ÍøÆغÚÁÏ

Since the early '50s, the pioneering chamber orchestra I Musici has focused on the music of the Italian Baroque but performs a variety of other works. The group set a basic pattern for countless other small Baroque orchestras.

I Musici ("The Musicians") are also known as I Musici di Roma. Originally, the name was intended to suggest a pure enthusiasm for musical performance. The group was formed in 1951 in Rome, where the members -- nine men and three women, the latter unusual at the time -- were students at the Accademia di Santa Cecilia. I Musici gave its first concert at the Santa Cecilia church in March of 1952, and it quickly gained national and even international success. The idea of a chamber orchestra devoted to Baroque music was quite new at the time, and one without a conductor (I Musici has a first-violinist leader who coordinates the group) was newer still, but group members contended successfully that for much of the Italian Baroque, a conductor was not used. Within its first several years, I Musici toured Europe; the group then visited the Americas, Japan, Australia, and southern Africa. I Musici's membership has changed but has been marked by stability; violinist Felix Ayo, leader from 1952 to 1958, performed with the group into the late 2010s. The group was championed early on by legendary conductor Arturo Toscanini, who gave them a signed portrait of himself, inscribed with the words "Good, very good! No, music does not die!"

At first, the orchestra's repertory focused heavily on the music of Vivaldi, Corelli, Albinoni, and other Italian Baroque composers, much of which was uncommon on concert programs in the 1950s and early '60s. Later, the group began to perform string works by 20th century composers, including Barber, Bartók, and Nino Rota. The orchestra has performed consistently at major music festivals, including those in Edinburgh, Salzburg, and Aix-en-Provence. In the '70s, I Musici made the first classical music video. Several famous musicians have passed through I Musici on the way to solo careers, including violinists Salvatore Accardo, director from 1972 to 1977, and Pino Carmirelli from 1977 to 1986 (the founder of the Carmirelli Quartet). The group's recording activities stretch well back into the LP era. I Musici played a major role in popularizing Vivaldi's Four Seasons violin concertos, which it has recorded several times; the group's recordings remained strong sellers for many years. For much of its career, I Musici was associated with the Philips label and then with Decca when both those labels were absorbed into the larger PolyGram conglomerate. In later years, the group has recorded for various labels, including Urania, IDIS, and Dynamic. Through the many innovations and changes of fashion in the performance of Baroque music, I Musici has remained successful and viable. The group released a new recording of The Four Seasons on Decca in 2022, by which time, its catalog comprised some 100 albums. ~ James Manheim

In his day, Johann Sebastian Bach was better known as a virtuoso organist than as a composer. His sacred music, organ and choral works, and other instrumental music had an enthusiasm and seeming freedom that concealed immense rigor. Bach's use of counterpoint was brilliant and innovative, and the immense complexities of his compositional style -- which often included religious and numerological symbols that seem to fit perfectly together in a profound puzzle of special codes -- still amaze musicians today. Many consider him the greatest composer of all time.

Bach was born in Eisenach in 1685. He was taught to play the violin and harpsichord by his father, Johann Ambrosius, a court trumpeter in the service of the Duke of Eisenach. Young Johann was not yet ten when his father died, leaving him orphaned. He was taken in by his recently married oldest brother, Johann Christoph, who lived in Ohrdruf. Because of his excellent singing voice, Bach attained a position at the Michaelis monastery at Lüneberg in 1700. His voice changed a short while later, but he stayed on as an instrumentalist. After taking a short-lived post in Weimar in 1703 as a violinist, Bach became organist at the Neue Kirche in Arnstadt (1703-1707). His relationship with the church council was tenuous as the young musician often shirked his responsibilities, preferring to practice the organ. One account describes a four-month leave granted Bach to travel to Lubeck, where he would familiarize himself with the music of Dietrich Buxtehude. He returned to Arnstadt long after he was expected and much to the dismay of the council. He then briefly served at St. Blasius in Mühlhausen as organist, beginning in June 1707, and married his cousin, Maria Barbara Bach, that fall. Bach composed his famous Toccata and Fugue in D minor (BWV 565) and his first cantatas while in Mühlhausen, but quickly outgrew the musical resources of the town. He next took a post for the Duke of Sachsen-Weimar in 1708, serving as court organist and playing in the orchestra, eventually becoming its leader in 1714. He wrote many organ compositions during this period, including his Orgel-Büchlein, and also began writing the preludes and fugues that would become Das wohltemperierte Klavier (The Well-Tempered Klavier). Owing to politics between the Duke and his officials, Bach left Weimar and secured a post in December 1717 as Kapellmeister at Köthen. In 1720, Bach's wife suddenly died, leaving him with four children (three others had died in infancy). A short while later, he met his second wife, soprano Anna Magdalena Wilcke, whom he married in December 1721. She would bear 13 children, though only five would survive childhood. The six Brandenburg Concertos (BWV 1046-51), among many other secular works, date from his Köthen years. Bach became Kantor of the Thomas School in Leipzig in May 1723 (after the post was turned down by Georg Philipp Telemann) and held the position until his death. It was in Leipzig that he composed the bulk of his religious and secular cantatas. Bach eventually became dissatisfied with this post, not only because of its meager financial rewards, but also because of onerous duties and inadequate facilities. Thus he took on other projects, chief among which was the directorship of the city's Collegium Musicum, an ensemble of professional and amateur musicians who gave weekly concerts, in 1729. He also became music director at the Dresden Court in 1736, in the service of Frederick Augustus II; though his duties were vague and apparently few, they allowed him the freedom to compose what he wanted. Bach began making trips to Berlin in the 1740s, not least because his son Carl Philipp Emanuel served as a court musician there. The Goldberg Variations, one of the few pieces by Bach to be published in his lifetime, appeared in 1741. In May 1747, the composer was warmly received by King Frederick II of Prussia, for whom he wrote the gloriously abstruse Musical Offering (BWV 1079). Among Bach's last works was his 1749 Mass in B minor. Besieged by diabetes, he died on July 28, 1750. ~ Robert Cummings

Wolfgang Amadeus Mozart was not only one of the greatest composers of the Classical period, but one of the greatest of all time. Surprisingly, he is not identified with radical formal or harmonic innovations, or with the profound kind of symbolism heard in some of Bach's works. Mozart's best music has a natural flow and irresistible charm, and can express humor, joy or sorrow with both conviction and mastery. His operas, especially his later efforts, are brilliant examples of high art, as are many of his piano concertos and later symphonies. Even his lesser compositions and juvenile works feature much attractive and often masterful music.

Mozart was the last of seven children, of whom five did not survive early childhood. By the age of three he was playing the clavichord, and at four he began writing short compositions. Young Wolfgang gave his first public performance at the age of five at Salzburg University, and in January 1762, he performed on harpsichord for the Elector of Bavaria. There are many astonishing accounts of the young Mozart's precocity and genius. At the age of seven, for instance, he picked up a violin at a musical gathering and sight-read the second part of a work with complete accuracy, despite his never having had a violin lesson.

In the years 1763-1766, Mozart, along with his father Leopold, a composer and musician, and sister Nannerl, also a musically talented child, toured London, Paris, and other parts of Europe, giving many successful concerts and performing before royalty. The Mozart family returned to Salzburg in November 1766. The following year young Wolfgang composed his first opera, Apollo et Hyacinthus. Keyboard concertos and other major works also came from his pen.

In 1769, Mozart was appointed Konzertmeister at the Salzburg Court by the Archbishop. Beginning that same year, the Mozarts made three tours of Italy, where the young composer studied Italian opera and produced two successful efforts, Mitridate and Lucio Silla. In 1773, Mozart was back in Austria, where he spent most of the next few years composing. He wrote all his violin concertos between 1774 and 1777, as well as Masses, symphonies, and chamber works.

In 1780, Mozart wrote his opera Idomeneo, which became a sensation in Munich. After a conflict with the Archbishop, Mozart left his Konzertmeister post and settled in Vienna. He received a number of commissions and took on a well-paying but unimportant Court post. In 1782 Mozart married Constanze Weber and took her to Salzburg the following year to introduce her to his family. 1782 was also the year that saw his opera Die Entführung aus dem Serail staged with great success.

In 1784, Mozart joined the Freemasons, apparently embracing the teachings of that group. He would later write music for certain Masonic lodges. In the early and mid-1780s, Mozart composed many sonatas and quartets, and often appeared as soloist in the 15 piano concertos he wrote during this period. Many of his commissions were for operas now, and Mozart met them with a string of masterpieces. Le nozze di Figaro came 1786, Don Giovanni in 1787, Così fan tutte in 1790, and Die Zauberflöte in 1791. Mozart made a number of trips in his last years, and while his health had been fragile in previous times, he displayed no serious condition or illness until he developed a fever of unknown origin near the end of 1791. ~ Robert Cummings