Saturday September 24, 7:30 pm
amandine beyer · GLI INCOGNITI
J’aime mieux ce qui me touche...
A walk to the beat of French classical music
Amandine Beyer, violin and conducting
Baldomero Barciela, viola da gamba
Anna Fontana, harpsichord
François Couperin (1668-1733)
Deuxième Concert Royal (1722)
Jean-Marie Leclair (1697-1764)
Sonata II in E minor (1743)
Jacques Champion de Chambonnières (ca. 1601-1672)
Suite in F of the 2nd book (1670)
Jean-Féry Rebel (1666-1747)
Sonata VI in B minor (1713)
J. Ph. Rameau (1683-1764)
5th Concert of the Pièces for harpsichord in CONCERT (1741)
"M'agrada més el que m'emociona que el que em sorprendén" ("J'aime mieux ce qui me touche que ce qui me surprend"), this is how François Couperin described and contrasted French and Italian music. In this program, the musicians of Gli Incogniti take French music as a starting point and present a variety of very nice pieces that are very dear to them.
Nevertheless, the influence of Italian music never ceases to be evident, as in the case of Rebel and Leclair, who, fascinated by it, offer a very personal adaptation. Couperin, Rameau and Chambonnières, for their part, achieved a kind of classical perfection of this "touching", that is to say, moving style.
Founded in 2006 by a group of friends gathered around the violinist Amandine Beyer, the group takes its name from the Accademia degli Incogniti, an active liberal literary circle of 17th century Venice. With its name it also bears its spirit, a taste for the unknown in all its forms, for experimentation with sonorities, the search for repertoire, the rediscovery of the "classics" and of unknown masterpieces.
The group is nowadays recognized as a point of reference for historically informed interpretation. Gli Incogniti is a regular guest of the most important theatres in the world: Philharmonie de Paris, Théâtre dones Champs-Elysées, Wigmore Hall in London, Philharmonie de Essen, Operes de Bordeus, Dijon i Rouen, Oji Hall de Tòquio, Philharmonie de Luxemburg, BOZAR Brussel-les, Fondation Royaumont, Arsenal de Metz, Théâtre de la Ville (Paris), Auditorium du Louvre, La Coursive... He has also participated in major festivals such as the Boston Festival in the USA, Oude Muziek Utrecht, the Printemps dones Arts de Montecarlo, the DT. Festival Bruges, the International Festival of Bergen in Norway, the festival of Torroella in Spain, the festivals of Saintes, Montpeller, Sablé, Ile-de-France...
Founded in 2006 by a group of friends gathered around violinist Amandine Beyer, the group takes its name from the Accademia degli Incogniti, an active liberal literary circle in 17th century Venice. With his name he also inherits his spirit, a taste for the unknown in all its forms, for experimentation with sounds, the search for repertoire, the rediscovery of "classics" and unknown masterpieces.
The group is now recognized as a point of reference for historically informed interpretation. Gli Incogniti is a regular guest of the most important theaters in the world: Philharmonie in Paris, Théâtre dones Champs-Elysées, Wigmore Hall in London, Philharmonie in Essen, Opéra de Bordeaux, Dijon and Rouen, Oji Hall in Tokyo, Philharmonie in Luxembourg, BOZAR Brussels, Fondation Royaumont, Arsenal de Metz, Théâtre de la Ville (Paris), Auditorium du Louvre, La Coursive... He also participates in major festivals including the Boston Festival in the USA, Oude Muziek Utrecht, the Printemps women Arts of Monte Carlo, the DT. Bruges Festival, Bergen International Festival in Norway, the Torroella festival in Spain, the festivals of Saintes, Montpellier, Sablé, Ile-de-France...
Saturday, October 9, 7pm
Francesc de Borja
Music for the 450th anniversary of his death
Pere Saragossa, shawms and direction
Quiteria Muñoz, soprano; Carla Sanmartín, alto
Jesus Navarro, tenor; Giorgio Celenza, bass
Carlos García-Bernalt, organ
Xavier Boïls, cornetto; Vicent Osca, sackbut; Antoni Lloret, shawms;
Antoni Llofriw, dulzians; Fernando Fernández, lute; Facundo San Blas, percussion
francesc de borja
· La Bataille, by Clément Janequin (c.1485-1558), of the Dixiéme livre (Amberes, 1545) of Tielman Susato
· Rondeau «Ce jour», by Guillaume Dufay (c.1397-1474)
· Ave Maris Stella, by G. Dufay / Booksongs of Montecassino (c.1480)
· Miserere Nostri – Vexilla Regis, C. Montecassino
· El cervel mi fa, anonymous of the Booksong of Palacio (c. 1500)
· Susanne un jour, d’Orlando de Lassus (1532-1594)
· Credo in unum Deum of the Mass about Susanne un jour, by Orlando de Lassus.
· Makam Muhayyer «Kúme» usules Düyek Acemler, Turkish war march.
· Passio Domini nostri Iesu Christi secundum Mattheum*, by Jan Nasco (c.1510–1561) and Joan Baptista Comes (c.1582-1643)
*Named as «Passion de Valencia» by Joan Baptista Comes (Escorial Monastery Archive, c.1607)
ABOUT THE GROUP
Group of ministers (instrument players) directed 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 love pieces and epics of courtly and popular origin.
Lucentum XVI's performances include those performed in Bari and Molfetta as part of the Anima mea de la Puglia Festival (Italy), Musical Vespers of the Monastery of Pedralbes, 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 disc 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).
francesc de borja
This programme comemorates the 450th anniversary of the death of Francesc de Borja i Aragó ( Gandia 1510- Roma 1572) who was Duke of Gandia, Lieutenant of Catalunya, later joining the Jesuit order being proclaimed a Saint in 1671, for which reason the Catholic church is now celebrating the 350th anniversary of this fact.
In this concert we present the premiere in modern times , of the Passion of Our Lord Jesus Christ according to Matthew, a work which Ferran d'Aragó, viceroy of Valencia and Duke of Calabria commisioned from the Flemish composer, Jan Nasco ( 1510-1561) to give as a gift to the Cathedral of Valencia , being known at the time as the Passion of Valencia.
This work is part of the repertoire of the choir of the monastery of Murta d'Alzira, a musical body to which our group has dedicated the first of their albums released earlier this year.
The representation or interpretation of the Passion according to Matthew , where the gospel of this prophet is narrated, took place in the Roman Catholic liturgy during the Mass of Palm Sunday (the following Tuesday was the gospel of Saint Mark, on Wednesday, the gospel of Saint Luke and on Good Friday the gospel of Saint John.).
The main characters of the Passion are Christ, the Evangelist narrator and the crowd, the so-called “mob” played by the whole congregation.
The score for the crowd has not been found in the Monastery of Alzira , so it could have been performed in plain singing or in a now lost poliphony.
But some parts sung by the crowd appear in poliphony for 6 voices originally written by the Valencian Joan Baptista Comes ( chapel master in the Cathedral of Valencia, successor to Josep Prades) which is in the monastery of San Lorenzo d'El Escorial, a Jerónimo monastery, like that of Alzira. And the interventions of the mob, but for 4 voices, appear in a document of 1561 signed by Jan Nasco himself.
Since the Second Vatican Council, held between 1959 and 1962 the singing of the Latin Passion has been replaced in almost all diocese by the reading of the Passion in the vernacular language ( except in our territory where our own language is not used.).
Together with this great work we present among others pieces from the Cancionero de Palacio , the palace of Queen Isabel of Castilla ( the Catholic) and king Ferdinand of Aragón, and the Songbook of Montecasino ( Naples) a collection written in the 1480s which accompanied Alfons and Roderic de Borja to Rome where they became Popes with the names Calixtus lll and Alexander Vl.