From June 24 to 28, Spoleto will host a prestigious masterclass with Maestro, part of the Spoleto Music Academy and organized by Visioni d’Autore
In the world of early music, his name speaks for itself. Enrico Gatti is one of Europe’s leading interpreters of the Baroque violin repertoire. But he is also a thoughtful teacher and communicator, able to combine historical rigor, artistic sensitivity, and authentic passion. Ahead of his upcoming masterclass at the Spoleto Music Academy – organized by the cultural association Visioni d’Autore and scheduled for June 24–28 – he was interviewed by Francesco Liberati, president of the association and curator of the initiative.
Maestro Gatti, let’s start with the basics: what do we mean when we talk about Baroque music?
The term “Baroque” is often used loosely. In visual arts, it refers mainly to the 17th century and initially had a negative connotation, associated with excess and eccentricity. In music, however, the Baroque period spans from the early 1600s to the mid-1700s. Despite many different styles across countries—and even within them—my course in Spoleto will focus on Arcangelo Corelli, who perfectly synthesizes the contrapuntal tradition with emerging soloistic virtuosity.
Who are, in your opinion, the key Italian composers of the Baroque period?
There are many, but for vocal music, Claudio Monteverdi and Alessandro Scarlatti stand out. Monteverdi revolutionized the madrigal and opera, while Scarlatti set a model for sacred music. In instrumental music, Arcangelo Corelli and Antonio Vivaldi were foundational figures. Giuseppe Torelli, though less known, played a major role in shaping the solo concerto and even influenced Bach.
And what role did Umbria—particularly Spoleto—play in this musical landscape?
Umbria, and Spoleto in particular, played an important, if often overlooked, role. Many organ builders active in Rome were based in Cerreto di Spoleto, and several Roman musicians had Umbrian origins. Spoleto’s ecclesiastical tradition and proximity to Rome helped it thrive musically. Even today, thanks to the Festival dei Due Mondi, the city continues to contribute to the rediscovery of Baroque music.
In your teaching, what do you consider essential to pass on to your students?
Two things: a solid foundation in historical sources, and an understanding of the student’s unique voice. Interpretation must be based on deep research, not just current trends or personal whims. At the same time, students should be guided to express their own musical identity—within the framework of historically informed performance.
During the masterclass, your recent publication Il giovane Corelli will be presented. Can you tell us more?
It’s a project I developed with musicologist Francesco Zimei. The book includes all of Corelli’s surviving letters, newly uncovered documents, and even a portrait of the young Corelli attributed to Cesare Gennari. My former student Gilberto Ceranto will also give a live demonstration, reconstructing Corelli’s technique based on this new evidence.
Lastly, your project Preconium Solitudinis is a very personal one. Could you tell us about it?
It’s a journey of self-discovery expressed through solo violin music, selected literary texts, and photography. It took years to complete and reflects on solitude, memory, and inner exploration. It’s not commercial in nature—rather, it’s something I felt deeply compelled to create. The media book includes nearly two hours of music, multilingual texts, and images by the artist Silvia Camporesi.
From June 24 to 28, Spoleto will host a prestigious masterclass with Maestro Enrico Gatti, part of the Spoleto Music Academy and organized by Visioni d’Autore. This is a unique opportunity for students, professionals, and early music enthusiasts to deepen their understanding of Baroque performance practice under the guidance of a world-renowned expert.
Enrollment is open and full details are available on the official Spoleto Music Academy website.
Don’t miss this chance to experience Baroque music in Spoleto authentic and inspiring setting.
