The Ospedale
For the concert Daniel and I decided to create a program that seamlessly interwove my music and the Vivaldi. We decided on presenting five concerti grossi from L’Estro and separating each Vivaldi with a newly composed interlude. I knew from the beginning that I did not in anyway want to copy Vivaldi. In fact I thought the more contrast the better. The interlude format seemed well suited to this contrast, sharpening the juxtaposition between my work and the Vivaldi. For me the challenge became how to connect the interludes. It wasn’t enough to have to have four random pieces sandwhiched between a bunch of Vivaldi. My solution was to create a counter narrative. A story that tied the interludes together and offered a context for both my pieces and the Vivaldi. Enter the Ospedale.
One of the most fascinating aspects of Vivaldi’s career was his relationship to the Ospedale of Venice. The Ospedale were orphanages that provided, among other things, musical training to its residents. Comprised exclusively of young women, the orphanages began as a way to deal with the city’s neglected children. From the beginning music education was an important part of the Ospedale’s curriculum. In time that training became so well regarded that even nobility would pay to have their children educated in the Ospedale system. By the time Vivaldi began working at the Ospedale della Pieta, performances by the girls were a celebrated event. Travelers from all over Europe came specifically to see the girls perform. Their reputation was for supreme musicianship and glorious sound.
Though it seems like a humble position, directing music for the Ospedale was in fact a prestigious and highly visible post. It also required a lot of new music. In his position Vivaldi churned out music for various concerts, ceremonies and special events. The concerti were a part of that output and were likely intended to show off some of his star soloists (including himself).
When I think that L’Estro and hundreds of other pieces were composed in such a strange setting I can’t help but imagine what was it like? What did it feel like, smell like, sound like to live in the Ospedale? Venice is a city of canals and commerce so there must have been activity everywhere; on the streets, in the canal, likely inside the Ospedale itself. The girls, though rarely allowed to leave the building, surely must have seen and heard the world around them.
These thoughts led me to a story for my pieces. What if I imagined the Ospedale after dark. After the girls were asleep and the music teachers, nuns and clergy finally had the place to themselves. What sort of things would happen and what kind of sounds would they hear. Perhaps because the concerti from L’Estro are so bright and buoyant, I though my pieces needed to be nocturnal and introspective. Music for a dark and damp city.
