Concert - Event posted by elena
SATURDAY SEPTEMBER 21st 2019
SUNDAY, SEPTEMBER 22, 2019
Polyphonic Quintet Clemente Terni
Lorena Giacomini: soprano, Costanza Redini: contralto
Gualtiero Spini: tenor Oronzo Parlangéli: baritone Guglielmo Visibelli: bass
The Istituto Clemente Terni is present with two concerts as part of the review «Notes to the museums» of Toscana Classica, with a special program for the weekend dedicated to European Heritage Days (GEP) scheduled for Saturday 21 and Sunday 22 September 2019.
Saturday 21, from 4 pm the Polifonic Quintet Clemente Terni will perform at the Museo Nazionale del Bargello (via del Proconsolo 4, Florence; free admission with the museum ticket; first part at 4 pm, second part at 5 pm), presenting «Dante's musical memory in the "De Vulgari Eloquentia" and in the "Commedia" , a show inspired by the direct and indirect musical quotations found in Dante's work. The program includes music by Notker Balbulus, Peire Cardenal, Berenguer de Palou, Thibaut de Champagne, Gace Brulé, Arnaut Daniel and various anonymous, in the transcription of Clemente Terni.
The same Quintetto Polifonico Clemente Terni on Sunday 22nd from 4 pm will perform inside the Museo delle Cappelle Medicee ( Piazza Madonna degli Aldobrandini, Florence; admission with museum ticket; info: firstname.lastname@example.org , 338 8963453), open on an extraordinary basis from 10 am to 6 pm; for this date the program, under the title of Songs for the Passion , presents an anthology of Laude of the Passion from the Laudario di Cortona (XIII century), Spanish sacred folk songs ( saetas and Passion songs ), motets and responses of the Italian Renaissance polyphonic repertoire.
In the first concert, "Dante's musical memory in the" De Vulgari Eloquentia "and in the" Comedy "" , he developed the theme, fascinating and rarely investigated, of the musical background that was the backdrop to Dante's life, whose echo often reverberates in his works, both in direct quotations and in hypothetical influences. It should be remembered that medieval poetry was in fact music, not only because it was almost always sung, but also because of the nature of its formal structures, based on the numerus ("number of parts", writes Dante in the Convivio ), which was the responsibility of the Music as a science of the Quadrivium .
The executive project of Dante's musical memory comes from a study commissioned in the eighties by Maestro Clemente Terni from the Società Dantesca Italiana ; from this came the concert version. There are crucial places of the Comedy and of De Vulgari Eloquentia associated with songs of the liturgical and paraliturgical repertoire, to some Cortona laudes, to melodies drawn from the repertoire of troubadours. In some cases, Dante's reference to very precise compositions is direct; in others, it is the Maestro Terni who identifies the relationship between the content and the form of Dante's poetry and the music to which the poet would have drawn more or less explicitly; in other cases the poetic-musical quotations introduced by Dante are associated with contemporary intonations, according to a use widely documented by the sources.
The second concert, Canti per la Passione , opens with what is considered a fundamental document of the Italian musical Middle Ages, the Laudario di Cortona. We are faced with the first documents of music on a sacred subject in the Italian vernacular, and this closely links the fate of the Lauda Cortonese to those of the birth of our poetry. Our leading religious poet, Iacopone da Todi, was also affiliated to a company of Laudesi, and some scholars speculate that he himself may be the author of some texts of the code. The program is developed along a sacred repertoire of the fifteenth and sixteenth centuries between Italy and Spain.
The Italian Polyphonic Quintet " Clemente Terni" , formed in 2004 by Guglielmo Visibelli, follows the path traced by the concert-vocal experience of the "Italian Polyphonic Quintet" founded by Clemente Terni, composer, musicologist, organist and singer (1918-2004) . It is made up of singers of various backgrounds and musical education, dedicating itself mainly to the pure polyphonic repertoire, a cappella, from the early medieval organa to the late-Renaissance repertoire, passing through the great sacred and profane production of the golden age of the Italian musical Renaissance is Spanish.
A peculiar characteristic of this formation is a thorough research on the song that, even in the most rigorous philology, is very different from the ideal of an "instrumental voice". We investigate, on the other hand, a complex, full and complete vocality, full of expressive vitality. Particular care is taken in defining the fusion and the mixture between the voices, facing the same fascinating sound enigmas with which the ancient composers were measured, who knew how to organize the sound according to a wide acoustic perspective and in a continuous correspondence between the harmonics of voices and those stimulated in the environment. In parallel there is a great deal of attention in treating the phonetic-vocal articulation of the texts, in a sound reality in which the metric musicality of the word is decisive. This search for humanity and expressive coherence never fails to return the profound poetry of these musical treasures, too easily connoted as distant and complex, and which can instead amaze and move for the immediate ability to communicate emotions, thoughts and images.
Concert program on September 22nd :
De la crudel morte de Cristo - Laudario di Cortona 13th century
A divine vull cantar - canto de pasiòn - anonymous Spaniards XVI sec.
Tristis est - responsorio of Marco da Gagliano
Estaba junto a la cruz - canto de pasiòn - anonymous Spanish XVI century
Caligaverunt - responsorio of Marco da Gagliano
Sapientissimus - motet by Francesco De Ana
I'm ofensa's grande - espiritual cantion of Francisco Guerrero
When's miro mi Dios - espiritual canton of F. Guerrero
In recort - saeta - anonymous Spaniards XV - XVI sec.
Caminant - canto de pasiòn - anonymous Spaniards XV - XVI sec.
Alà arribita, arribita - anonymous Spaniards XV - XVI sec.
Ecce quomodo - MA Ingegneri's motet
Caminando el buen Jesus - saeta - anonymous Spaniards XVI sec.
Miràlo, por ahi comes - saeta - anonymous Spaniards XV - XVI sec.
O bone Jesu - motto by R. Parson
Perfice - 13th century canon - transcription of Clemente Terni
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