52. VARAŽDINSKE BAROKNE VEČERI U VALPOVU!
21. ruj 2022.
21. 09. 2022.
26. 09. 2022.
Događaj je protekao!

Ustanova za kulturne djelatnosti „Ante Evetović Miroljub“ Valpovo, Turistička zajednica Grada Valpova te Grad Valpovo, partner 52. Varaždinskih baroknih večeri, s ponosom Vam donose:

KONCERT: „IBERIAN ENSEMBLE„

Alexandre Andrade – barokna flauta

Jardel Souza – viola

João Ferreira – teorba

Vrijeme: Ponedjeljak, 26. rujna 2022. godine u 19:00 sati

Mjesto: Kapela Sv. Trojstva dvorca Prandau-Normann, Valpovo

ULAZ: SLOBODAN!

PROGRAM:

Sonata II, op. 13 “Il Pastor Fido” A. VIVALDI

Adágio, Allegro Assai, Sarabanda, Allegro

Tocatta in G minor C. SEIXAS

Moderato, Allegro, Minueto

Recercada Prima D. ORTIZ

Recercada Prima sobre tenores italianos

Sonata K. 89 D. SCARLATTI

Allegro; Grave; Allegro

Sonata K. 81

Grave, Allegro; Grave; Allegro

BIOGRAFIJA ANSAMBLA (ENG):

Created in 2014 by Alexandre Andrade the IBERIAN EMSEMBLE project aims to bring together musicological research and the performance of Iberian instrumental music of the XVIII century. In terms of musical training, it also seeks to foster contact and learning among young musicians, within the universe of early music instruments. Starting from the traverso (baroque flute), and integrating other instruments; baroque oboe, baroque bassoon, chalumeau, baroque violin, supported by harpsichord, baroque cello, viola da gamba, and baroque lute, the IBERIAN EMSEMBLE assumes various formations, always related to the repertoire to be performed. The stylistic richness of the Iberian Baroque repertoires, italian, and their relations with Brazil, starting from the historically informed interpretation, are the challenges encountered by all the elements that integrate this project. Since its inception, the Iberian Ensemble has worked without interruption, with local governments, associations, universities, music academies and conservatories , museums, festivals and cultural entities, in Portugal, Spain, Czech Republic, Serbia and Brazil.

For this concert The Eighteenth Century Music in the Iberian and Italian Courts, mark this sound frame, starting from instrumental music. Opening the recital with the Sonata II op. 13, “Il Pastore Fido” by A. Vivaldi (1678-1741), published around 1737 under the name of the master Vivaldi, is part of a group of 6 sonatas for flute and continuo. The sonata presented here is composed by Adagio, Allegro Assai, Sarabanda, Allegro. Next, we present the work of the renowned portuguese composer of the first half of the 17th century, through the Tocatta in G minor by C. Seixas (1704-1742). In his vast work, there is actually no known piece written for the flute andcontinuo by the composer, however, we want to present a version of one of his works for harpsichord, starting from the melodic instrument, in the case of the flute, accompanied by the theorbo and viola da gamba.

We go back in time, but we do not leave the Iberian courts, and we make an incursion into the work of the capella master D. Ortiz (c.1510-c.1576) highlighting Recercada Prima for solo viola and Recercada Prima on Italian tenors for viola and theorbo.

Then, and to close this concert, we present the work of D. Scarlatti (1685-1757) an unavoidable figure in the Iberian musical of the 1700s. In 1719, D. Scarlatti traveled from Rome to Lisbon at the invitation of D. João V. His presence, influence and testimony that contributed so much to the Italianization of Portuguese musical life in the 1700s deserves our attention. Scarlatti, master of the Capella Giulia of St. Peter’s Basilica, was a prestigious musician and composer, in 1719 he would exchange this important position for the challenge of the portuguese crown, namely teacher of the infantes, where Princess Maria Bárbara de Bragança stood out. Of his more than 550 sonatas and essercizi only 8 are not for solo harpsichord, but for a melodic instrument (unspecified) and basso continuo. Today they are duly identified in his catalog by the musicologist R. Kirkpatrik “K”; 73, 77, 78, 81, and 89-91. In this concert we present K81 and K89 with the flute as a soloist. His stay in Portugal, although short, was relevant to the cultural milieu of the time, before his departure to the Spanish court where he would become master of the Royal Chapel in Madrid, the city that welcomed him, and where he would live and develop. all his intense activity until his death.

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