UNDER THE ITALIAN SKY

Sunny Italia has always ignited the imagination of composers, and its uniqueness went far beyond the framework of the usual geographical attraction. It is a place that for artists has become synonymous not only with the picturesque beauty of the local landscapes, but also something elusive — sensuality, aura, inner light, thanks to which the music acquires brightness, color and intensity. Like Italy, the collective imagination has been ignited for centuries by a work recognized as a true cultural phenomenon: the Baroque concert series Four Seasons by Antonio Vivaldi. Composed in the Baroque and hailed as a musical hit of all time, it still remains one of the most beautiful proofs that music can tell as suggestively as literature or painting. Spring awakening, summer storm, autumn dance and winter turmoil resound in Vivaldi with timeless freshness, dazzling virtuosity and theatrical expressiveness, delighting music lovers and pop culture creators alike. Knowledge of Italian music was crucial for composers not only in the Baroque era, but also in the following decades. A trip to Italy was an important element of musical education or complemented it. A trip to the Alps was also made by the young Felix Mendelssohn. Between 1831 and 1832 he visited Venice, Florence, Rome and Naples, a wonderful souvenir from this trip is the 4th Symphony in A major called Italian. “This will be the happiest of my songs,” the composer wrote in the letter, “especially the last part.” And in fact we owe the final without a doubt to this Italian trip. Saltarello — based on a traditional Italian dance from around Rome — seems to soar in the air without contact with the ground.