian high-

register passage work.

And so it goes on. Armoniosa render the following dramatic E minor concerto (No 2)

with the requisite chiaroscuro, connecting with the sfumato of the atmospheric slow

movement of the A minor concerto (No 4), marked Grave e sempre piano. The relaxed

expansiveness of the Largo of No 7 in C – the only four-movement concerto – is masterly

and recalls La Serenissima's approach (Avie, A/09). The brisk antiphonal exchanges be-

tween the two solo violins in the D major No 11's Allegro create an electricity that dissi-

pates in the following Largo, which features a particularly rich cello accompaniment. An

impressive debut indeed.

William Yeoman, Gramophone

La Stravaganza - MUSICALIFEITEN review

Within the new Comparing Discography this recording comes 2nd after Rachel Podger. If

in comparison with Vivaldi’s “average” violin concerto we are here talking more about

experiment and phantasy [or fancy], then these vital, brillant young Italians prove it.

Regarding Francesco Cerrato we are talking about the debut CD made by a young, enthu-

siastic and very good youthful ensemble who know the devices of the authentic line.

They care for strong accents and useful [wholesome] contrast. Within the slow move-

ments they take advantage of the ornamental options. As it should be, the continuo is

shared by harpsichord and organ. Altogether a promising, refreshing and admirable

debüt. To realize this you should listen, for example, to the last movement of no. 6, the

second movement of no. 7 or the last movement of no. 2. Moreover everything has been

wonderfully recorded.

Jan de Kruijff, MUSICALIFEITEN

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Armoniosa

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Armoniosa

La Stravaganza—magazin.klassik.com review

Fresh, powerful and stylistically entirely convincing recording of concer-

tos, op. 4 by Antonio Vivaldi. Armoniosa is still relatively young. It was

founded in 2012 in Asti, a small Italian town between Trieste and Genoa.

Two years later, in 2014, a contract was signed with the German label

MDG for a five-year project with recordings of Italian music from the 17th

century. The first fruit of the collaboration is now available: Antonio Vival-

di 12 concertos op. 4, which have been published under the name, ‘La

Stravaganza’. A tall latte, one might think, because there are really more

than enough Vivaldi recordings, and the twelve violin concertos have been

recorded more than once. And yet anyone who hears the recording is im-

mediately surprised. Such amazing refreshment at the first encounter!

The production is the fruit of the experiments in the past two decades of

interpreting the Vivaldi sound. Each expression hits the listener at every

step; every dynamic nuance is perfect. The Ensemble has no need to draw

attention to itself by a unique, new, original interpretation. Its director and

soloist, Francesco Cerrato, can make the melancholy virtuosic as well as

quite uplifting.

The concerts were recorded at the Konzerthaus the Abbey Marienmünster.

The sound engineer, Friedrich Wilhelm Rödding, did a great job. The

sound is fresh, powerful and transparent. A recording that makes the lis-

tener happy and arouses great curiosity as to further MDG recordings.

Professor Dr. Michael Bordt, magazin.klassik.com

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Armoniosa

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Armoniosa

Armoniosa was founded in 2012 in Asti under the leadership of Francesco

Cerrato, plays Antonio Vivaldi's "La Stravaganza" op. 4 with a sumptuous

sound, bold rhythms, strong colours, well-marked accents, yet clear and dis-

tinct articulation. With this recording "Armoniosa" marks out its own special

place on the Italian baroque scene. MDG's 2 + 2 + 2 sound is superb.

Pizzicato, 22th February 2015 (Luxembourg)

The Italian baroque ensemble Armoniosa, founded little more than two years

ago, has come up with an incredibly exciting reading of Vivaldi's twelve violin

concertos op. 4 "La Stravaganza". These concertos are at least as well known as

the famous "Four Seasons", and thus not necessarily easy to interpret freshly.

But the thirteen players around the violinist Francesco Cerrato have dared to

do it and gone for a rigorous approach. They combine an exuberant zest with

the strict observation of tempo favoured by reconstructionists and the crystal-

clear, mordant tone, almost aggressive in its effect, of the disciples of authentic

sound. In this these musicians are not following any dogma, simply their own

instinct for effect and flamboyance.

Journal Frankfurt, 1st April 2015 (Germany)

The recording by the Italian ensemble Armoniosa sounds so immediate and in-

cisive that it is as if one were experiencing it live. Each instrument can be locat-

ed with precision; virtuosity can be admired individually, and the ensemble

effort conveys sonorous enjoyment.

AUDIO, May 2015 (Germany)

This interpretation of Armoniosa is designed to fly high. It reveals a deep un-

derstanding of the composer's music and exudes strength, energy and internal

tension, and has very judicious times. Cerrato exhibits a unique technical skill

and a round sound is achieved, perfectly bound and rich in colour. The record-

ing really is a joy. We warmly welcome Armoniosa Ensemble. They will bring

us many rewarding moments in the future. Good, very good premiere!

elartedelafuga.com May 2015 (Spain)

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All Armoniosa photos by Francesco Fratto