with Francesco D’Orazio – Baroque violin

Giorgio Dellarole – Accordion 

Giorgio Tabacco – Harpsichord

September 14th, 2023 – 7,30 pm

Castelfidardo, Auditorium San Francesco

For more information, write to or call 071 7822987.

From harpsichord to accordion, a contemporary fusion rooted in ancient tradition, BAROQUE ON ACCORDION will present this modern evolution with an exceptional trio. In this exhibition, some of the great musicians of the European Baroque will be re-proposed, confirming their expressive validity thanks to the performance of the trio composed by Francesco D’Orazio (Baroque violin), Giorgio Dellarole (Accordion) and Giorgio Tabacco (Harpsichord).


The idea of ​​using the accordion (a twentieth-century instrument with strong popular roots) for the performance of the ancient repertoire was born in the first post-war period when the accordion took its first steps in the classical sphere. At that time the new “portable and dynamic organ” with great technical and expressive possibilities had by now defined itself in its constructive characteristics and needed a repertoire that would ennoble it. The first performers, in addition to stimulating the composers to produce new original music, therefore thought of drawing on the great repertoire of Baroque, classical and romantic music, transcribing not only keyboard pieces, but also chamber and orchestral compositions. The program we are presenting is the modern evolution of the accordionists’ natural aptitude for transcription and has solid roots in the habit of composers of the seventeenth and eighteenth centuries of adapting and re-proposing their own pieces and those of other authors in ever new guises. We therefore offer to listen pages of some of the great musicians of the European Baroque and, with a pinch of presumption, we think we are doing something that Corelli, Scarlatti, Vivaldi, Haendel and Krebs would have accepted, at least in principle. In fact, transcription is part of the very concept of Baroque music and the re-proposition of a piece does not impoverish its meaning, but, on the contrary, reconfirms its validity.





Arcangelo Corelli

Sonata op.5 n.12 La Follia per violino e basso continuo

Johahh Gottlieb Krebs

Concerto in la minore per clavicembalo e fisarmonica

Allegro – Affettuoso – Presto

 Antonio Vivaldi

Sonata in do minore per violino, fisarmonica e basso continuo

Allegro – Largo – Allegro

 Georg Friedrich Haendel

Sonata in sol minore HWV364a per violino e basso continuo

Larghetto – Allegro – Adagio- Allegro

Domenico Scarlatti

Sonata in mi minore per fisarmonica e clavicembalo

Grave – Allegro – Grave -Allegro

 Antonio Vivaldi

Sonata il sol minore RV 27 per violino e basso continuo

Andante – Giga – Sarabanda – Corrente


Francesco D’Orazio – violino barocco

Giorgio Dellarole – fisarmonica

Giorgio Tabacco – clavicembalo