If you’ve been hearing a bit more harpsichord than usual on your morning commute—or suddenly feel the urge to wear lace cuffs and take up the viola d’amore—it’s probably because the Winnipeg Baroque Festival is in full swing! And here at Classic 107, we’re diving deep into the powdered-wig world of one of the Baroque era’s boldest musical personalities: Francesco Maria Veracini.
Starting Monday, we’re dedicating an entire week to his Orchestral Suites, with a different suite featured each day. Veracini’s music is a dazzling mix of elegance, drama, and fiery virtuosity—exactly the kind of thing you want to soundtrack a festival that celebrates all things Baroque.
A bit about Veracini (spoiler: he was a lot)
Born in Florence in 1690, Veracini was the violinist-composer of his time—bold, brilliant, and maybe just a little eccentric (okay, a lot). He was admired for his intense bowing technique, fearless musical innovation, and enough dramatic flair to make even Vivaldi raise an eyebrow.
He travelled across Europe, from Venice to London to Dresden, leaving behind a trail of jaw-dropping performances and eyebrow-raising anecdotes—like the time he leapt out a window in a fit of rage or the legendary moment he showed up a rival violinist during a church festival by playing a jaw-dropping solo from the back of the choir. Veracini didn’t just play first fiddle—he demanded it.
The Overture Schedule: A Daily Dose of Veracini
These orchestral overtures were likely composed during his Venetian years around 1716 and show off every facet of his colourful personality. Each one blends stately French influences with fiery Italian flair—just like Veracini himself.
🎻 Monday, April 7 – Overture No. 1 in B-flat Major
Start your week with a courtly bang. This suite opens in grand French style, but don’t let the polite bow fool you—it quickly shifts gears into more playful and extroverted territory, with bold unisons and a spirited Gigue that practically dances off the page.
🎻 Tuesday, April 8 – Overture No. 2 in F Major
This suite is bright and graceful, filled with lyrical lines and elegant ornamentation. It’s Veracini showing off his courtly side—think Versailles meets Venetian carnival.
🎻 Wednesday, April 9 – Overture No. 3 in B-flat Major
Back in B-flat, this suite balances charm with a sense of grandeur. The second movement in particular makes generous use of homophonic textures, giving the music a stately air that contrasts beautifully with the more nimble final dances.
🎻 Thursday, April 10 –Overture No. 4 in F Major
A suite that delights in contrast—light and dark, soft and bold. Veracini’s playful alternation between concertino and full ripieno makes this feel almost like a miniature concerto grosso at times.
🎻 Friday, April 11 – Overture No. 6 in B-flat Major
We close the week with a showstopper. Suite No. 6 is brimming with flair—from echo effects and lively rhythmic shifts to an exuberant Rigaudon that sends us into the weekend with a flourish.
So whether you’re a long-time Baroque lover or just curious what all the ornamentation is about, tune in each day to Classic 107 as we celebrate one of the most original (and, let’s be honest, most extra) composers of the era. Francesco Maria Veracini may have been called a "capo pazzo"—a madman—but there’s no denying the genius behind the drama.
Because in the world of Baroque, more is more. And Veracini? He’s extra in the best way.