Armoniosa. and basso continuo praxis expert, Maestro Michele Barchi, who is now a permanent part of the artistic team of the group.

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3 Armoniosa was founded in 2012 following the artistic and cultural activities 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 festivals 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. Corelli" 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 collaboration with this festival independent "live" recordings were produced, including a selection of concerts at the Church of San Carlo in Modena. 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 teaching 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 productions will be distributed worldwide. Armoniosa has collaborated with internationally renowned soloists such as Enrico Bronzi, Marco Brolli, Gemma Bertagnolli, Lorenzo Girodo, Roman Perucki, Marco Berrini and Susanna Crespo-Held. On a regular and continuous basis, Armoniosa has involved the great harpsichord player 3

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5 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 continuo 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 persuasive advocates of Vivaldi's bravura originality as Italian period instrument band Armoniosa 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 Galante (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 concertante 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 highregister passage work. 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, enthusiastic 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 movements 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 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 between the two solo violins in the D major No 11's Allegro create an electricity that dissipates in the following Largo, which features a particularly rich cello accompaniment. An impressive debut indeed. William Yeoman, Gramophone 5

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7 La Stravaganza magazin.klassik.com review Fresh, powerful and stylistically entirely convincing recording of concertos, 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 Vivaldi 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 immediately 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 listener happy and arouses great curiosity as to further MDG recordings. Professor Dr. Michael Bordt, magazin.klassik.com 7

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9 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 distinct articulation. With this recording "Armoniosa" marks out its own special place on the Italian baroque scene. MDG's sound is superb. Pizzicato, 22th February 2015 (Luxembourg) This interpretation of Armoniosa is designed to fly high. It reveals a deep understanding 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 recording 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) 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 crystalclear, 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 incisive that it is as if one were experiencing it live. Each instrument can be located with precision; virtuosity can be admired individually, and the ensemble effort conveys sonorous enjoyment. AUDIO, May 2015 (Germany) 9

10 All Armoniosa photos by Francesco Fratto Ellison & Strømsholm International Artists' Management 135 Stevenage Road Fulham London SW6 6PB United Kingdom Tel: +44 (0) Fax: +44 (0) Website: Follow Ellison & Strømsholm on Facebook Member of the International Artist Managers' Association 10