Saturday 17 of September, 7pm
Pepi Lloret & Lucentum XVI : Dolcissimi respiri
Sunday October 3, 8pm
Alenar
Saturday September 17 , 7:30 pm
Èlia casanova & Lucentum XVI
Dolcissimi respiri
Èlia Casanova, soprano
Pere Saragossa, shawms and conductor
Gebhard David, cornetto
Carles Vallès, flutes and dulzian
Antoni Lloret, shawm
Elies Hernandis and Ricardo Ortiz, sackbuts
Fran López, theorbo and baroque guitar
Fernando Fernandez, lute and baroque guitar
Facundo San Blas, percussion
PROGRAM
Virgin glorious queen, by Lope de Baena(fl. 1470-1520). Barcelona Songbook [BC454]
La bella malmaridada, by Gabriel Mena (1470-1528). Palau Songbook [1490-1505]
That little blackberry, by Gabriel Mena. Palau C
La Fille Guillemin, anonymous dance by the Montecassino songbook (1480-90)
Of being badly married, by Diego Fernández, C. de Palau
Nina e vina, anonymous from the Cançoner de la Colombina (1460-1480)
From the sweet enemy, by Gabriel Mena, C. de Palau
Basciami mille, mille volte, from the Fifth madrigal book (1585) by Luca Marenzio (1533-1599).
Maria, dolce Maria, from the First book of music (1618) by Francesca Caccini (1587-1645?)
Che si può fare?, op.8 (1664) by Barbara Strozzi (1619-1677)
Lasciatemi qui solo, from the Primo Libro (1618) by Francesca Caccini
Sinfonia de La Liberazione di Ruggiero dall'isola d'Alcina (1625), by Francesca Caccini
O Chiome belle, from Primo Libro (1618) by Francesca Caccini
Chi desia di saper, from the First Book (1618) by Francesca Caccini
Dolcissimi respiri, or Il silentio nocivo, op.1, (1644) by Barbara Strozzi
Amor dormiglione, from the Cantata, ariette and duetti (1651), op.2, by Barbara Strozzi
Both sanity and fantasy, counterfeit of Un sarao de la Chacona, (1644) by Joan Aranyés (c.1580-c.1650), with text from Sarao de Amor by Joan Timoneda (Valencia, 1520-1583)
Programme notes
Francesco Barsanti, Italian flautist, oboist and Baroque composer settled in Scotland in his youth where he came into contact with popular music which inspired him to write a series of pieces as startling as they are everyday, since they are nothing more than harmonisations of Scottish folksongs. This repertoire allows us to take a true journey into 18th century Celtic music and at the same time demonstrates an early experience of fusion between traditional music and so-called “ cultured “ music. But where is the boundary between these two musical universes? It would certainly be very difficult to define where tradition ends and where scholarship begins.... both in terms of the repertoire and the design of the instruments themselves.
It is in this spirit that we venture, with “I feel the flame of love” ,to break down barriers and to confront songs taken from their respective contexts, handed down and presented to us as blood brothers. And all this we do deliberately, incorporating instruments from these diverse worlds, ranging from those commonly used in what is called World Music, to those most typical of classical music, passing through what we can only call “ indigenous”. Scottish and English ballads and Irish jigs are mixed with music from the Mediterranean, and also from India and Palestine. Compositions from the Middle ages and the Baroque emerge as a branch of newly created Folk music.
The nexus which serves to blend all these ingredients and make the recipe so aromatic is none other that the universal theme of Love, which has been, and will continue to be, the reason for so much music since time imemorial.
Èlia casanova, soprano
Èlia graduated in singing at the Conservatorio de Música de Valencia under the tutelage of Consol Rico, and specialised in early music, with a scholarship from the Instituto Valenciano de la Música, at the Royal Birmingham Conservatoire with the prestigious tenor Andrew King. She has been awarded several prizes in the field of early music, including the Cecil Drew Oratorio Prize, the prize for the best early music singer at the Royal Birmingham Conservatoire, and the Special Jury Prize at the International Early Music Competition in Gijón. In 2019 her album L'Universo sulla pelle received the Carles Santos Prize for best heritage recovery album.
She has been taught by Andreas Scholl, Jean Tubery, Richard Levitt, Maria Jonas, María Schiabo, Carlos Mena, Lambert Climent, Robert Expert, Helena Lazarska, Paloma Gutierrez del Arroyo among others and has worked with conductors such as Jordi Savall, Fabio Biondi, Massimo Spadano, Carlos Magraner, Eduardo López Banzo, Patrick Fournillier or Josep Ramon Gil-Tàrrega, among others.
As a soloist, Èlia has performed in auditoriums, theatres, cathedrals, churches and chapels all over the world, from the Palau de la Música Catalana and the Palau de les Arts in Valencia, to the Walt Disney Concert Hall (Los Angeles), the Symphony Center Orchestra Hall (Chicago), the Tang Xianzu Theater in Fuzhou (China), or the Acropolium of Carthage (Tunisia), among others.
To date, he has recorded twenty-six albums with various ensembles. In the last two years he has recorded Super Lamentationes. Cristóbal de Morales, Germanías, Cantigas de Santa Maria and Mediterránea with Capilla de Ministrers, among others.
She has participated in music festivals all over the world, including a tour of the USA with Jordi Savall, the Cremona Festival, the BachFest Leipzig, the Festival Academia Musica Antica di Milano, the Festival Voix et Route Romaine de Alssacia, among others.
Translated with www.DeepL.com/Translator (free version).
LUCENTUM XVI
Group of ministers led by Pere Saragossa, created to interpret and spread the rich and varied musical repertoire of the Renaissance. Bands of wind instruments, with the name alta capella, spread throughout cities and towns in Europe in the 15th and 16th centuries. The main function of the ministers within the liturgy was to accompany the vocal music, dubbing the voices. In the civil sphere, the high chapel was in charge of performing dances, popular songs, and epic or love pieces of courtly and popular origin.
Among his performances stand out those performed in Bari and Molfetta as part of the Anima mea Festival in Puglia (Italy), Musical Vespers at the Monastery of Pedralbes in Barcelona, Festival of Ancient Music of the Pyrenees, Serenades Festival of the University of Valencia, Music Festival Antiga de Morella, Clásicos en la Frontera a la Ribagorça, Festival of Contemplative Music of Santiago de Compostela, Festival of Sacred Music of Benicàssim, Festival of Ancient and Baroque Music of Peñíscola.
In 2021 they published their first record work with the title "El Cantoral del Monestir de Santa Maria de la Murta d'Alzira", a record of which the specialized critic has said "The execution is absolutely exquisite, full of balance in the excellent voices and the instruments (...). The album is a gem, both for the interpretation and for the unprecedented and beautiful polyphony and for the documentation.» (Manuel de Lara Ruiz, Scherzo Magazine, June 2021).
