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COURT MUSIC

 

The historical context

 

his concert constitutes a wide and varied anthology of the vocal and instrumental genres which Flourished in Italy between the end of the 1400 and the first half of the 1600s, Alongside works by Musicians of great renown such as Tromboncino, Mainerio, Riccio, Kapsberger and Frescobaldi.

The performers will allow you to listen to composers who did make a considerable contribution to the development of Renaissance and Baroque musical forms. The period in which these works have their origin, namely the l6th and the l7th Centuries, is extraordinarily important in the history of Italian music. In parallel with emergence of a multitude of a profane vocal genres (the frottola, villanesca, madrigale, canzone) whose evolution was to culminate, at the end of the 1600s, in the beginnings of accompanied monody and opera (melodramma), instrumental music was creating a permanent place for itself after centuries of predominance of vocal genres, developing an original repertory, both stylistically and formally.

Beyond the transcription and elaboration for keyboard instruments or lute of vocal compositions (tablature) and dance music (the saltarello, pavana, gagliarda, etc.), other "purely" instrumental genres appeared, such as the ricercare, the toccata, the bicinium and the canzona da sonare.
Most importantly, the beginning of 1500s witnessed the invention of printed music, which was to bring about a much wider diffusion and use of musica colta, or art music, even in places outside those in which it was traditionally performed (musical court chapels and cathedral, scholae cantorum).
The genesis of the frottola, at the end of the 1400s, took place as a natural reaction against the dominance of the Franco-Flemish style, which for over a century had profoundly conditioned the production of both sacred and profane music in Italy and Europe.

Initially the new genre was cultivated in and around the court of Mantua where, under the aegis of Isabella Gonzaga, many Italian poets and musicians were active (the most important among them were Serafino Aquilano, Niccolò da Correggio, Bartolomeo Tromboncino and Marchetto Cara), united in the exquisitely "humanist" project of recreating the close relationship between poetry and music which seamed to have been permanently lost in the complex and often artifice-laden polyphonic architecture of the Burgundian chanson.

Our Concert proposal

The concert program will be based on vocal and instrumental music from XVI and XVII century by Cara, Tromboncino, Frescobaldi, Monteverdi, Riccio, D'India, Salomone Rossi, Castello, Kapsberger.
Performers: Silvia Piccollo, soprano, Luciano Nizzoli, flute and cornamute, Nicola Moneta, percussions, Alessandra Milesi, violoncello, Giorgio Ferraris, theorbo. The program can be tailored depending on the client's needs.

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