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Accademia Bizantina: Bio

Accademia Bizantina was founded in Ravenna in 1983 with the intention of "making music like a large quartet".  Then as now,  the group is managed autonomously by its guardian members,  guaranteeing the chamber music approach to their performances which has ever been their distinguishing feature.

A number of prominent personalities in the musical world supported the orchestra's development and growth, among them Jorg Demus, Carlo Chiarappa, Riccardo Muti and Luciano Berio.  Over the years they have also enjoyed the collaboration of many fine musicians, among them Stefano Montanari who was an integral part of the orchestra for over 20 years. This has allowed the ensemble, which plays on period instruments, to become ever more specialised in 17th, 18thand 19th­century repertoire.  Gradually the orchestra developed a distinguished voice by adopting its own interpretative style based on a common language and shared performance practice,  reflecting the noblest tradition of Italian chamber music. In 1989 Ottavio Dantone joined the group as harpsichordist and in 1996 he was appointed musical and artistic director,  guaranteeing the prestige and artistic quality of the ensemble.  Under his expert guidance Accademia Bizantina has merged philological research and an aesthetic approach to the interpretation of music from the Baroque period.  Dantone's competence,  imagination and sophistication have united with the enthusiasm and artistic empathy of each member of the group, giving their interpretations the depth which makes them one of the most prestigious ensembles on the international musical scene today.

In 1999 Accademia Bizantina performed their first staged opera, Giuseppe Sarti's "Giulio Sabino".  The orchestra has gone on to specialise in the rediscovery and performance of Baroque operas, ranging from major works to operas which have never been performed in modern times.

The ensemble performs in concerts halls and festivals worldwide.  Their many recordings,  most notably for Decca,  Harmonia Mundi and Naïve,  have won numerous awards including the Diapason d'Or,  Midem and a Grammy Music Award nomination for Purcell's "O Solitude" with Andreas Scholl.  Of particular significance are their collaborations with violinists Viktoria Mullova and Giuliano Carmignola and with countertenor Andreas Scholl with whom they have had major international tours and recording projects (for Onyx,  Deutsche Grammophon, Harmonia Mundi and Decca).

Among the orchestra's new productions scheduled for 2016 are Antonio Vivaldi's "L'incoronazione di Dario", Händel's "Alcina" and "Belshazzar" and J.S. Bach's The Art of Fugue.

Accademia Bizantina

Haydn - Symphonies nos. 78-81

Decca Records

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1 Haydn Symphony nos. 78 / Vivace  
2 Haydn Symphony nos. 78 / Adagio  
3 Haydn Symphony nos. 78 / Menuetto & Trio: Allegretto  
4 Haydn Symphony nos. 78 / Finale: Presto  
5 Haydn Symphony nos. 79 / Allegro con spirito  
6 Haydn Symphony nos. 79 / Adagio cantabile un poco allegro  
7 Haydn Symphony nos. 79 / Menuetto & Trio: Allegretto  
8 Haydn Symphony nos. 79 / Finale: Vivace  
9 Haydn Symphony nos. 80 / Allegro spiritoso  
10 Haydn Symphony nos. 80 / Adagio  
11 Haydn Symphony nos. 80 / Menuetto  
12 Haydn Symphony nos. 80 / Finale: Presto  
13 Haydn Symphony nos. 81 / Vivace  
14 Haydn Symphony nos. 81 / Andante  
15 Haydn Symphony nos. 81 / Menuetto & Trio: Allegretto  
16 Haydn Symphony nos. 81 / Finale: Allegro ma non troppo  

By the early 1780s, Haydn's fame had reached all corners of Europe. On January 1, 1779 he had signed a new contract with Prince Nikolaus Esterházy, for the first time explicitly allowing him to accept outside commissions and to enter into negotiations with publishers, thus making official a situation that had more or less unofficially existed for some years. Symphonies 76–78 (1782) were the first works Haydn expressly fashioned for international consumption - for a proposed visit to London that ultimately fell through. In offering the three new symphonies to the publisher Boyer of Paris, he described them as "beautiful, elegant and by no means over-long … all very easy" - very much characteristic of the sales-talk he would increasingly employ in his dealings with publishers.

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