Giovanni Felice Sances: Dialoghi Amorosi
Scherzi Musicali, Nicolas Achten
Ricercar RIC385. 74’53
Giovanni Felice Sances (c1600-1679) was born in Rome to a family of singers. He studied at the Collegio Germanico and took part in the opera Amor pudico in 1614. He then moved to Bologna, Venice and finally Vienna, where he eventually became Kapellmeister at the Imperial court chapel. He published his four collections of Arcadian cantade (or cantatas – one of the earliest uses of the word, although not in the recitative-aria form of later pieces with this name) in Venice around 1640, although only two volumes have survived. Continue reading →
Laus Polyphoniae 2018
1618 / BEFORE
Antwerp, Belgium. 16-20 August.
This year’s Laus Polyphoniae festival (part of the Festival van Vlaanderen / Flanders Festival) celebrated two anniversaries. It is 25 years since the festival first started, and 400 years since the opening of the former St. Augustine’s Church (in 1618), now the home of AMUZ (Augustinus Muziekcentrum), the hosts of Laus Polyphoniae. The festival lasted from 16 – 26 August, and I was invited for the first four days, from the opening concert on Thursday 16 August to the lunchtime concert on Monday 20 August. Taking the date of 1618 as the hinge, the Laus Polyponiae festival ‘1618 / Before’, was the prelude to a further series of concerts under the title ‘1618 / Beyond’, the English names being original, not translations.
Focussing on music from the Middle Ages and Renaissance, the programme covered repertoire from the year 800 up to the early 17th century, when the early Baroque style began to emerge from the tradition of Renaissance polyphony. It featured musicians from Flanders and beyond, with a wide-ranging programme of concerts and events, the International Young Artist’s Presentation, and various associated events included a study day exploring the recently discovered Leuven Chansonnier and other educational activities. Unless otherwise noted, all the concerts took place in AMUZ.
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Regensburg: Tage Alter Musik
2-5 June 2017
With 16 concert in four days, held over the Pentecost/Whitsun weekend, the annual Regensburg Tage Alter Musik festival is quite a challenge for a reviewer, but a sumptuous feast for those who manage to attend all the concerts, most of which are sold out. The entire centre of the historic Danube city of Regensburg has been declared a World Heritage site, and all the venues for the festival are in important historic buildings. These range from extreme Baroque and Rococo to austere Gothic churches, and the historic Reichssaal, part of the Altes Rathaus, and for centuries the permanent seat of the Parliament of the Holy Roman Empire. This was the 33rd festival and featured groups from 12 countries, and musicians from a great many more. The Tage Alter Musik website can be see here, with links through to detailed programmes and group websites. Continue reading →
Antonio Bertali: La Maddalena
Scherzi Musicali, Nicolas Achten
Ricercar RIC367. 67’42
Monteverdi, Guivizzani, Effrem, Rossi: Music composed for La Maddalena, a sacred drama by Gio. Battista Andreini; Bertali: La Maddalena; Mazzocchi: Lagrime Amare
The music of Antonio Bertali deserves to be much better known, and this important recording demonstrates why. His oratorio La Maddalena was composed in Vienna in 1663. It is richly scored for six solo singers, a six-part viol consort, two cornetts, a violin and trombone plus continuo, here drawn from lirone, violone, theorbo, archlute, guitar, chitarrones, tiorbino, harp, and a variety of keyboard instruments.
Its three parts start with a dialogue between Pentimento and Amor verso Dio (Repentance and Love for God), sung by a low bass and high tenor respectively, and reflecting on the death of Christ. The sombre mood is lifted somewhat in the second part, when the Virgin Mary and Mary Magdalene contemplate their position, their moods changing dramatically from lamentation to some indications of hope for the future. The final part features two sinners (Peccatore), who meet up with Maria and Maddalena to compare notes. The rich orchestration of cornets Continue reading →