Our music


Gli Archimisti can offer evenings dedicated to music, in concert style with pieces by composers from Vivaldi to Prokofiev, from Monteverdi to Piazzolla. The formations available for concerts are two violins, a trio of two violins and viola or a string quartet.

Private concerts: Invite music to your celebration

Quartetto in concertoWe also offer exhibitions in informal situations as “salon music”, a private concert of around 40 minutes in your house or at a suitable alternative location for limited people. This formula allows you to “bring home” a masterpiece of chamber music and gives you the chance to live the experience of a more informal concert with a direct and friendly rapport with the artists, who briefly present the pieces that follow. It can be an occasion to celebrate in a special manner a birthday or anniversary, or for an exclusive present.

To know more, contact us here.

Lessons-­concert and conference-­concertConcerto con clavicembalo

Gli Archimisti offer lessons-­concert and conference-­concert in schools or other places with “ad hoc” programs: we can demonstrate the musical instruments to someone who has never seen them (or only on television), and to demonstrate to everyone, also children, the emotion of listening to “live” music. For larger conference-­concert lectures, we explore some linked themes, for example, the History of Music, or the relationship between music and other artistic disciplines.

To know more, contact us here.

Why is it important to listen to live music?

musica sul balcone 2What is the difference between a masterpiece of figurative art and a musical masterpiece? For example, in which ways are a picture of Caravaggio and a quartet of Mozart different? Caravaggio painted “The rest of the flight into Egypt” once, and today we can see how he created it, or almost. Anyone can enjoy its beauty by looking at it, and it’s not necessary to have an expert who extracts and explains the characteristics in order to give emotion. Mozart, for his string quartet, left us only a score; a piece of paper full of dots similar to tadpoles. To return to the emotion you need a means, a brush to recreate the “full picture”. This is a musician: they study for years and years solely to be the means between a composer and our ear. To do it, in addition to studying their instrument daily, they need all of humanity to “interpret” and understand through their sensibility all of the emotions that the composer would have wanted to leave us, but that imperfect notation handed down to us only in part. They also need a lot of humility, to be able to use all of the best human and musical resources to disappear behind the music, to leave it shine above all. The musician, or better yet, the interpreter, is the brush that recreates the picture every time, without which the score would simply be a piece of paper full of tadpoles. And still today, when we can listen to the more clear interpretations with sophisticated machines that reproduce the sound, nothing is more confronting emotionally than to listen live, with “real” instruments that produce a sound by rubbing on the ropes, pinching or hitting them or blowing inside a “tube”. It is still worth indulging in the luxury of going out, to be excited by a symphony orchestra, a string quartet or a piano. Wonders of humanity, like a Caravaggio painting or statue of Canova, we can revisit still today in front of our eyes.