'Fire Beneath My Fingers' tells a fascinating story of great performers and performances! This program showcases Antonio Vivaldi, Guiseppe Sammartini, and Guiesppe Tartini; three of the most legendary composers of this era who were also virtuoso performers in their own rights. The sensitivity of their writing to the best each instrument had to offer made their sonatas and concerti models of new compositional genres. Performed by Musica Pacifica this program embodies a repertoire of music that is as rich and satisfying to bring to the stage today as it was when their ink was still wet on the page. Musica Pacifica is recognized as one of North America's premier baroque ensembles. Founded in 1990, they have been described by the press as 'some of the finest baroque musicians in America (Amer, Reek, Guid) and 'among the best in the world' (Alte Musik Aktuell). Their stylish, high energy and virtuoso performances consistently receive enthusiastic reviews from critics and audiences alike. They have been described as 'superbly elegant...exemplifying the finest in historical performance today'. Based in the San Francisco Bay area, Musica Pacifica are members of the Philharmonia Baroque Orchestra and they appear with many other prominent early music ensembles the world over.

Antonio Vivaldi wrote most of his choral music for the all-female orphanage Ospedalle della Pietà in Venice, where he directed the musical activities for almost 40 years. Vivaldi's sacred music exudes the same spirited drive and dramatic virtuosity that have made his concertos so popular. The young women of the Pietà chosen to perform in its choir were renowned for their exceptional musical abilities and angelic voices, and their concerts quickly became a popular tourist attraction in the 18th century. It is unclear whether these girls actually performed the bass parts, though there are a few tantalizing--if unintuitive!--contemporary references to just such a practice There is no consensus on whether the lower voices were sung as written in the score--most modern renditions feature a mixed chorus--or whether they were transposed up an octave. Matthias Maute, conducting Ensemble Caprice, makes an inspired case for the latter approach--his all-female choir sounds, aptly, angelic.