|
|
|
|
|
|
|
|
 |
 |
 |
| 4 Musicians |
| Music and Poetry at the King's bedside © |
| French Instrumental and vocal music at the court of Louis XIV |
| Marin Marais, Michel Lambert, etc…with narrated texts by Jean Racine |
| Esperar, Sentir, Morir |
| Street dances and courtly songs in 17th-century Spain and Italy |
| The blends and influences of popular music on Art Music; this programme includes popular themes and melodies performed in the streets and at the court. |
| Ferrari, Monteverdi, José Marin, Moulinié, Kapsberger, Merula, Hidalgo |
| 7 Musicians |
| Aux Marches du Palais (also exists in a version with 10 musicians) |
| Traditional French Romances and Laments |
| Long performed as children's songs, they also retrace the history and sociology of France and are a part of an oral tradition that is centuries old. The songs were preserved with different arrangements/publications made through the ages from the 15th Century to the 19th. |
| Il Nuovo Stile |
| A concert of Italian vocal and instrumental music of the seventeen century |
| Belli was in charge of the Chapel of San Lorenzo in Florence from 1613 and worked almost all his life at the Medici court. Castaldi, born in 1580, was an adventurer and spent his life composing, performing and travelling. The Humanist aesthetic inspired by the Antiquity led to a 'New Style' - the abandonment of polyphony for the use of a monodic voice, closer to human expression. "Text, rhythm and sound", in that order of importance according to Caccini. |
| Domenico Belli & Bellerofonte Castaldi |
| Michel Richard de Lalande(1657 - 1728) © |
| Tenebrae - 'Leçons de Ténèbres' |
| The most important composer and the greatest representative of the 'Ecole de Versailles'. Made a major contribution to the corpus of sacred music for female voices; his works were often performed by his wife and daughters. |
| Tonos divinos, tonos humanos |
| Spiritual adoration or worldly love? |
| A concert of instrumental and vocal music from 17th-century Spain. The programme aims to show the connections between sacred vocal music and secular/popular music, and how words glorifying heaven and words expressing human suffering are often very similar. |
| Juan del Encia, Juan Hidalgo, Moulinié, Juan Aranès + anonymous composers |
| 10 Musicians |
| Aux Marches du Palais |
| See above |
| Michel Richard de Lalande |
| Tenebrae - 'Leçons de Ténèbres' |
| See above |
| Il Fasolo? © |
| Venice in the 17th Century - from Carnival songs to Venetian opera |
| Who is Il Fasolo? The author of La Barchetta passagiera published in Rome in 1627? The Venetian opera composer Francesco Manelli? The Franciscan friar and religious composer Giovanni Battista Fasolo who retired in Palermo? Or all of them? Le Poème Harmonique retraces here the origins of the Venitian Opera, staging characters from the Comedia dell'arte using baroque gestures and candles. |
| 11 Musicians |
| The Human Comedy - Estienne Moulinié (1600? - 1676) |
| French Airs de cour, Spanish, Italian and Occitanian songs of the 17th Century, popular songs and instrumental ballets, Estienne Moulinié is a composer of great diversity. Of Languedoc origin, Estienne Moulinié was familiar with Italian and Spanish music and was the only composer at the time to compose on texts written in the four above languages. |
| 12 Artists |
| Le Ballet des fées © (8 musicians and 4 dancers) |
| Dances, fights and other figures in the Ballet de Cour : the art of mimetic dance in the seventeenth Century |
| The ballet de cour appeared in France in the 16th Century, combining the four arts of music, dance, poetry and painting. The aim was to regain the original harmony between Man and the Divine with inspiration taken from mythology and romances. Another form, the ballet burlesque, was a favourite during the reign of Louis XIII. |
| Pierre Guédron (1570 ? - 1620 ?) - A Concert of Consorts |
| Polyphonic Airs de Cour and instrumental dances |
| Compositeur en musique de la Chambre du Roy, Pierre Guédron is typical of the early Baroque period in France when the air de cour was invented under the multiple influences of vaux de ville, street music, Spanish and Italian songs and dances. Performed by a triple consort of voices, viols and lutes. |
| Emilio de' Cavalieri (1550 - 1602) - Lamentations |
| Personal musician to Ferdinando de' Medici in Florence, Emilio de Cavalieri is credited with the invention of dramatic monody or stile rappresentativo, replacing the polyphonic style for a more human approach. It is the first time that this style was used in religious music. |
| 13 Musicians |
| Anthoine Boësset (1556 -1643) - Je meurs sans mourir ('I die without dying') |
| Airs de cour and court-ballet music from the time of Louis XIII |
| Anthoine Boësset composed over 230 airs and became Maître de Musique de la Reyne and then Surintendant de la Musique de la Chambre. He took the air de cour to its height, giving it his truly Baroque aesthetic. |
| 17 Musicians |
| Nova Metamorfosi |
| Sacred Music in Milan in the early 17th century |
| The programme presents an important period of change in Milan, when secular compositions such as Monteverdi's Madrigals, were transformed into pieces with a truly mystical feeling under the Counter-Reformation orchestrated by Cardinal Borromeo. |
| Vincenzo Ruffo, Claudio Monteverdi/Aquilino Coppini |