L'Homme Armé Association
Musical Renaissance in Florence
(... after the suspended time)
From Saturday 12 to Wednesday 16 September 2020
The FloReMus International Festival. Renaissance Music in Florence is the first festival entirely dedicated to the music of the fifteenth and sixteenth centuries, located in the city that has most influenced the Renaissance culture in its various facets, artistic-visual, literary, musical, philosophical, scientific and political. The Renaissance represents a period of great political, social, artistic and scientific movements, a period that, in some ways, could have similarities with other historical periods, including the current one. And even the panorama of Renaissance music presents various similarities with the current one, despite the different scope and incidence of the musical phenomenon.
The fourth edition of FloReMus , after the risk of cancellation due to the pandemic, miraculously comes to life (thanks also to the maintenance of support from institutional supporters), albeit in a smaller form than planned before Covid-19: the 27 August as previously announced, but will be concentrated in five consecutive days, from Saturday 12 to Wednesday 16 September .
The inaugural concert is entrusted to the De Labyrintho ensemble directed by Walter Testolin (one of the leading international vocal groups, for the performance of the 15th and 16th century repertoire) and is entirely dedicated to the sacred music of Josquin Despres, while the closing concert, centered on Claudio Monteverdi, will be entrusted to the ensembles L'Homme Armé and La Pifarescha under the direction of Fabio Lombardo .
In between, a special day located in the San Marco Museum, where various appointments will take place from the morning that will end with the evening concert of the soprano Perrine Devillers (which the FloReMus audience was able to appreciate last year, in the concert of the phenomenal Ensemble Sollazzo) and the lutenist Ariel Abramovich with a program dedicated above all to Cipriano de Rore.
Almost all the afternoon concerts will revolve around the repertoire of the madrigal, while the conversations will be dedicated to various themes: the first instrumental ensemble of the city of Florence ("I Pifferi della Signoria" with Gian Luca Lastraioli ), to symbolism in Josquin's music ( with Walter Testolin ), and to the status of a foreigner in the eventful Renaissance Florence ( Lorenzo Tanzini ).
For reasons related to the current situation, the presence of artists from other countries is limited and this is also in tune with other European early music festivals.
The calendar of appointments is divided into different times and in places with different characteristics, always in compliance with the current anti-covid legislation:
- evening concerts : entrusted to interpreters of international level, and placed in places of extraordinary cultural interest;
- afternoon concerts : entrusted to ensembles made up of emerging musicians, possibly placed in more informal contexts with a touch of conviviality ( concerts à boire );
- conversations : meetings on issues related to the historical period, entrusted to experts in the sector who will address them with a highly popular approach;
SATURDAY 12th SEPTEMBER
5.30 pm , Sala Sibilla Aleramo, Biblioteca delle Oblate (via dell'Oriuolo, 24)
Conversation: The Pipes of the Signoria of Florence , with Gian Luca Lastraioli
7 pm Caffè del Verone, Museo degli Innocenti (Piazza SS. Annunziata) PLACE TO CONFIRM
Afternoon concert: Ostinato I want to follow , with Ensemble Cantare a lute . Music by M. Cara, B. Tromboncino, V. Capirola, J. Dalza
9.15 pm , Auditorium Sant'Apollonia (via San Gallo 25)
Evening concert: Missa Gaudeamus. Josquin, the sound of grace , with Ensemble De Labyrintho , conductor Walter Testolin. Music by Josquin Despres.
Technique, inspiration, ideal of sound, of course, but the "miracle Josquin" was perhaps that of being able to restore the sublime inexpressible of faith, of the sacred and of the divine, of the otherworldly vision, of the totality of creation understood as the union of man and of nature with God. The three motets presented in this program are united by several elements: the five-part writing, the extensions of the voices into which they are divided (a canto, three tenor lines and one bass) and the presence of a cantus firmus that is inserted in certain points of the composition, giving life to a sound architecture that constantly alternates “full” and “empty”.
SUNDAY 13 SEPTEMBER,
San Marco Museum (Piazza San Marco, Florence)
"Music and words at the San Marco Museum"
10.30 am , Cloister of San Domenico
Concert: The art of the trumpet. Marches, touches and intonations , with Le Bucciarde (La Spezia), ensemble of natural trumpets and timpani. Music by Lubeck, Bendinelli, Monteverdi
11.30 am , Cloister of San Domenico
Conversation: The Dominican presence in the San Marco complex in Florence , with Father Gian Matteo Serra, Rector of the Basilica of San Marco OP
4.30 pm , Cloister of San Domenico
Afternoon concert : Nature and passions in the madrigal of the sixteenth century , with the Ensemble "Biagio Pesciolini" of the Music School of Prato directed by Mya Fracassini . Beatrice Cioni, Veronica Spada: sopranos, Lucrezia Leporatti, Cristina Pierattini: altos, Andrea Bochicchio, Federico Mancini: tenors, Tommaso Barni, Augusto Biagini: basses. Music by Arcadelt, Verdelot, Rore, Wert, Marenzio, Monteverdi.
5.30 pm , Cloister of San Domenico
Conversation: “Qui perseveraverit salvus erit” . The symbolic sublime in the music of Josquin Despres , edited by Walter Testolin
9.15 pm , Michelozzo Library (Museum of San Marco, Piazza San Marco)
Evening concert: Benign my Fortune. Tablets from the Madrigals of Cipriano de Rore to sing and sonare in the lute , again found , with Perrine Devillers , soprano, and Ariel Abramovich , lute. Music by Cipriano de Rore and others.
The concert presents a selection of 4-voice madrigals by Cipriano de Rore, chosen not with a chronological or stylistic criterion, but exclusively and purely literary: the majority of the selected works are musical versions of texts from the Canzoniere di Petrarca and the Orlando Furioso by Ariosto, texts to which Cyprian paid more attention in his marvelous corpus of secular music. Some pieces by Melchior Newsidler and Jaches de Wert complete the concert.
MONDAY 14 SEPTEMBER
7 pm , MAD. Murate Art District (Piazza delle Murate)
Afternoon concert: Vezzosi augelli . Nature, mirror of the soul with Ensemble Stranarmoniae , directed by Rossana Bertini . Music by L. Marenzio, J. de Wert, C. Monteverdi, A. Banchieri.
TUESDAY 15 SEPTEMBER
5.30 pm , Sala Sibilla Aleramo, Biblioteca delle Oblate (via dell'Oriuolo, 24)
Conversation: Artists, merchants, pilgrims. Being foreigners in Renaissance Florence , curated by Lorenzo Tanzini.
WEDNESDAY 16 SEPTEMBER
7 pm , Cenacolo di Sant'Apollonia (via San Gallo 25) PLACE TO BE CONFIRMED
Afternoon concert: European polyphonies with Ensemble Le tems revient . Music by Cornysh, Lobo, Isaac
9.15 pm , Auditorium Sant'Apollonia (Via San Gallo 25, Florence)
Evening concert : In illo tempore . Monteverdi between nova and ancient oratione , with the Ensemble L'Homme Armé and the Ensemble La Pifarescha conducted by Fabio Lombardo. Mya Fracassini, Marta Fumagalli: mezzosoprani, Paolo Fanciullacci, Andrés Montilla Acurero, Riccardo Pisani: tenors, Gabriele Lombardi: baritone; David Brutti, Josué Meléndez: cornets, Rosita Ippolito: viola da gamba, Mauro Morini: trombone, Andrea Perugi: organ. Music by Claudio Monteverdi.
Over the last few decades Claudio Monteverdi's sacred music has been the subject of various readings, some of which have relegated it (albeit with the exception of the very famous Vespro della Beata Vergine ) to a minor production more conditioned by the "first practice", that is, from a more traditional use of counterpoint. On the contrary, and although in modern times it was obscured by the novelty of the Vespro published in the same edition of 1610, the Missa in illo tempore is one of the test beds of Monteverdi's contrapuntal explorations, where counterpoint is put at the service of the text, even if in a different way from the contemporary madrigal production.
TICKETS: in the concert venues one hour before the show for the evening concerts on Saturday 12, Sunday 13 and Wednesday 16 (full ticket € 18 , reduced € 12 ). The reserved tickets, given the limited capacity of the spaces, must be collected 30 minutes before the start of the concerts. Information and reservations: tel. 055 695000/3396757446 email@example.com or directly on the site www.hommearme.it
With the exception of the evening concerts, all other events are free. Due to the limitation of seats due to anti-covid measures, reservations are strongly recommended, even for free concerts.
L'HOMME ARMÉ, founded in 1982, carries out an intense activity of research and concert and recording performance of the repertoire, mainly vocal, from the fourteenth to the seventeenth century, dedicating particular attention to the Florentine repertoire. In this context it has made recordings such as Musica a Florence at the time of Lorenzo the Magnificent, Regina Pretiosa: a Marian celebration of the Florentine fourteenth century, Missa in Assumptione Beatae Mariae Virginis by Marco da Gagliano. In the course of his concert activity he has repeatedly and successfully performed great works of ancient literature such as Vespro della Beata Vergine, Intermedi della Pellegrina, Representation of Anima et di Corpo). Over the years he has collaborated with various musicians and conductors such as Frans Bruggen, Andrew Lawrence-King, Christophe Coin, Andrew Parrott, Kees Boeke, Alan Curtis. For many years the artistic direction of the group has been entrusted to Fabio Lombardo.
L'Homme Armé has been repeatedly present in the concert seasons of important institutions and festivals, such as Ravenna Festival, Teatro Valli di Reggio Emilia, Mart di Rovereto, Teatro Regio di Parma, Unione Musicale di Torino, Amici della Musica (Verona, Mestre , Florence), the Orchestra of Tuscany, the Quartetto Society of Milan, the Baroque Festival of Viterbo, the Cusiano Festival of Lake Orta, the Concerts of the Banner of Rome; also Song of the Stones, Baroque Signs of Foligno, Taormina Festival, Monteverdi Festival of Cremona, Anima Mundi of Pisa, Concerts at the Quirinale (RAI), Teatro Grande of Brescia and many others. In recent years, the group has developed a reflection on the affinities between some of the problems raised by "ancient music" and some forms of current musical thought, seeking analogies between the search for the performance practice of the ancient and contemporary repertoire. This reflection has stimulated L'Homme Armé to extend its field of research and performance to contemporary music as well. He thus successfully presented very particular programs that combine ancient and contemporary music by Dufay, Josquin, Palestrina, Janequin, Vecchi a Messiaen, Kurtag, Hersant, Lang, Sciarrino, Pezzati, Pärt, Nono, Cage, Berio; notable compositions of the latter in particular have been performed such as Laborintus II, Cries of London and A-Ronne. With this repertoire he has participated among other things in Fabbrica Europa, Architecture of voices (Kiev), Maggio Musicale Fiorentino, Tempo Reale Festival. By virtue of the professional competence and artistic level of its performances, the ensemble has received prestigious awards and commissions from national institutions and committees.
Walter Testolin , singer and conductor, dedicates a large part of his musical commitment to the knowledge and dissemination of the polyphonic vocal repertoire of the Renaissance, of which he is considered one of the most attentive and significant performers. In 2001 he founded De labyrintho , which under his direction has established itself as one of the reference vocal groups in the performance of the repertoire of the fifteenth and sixteenth centuries, carrying out its activity at the main European festivals and whose recordings have received acclaim such as the Gramophone Critic's Choice and the Amadeus Award for the best record of the year. Since 2011 he has directed the young vocal and instrumental ensemble RossoPorpora with which he is developing a profound study path of the Italian madrigal repertoire, which has led the group to perform, among others, in prestigious festivals such as Laus Polyphoniæ of Antwerp and Oude Muziek of Utrecht.
He has sung with many with many of the leading directors of the European Renaissance and Baroque music scene and collaborates in concerts and recordings with the Belgian orchestra La Petite Bande conducted by Sigiswald Kuijken and for over twenty years with the Italian Swiss Radio Choir. At the Salzburg Festspiele in 2015 she sang in Gluck's Iphigenie en Tauride, conducted by Diego Fasolis, directed by Moshe Leiser and Patrice Caurier and with Cecilia Bartoli in the title role. Also active in the contemporary repertoire, he sang and conducted works by some of the leading composers of today's music scene and recently participated in the staging of the operas "Cuore di Cane" by A. Raskatov and "Die Soldaten" by BA Zimmermann at the La Scala Theater in Milan.
Perrine Devillers studied at the Schola Cantorum Basiliensis, where she specialized in early music. She sings regularly in ensembles such as Sollazzo Ensemble (cond. Anna Danilevskaïa), Pygmalion (cond. Raphaël Pichon), Prophets of the Fifth (cond. Elam Rotem), Vox Luminis (cond. Lionel Meunier), Ensemble Correspondances (cond. Sébastien Daucé), La Tempête (cond. Simon-Pierre Bestion), Huelgas Ensemble (cond. Paul Van Nevel). In Basel she played Abra in Vivaldi's Juditha Triumphans and Belinda in Purcell's Dido and Æneas ; at the Opéra Comique in Paris she was Alcina in The Liberation of Ruggiero from the island of Alcina by Francesca Caccini.
The Pifarescha was born as an Alta cappella formation, an instrumental ensemble of winds and percussion spread under the name of "Piffari" and widely celebrated throughout Europe in the Middle Ages and the Renaissance. The Pipers were active both independently and in support of other instrumental, vocal, or dance groups. The ensemble combines and alternates the rich and incisive sounds of the "high" with the softer ones of the "lower chapel", through the use of a wide range of instruments: trombones, cornets, trumpets, bombards, bagpipes, hurdy-gurdy, dulciana, flutes , viella, viola da gamba, percussion, psalter and many others. Furthermore, it follows the progressive evolution that will lead the high chapel group to transform itself and lead to the formation of horns and trombones, noble consort par excellence between the Renaissance and Baroque. This organic, now profoundly changed while often maintaining the old name of piffari, becomes another distinctive feature of the possibilities of the ensemble, and is further expanded with the integration of keyboard instruments, strings and voices, in full compliance with the canons aesthetic-stylistic repertoire of the 16th and 17th centuries. Active in various sectors of the show and present in important international festivals, La Pifarescha has recorded for CPO, Classic Voice, Dynamic, Arts and Glossa.
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