Time to event
About this performance:
Transport yourself to Venice for an afternoon of music featuring a Vivaldi piccolo concerto, Brass Quintet music by Gabrieli, and some carols to put you into the holiday spirit! Piccolo player Kathleen Nester shares thoughts about Vivaldi’s piece from the perspective of a musician. This interactive event will be hosted by Michael Stern. Mulled wine demonstration included. Ciao!
Exclusive to Subscribers
Subscribers who have a current subscription to the 2020-2021 Season will be invited to a virtual VIP Green Room Q&A post-concert with Michael Stern and musicians of the Stamford Symphony
Michael Stern, Music Director
Kathleen Nester, piccolo
Musical Program to include:
Vivaldi Piccolo Concerto in C Major
Holiday Brass including music by Gabrieli
plus Carol of the Bells, Deck the Halls and more
Kathleen Nester, piccolo
Connecticut native Kathleen Nester has been a member of the Stamford Symphony since 1994. She is also Assistant Principal Flute and Solo Piccolo for the New Jersey Symphony Orchestra. Kathleen has performed with many of the top ensembles in and around NYC, including the New York Philharmonic, the New York City Opera, and the Orchestra of St. Luke’s. She also performs with the IRIS Orchestra with Maestro Michael Stern, and has played at the Bravo! Vail, Mostly Mozart, Lincoln Center, and Oklahoma Mozart Festivals. She has been featured in concertos on flute, piccolo, and recorder with orchestras in the US, and abroad. She has recorded with such artists as Joshua Bell, Itzhak Perlman, Kathleen Battle and jazz singer/trumpeter Bria Skonberg. An advocate of new music, she has premiered new works for flute and chamber ensemble as a member of “Musicians’ Accord.” Kathleen has been the flutist for many Broadway productions, most recently An American in Paris, Evita, Sunset Boulevard and Roundabout Theater’s 2016 production of She Loves Me, the first Broadway show to be live-streamed. She has recorded for Pickwick, Decca, Mode, Musical Heritage Society, and Sony Classical, and can also be heard on movie soundtracks such as Julie and Julia, Tower Heist, The Last Mimsy, The Greatest Showman and Joker. A graduate of the Manhattan School of Music, she is a member of the flute faculty at New York University, and a woodwind coach and music theory/composition instructor for the NJSO Academy Youth Orchestra.
In addition to the modern flute, piccolo, alto flute and bass flute, Kathleen plays the Baroque flute, or traverso, recorders, penny whistles, bamboo and pan flutes She practices Pilates, enjoys reading, knitting and birdwatching.
Recorder (Flautino) Concerto in C major, RV 443
Beginning in 1703 and intermittently for many decades, Antonio Vivaldi served as music factotum at the Pio Ospedale della Pietá in Venice, an institution devoted to the care and education of abandoned, orphaned and indigent children. In addition to his duties as virtuoso violinist, violin teacher, orchestra director and instrument purchaser, Vivaldi served as resident composer, producing hundreds of works for various instruments and ensembles, including about 500 concerti, often at a rate of more than two per month. The resident girls were trained in both string and wind instruments, including the organ; as part of their education, Vivaldi composed concertos for every instrument and instrument combination. Many of them were apparently written with specific girl soloists in mind. Boys, on the other hand, were trained as artisans.
Among Vivaldi’s many concerti for wind instruments, are three for “flautino.” The precise identity of this instrument is uncertain but is usually thought to be a sopranino recorder, since the piccolo did not come into use until the middle of the eighteenth century. Today, however, they are frequently performed on the piccolo. Like many of Vivaldi’s concerti, they were not published during his lifetime and the date of their composition is unknown.
Nor do we know the soloist for whom this Concerto was written, but it must have been for an outstanding virtuoso. It adheres to Vivaldi’s “modern” concerto format, alternating a ritornello tutti, in which the soloist was included, with passages featuring the soloist, who executes large leaps and rapid runs. The central movement, in which the ensemble typically plays a merely subservient role, tests the soloist’s expressive ability despite the inherent shrillness of the instrument. The Finale returns to the technical challenges of the opening movement, including rapid trills and arpeggios.
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