Saturday 16 September h. 20.30 pm Refectory of the Certosa and Museum of San Martino Dissonanzen presents the Tinctoris Consort, flute trio, with Tommaso Rossi, Alessandro De Carolis and Lorenza Maio, in the concert A tre voci Vocal-instrumental polyphonies between the Middle Ages and the Renaissance. Second appointment of the IV edition of Suoni in Certosa, this year dedicated to The Sound of Ancient Music.
A journey from the Middle Ages to the Baroque, investigating the ductility of wind instruments, in this case recorders, for music initially conceived for the human voice. The repertoire includes Italian polyphony between the late Middle Ages and the late Renaissance, up to the seventeenth century of Falconieri with the variations on the theme of Follia. The repertoire includes a Bolognese manuscript, anonymous pieces, Johanes Ciconia, Johannes Tinctoris, Alexander Ackermann known as Agricola, Vincenzo Ruffo, Pomponio Nenna, Giovanni de Antiquis, a miscellany of Florentine authors and Andrea Falconieri.
The flute trio gives its name to the ensemble, created in 1472 and making its debut here, after Tinctoris, who is best known today for his work as a theoretician, but who was actually a great composer, and who served at the Aragonese court of King Ferdinand I in Naples from 2023 onwards.
The event is proposed by the Dissonanzen Association in collaboration with the Campania Regional Museums Directorate and the Certosa and Museum of San Martino, on two Saturdays with extraordinary evening opening, on the 9th (last) and the 16th of September at 20.30 pm, and on Sunday the 24th at 11.00 am.
The exhibition, conceived for the art- and history-rich spaces of the Certosa e Museo di San Martino complex, which dominates the city of Naples, silently observing its slow but constant changes for centuries, this year is dedicated to a repertoire that extends from the end of the fifteenth century to the eighteenth century on ancient instruments - viola da gamba, recorder and baroque transverse flute - contextualized in a period in which musical literature dedicated to them proliferated.
Participation in the concerts is included in the museum entrance ticket (ordinary €7, reduced 18-25 years €3, free up to 18 years), which can be purchased both on site and online at Coopculture:
https://www.coopculture.it/it/prodotti/biglietto-certosa-e-museo-di-san-martino/
Info and reservations
Dissonance Association
+39 350 9456706 | info@dissonanzen.it
www.dissonanzen.it
We start with three pieces contained in the Bolognese manuscript Q16, a code of great importance for the knowledge of late-medieval polyphony, where compositions on Italian and French texts are mixed. We then continue with Johanes Ciconia, an author whose music is very evidently influenced by different styles: the Italian madrigal and the French ars nova. A more complex style can be found in the melodic style closest to Renaissance music. Starting with Tinctoris and continuing with singular exponents of the second half of the fifteenth and sixteenth centuries. The Franco-Flemish influence and the style of the Counter-Reformation are very present for some of these late Renaissance authors. The program closes with some compositions linked to the Neapolitan musical environment, with the presence on one side of two didactic duets by Pomponio Nenna and Giovanni de Antiquis, two composers born in Bari but working in Naples, on the other of a very famous piece, composed by the greatest Neapolitan composer of the early 600th century: Andrea Falconieri. We are now, with the variations on the theme of Madness, in a completely XNUMXth century climate, but still very coherent with the long and varied journey that the concert program proposes.
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