The second edition of 'Suoni in Certosa!' is underway

The second edition of the musical review is underway Sounds in Certosa! born from the collaboration between the Regional Directorate of Museums Campania - the Certosa and Museum of San Martino and theDissonance Association.

Sunday September 12th, with the concert of theBaroque Ensemble of Naples "Un labyrinth to the present" Jean DeMacque and music in the Naples of the Spanish Viceroyalty, at 11.30 in Refectory of the Certosa and Museum of San Martino,

The exhibition was conceived for the spaces rich in art and echoes of the history of the historic complex of the Certosa and Museum of San Martino, which dominates the city of Naples, silently observing its slow but constant changes for centuries.

The selected scores are combined with the particular acoustics that characterize the spaces of the Certosa. The concerts will take place in the Refectory, the room where the ancient monks consumed the festive lunch, during which the sacred texts were read. The program combines pages taken from the first book of madrigals of From Macque instrumental pieces of Trabaci, Gesualdo e Falconers, trying to offer a snapshot of the relationships between some of the main protagonists of Neapolitan musical life between the 16th and 17th centuries.

Dissonanzen has always looked beyond contemporary repertoire, as many of the musicians of the Dissonanzen Ensemble are also linked to performance practice on ancient instruments. In this specific case, the activities of the Ensemble Barocco di Napoli are and will be a further declination of the activities of the Dissonanzen Association, which this year acquired its brand.

Next appointment Sunday September 19 always at 11.30 in the Refectory hall with the concert Robert Valentine: an Englishman in Rome (and maybe also in Naples…). The flute sonatas, presented by the Baroque ensemble of Naples.

The figure of De Macque exemplifies the particular story of many composers who, in the transition between the 16th and 17th centuries, found themselves in an era of great change, in which the aesthetic and social contours of making music were changing. The difficulties and doubts that accompanied De Macque in many life choices emerge in his private correspondence and are summarized in the phrase that was used to give the concert its title: a “labyrinth” in the present tense found in a letter sent to his friend Norimberghi.

The madrigals are performed in an original “mixed” version in which the soprano voice alone is accompanied not by other singing voices but by instruments, following a practice that has been well known since the Renaissance. The presence of the lute serves to give further cohesion to the contrapuntal and harmonic fabric, which unfolds through the paths of the four voices (soprano and three flutes). The use of flutes in low tessitura arises from the need to maintain the original interval proportions.