Monteverdi’s Vespers of 1610 are no doubt the most ambitious religious music collection from the period before Bach. In this lecture by Marco Mencoboni you will discover why this work gets pride of place in music history. (In English)
Faithful to custom you can enjoy a well-assorted festival menu (entree + main course) before the evening concerts in AMUZ. During the marathon of madrigals this pop-up bistro serves a special Menù della Maratona.
FESTIVAL MENU: On 23, 24, 26, 27 & 28 August
Entree choose from Melanzane alla parmigiana (casserole with aubergines, courgettes, tomato, melted mozzarella & parmegiano) OR Insalata Caprese: salad with mozzarella, tomato & basil
Main course choose from Scaloppina alla Milanese (breaded veal with pasta & tomato sauce) OR Lasagna vegetale (vegetarian lasagna) OR Linguine scampi Capri (linguine with prawns in a spicy tomato sauce)
Dessert € 6,00: Tiramisu, Panna Cotta, Tartufo
Price € 19. Festival menu SAT 23/08 ORDER | SUN 24/08 ORDER | TUE 26/08 ORDER | WED 27/08 ORDER | THU 28/08 ORDER
MENÙ DELLA MARATONA: On 29 & 30 August
06.00 p.m.: buffet of homemade pizzas
08.00 p.m.: evening concert
09.15 p.m.: buffet of Italian Specialities (Saltimbocca alla Romana, Pasta Vongole, Polpetta Pomodoro, Lasagna, Patate al forno …)
10.15 p.m.: late evening concert
Price: € 24. Menù della Maratona FRI 29/08 ORDER | SAT 30/08 ORDER
Concert tickets are not included. Advance booking is required.
19.15
Introduction
After about thirty years they are sharing the stage again! American star lutist Paul O’Dette and his European counterpart Jakob Lindberg browse through the early Italian literature, confronting it with non-Italian highlights from European sources.
The programme features some shimmering — and very difficult — compositions by Giovanni Antonio Terzi, who arranged madrigals and chansons by Palestrina, Striggio, Ingegneri, Lassus and Willaert as duets for two lutes. In those works the first lute plays a literal tablature of the madrigal, while the second lute complements this in a florid improvisatory style. Furthermore O’Dette and Lindberg selected a splendid Toccata by Alessandro Piccinini.
Photo by Hector Sequera, 2013.
After about thirty years they are sharing the stage again! American star lutist Paul O’Dette and his European counterpart Jakob Lindberg browse through the early Italian literature.
The programme features some shimmering – and very difficult – compositions by Giovanni Antonio Terzi, who arranged madrigals and chansons by Palestrina, Striggio, Ingegneri, Lassus and Willaert as duets for two lutes. In those works the first lute plays a literal tablature of the madrigal, while the second lute complements this in a florid improvisatory style. Furthermore O’Dette and Lindberg selected a splendid toccata by Alessandro Piccinini.
Three Masses by Claudio Monteverdi have come down to us. The oldest one is the Missa in illo tempore from 1610. Huelgas Ensemble brings this Mass a capella, interlarding the parts of the Mass with a number of madrigals that served as Monteverdi’s sources of inspiration: works by Nicola Vicentino, Cipriano de Rore, Luca Marenzio and Giaches de Wert.
In the Missa in illo tempore Monteverdi engages in a conspicuously conscious quest for the style of the Franco-Flemish school. The complex polyphony has been conceived intellectually in a rigorous way, taking advantage of Monteverdi’s rich harmonies and imitations. Thus Paul van Nevel confronts Claudio’s ancient prima prattica style with the seconda prattica of his predecessors. Therefore tradition and innovation are not necessarily a matter of time sequence, but can mutually enrich each other simultaneously!
Three Masses by Claudio Monteverdi have come down to us. The oldest one is the Missa in illo tempore from 1610. Huelgas Ensemble brings this Mass a capella, interlarding the parts of the Mass with a number of madrigals that served as Monteverdi’s sources of inspiration: works by Nicola Vicentino, Cipriano de Rore, Luca Marenzio and Giaches de Wert.
In the Missa in illo tempore Monteverdi engages in a conspicuously conscious quest for the style of the Franco-Flemish school. The complex polyphony has been conceived intellectually in a rigorous way, taking advantage of Monteverdi’s rich harmonies and imitations. Thus Paul van Nevel confronts Claudio’s ancient prima prattica style with the seconda prattica of his predecessors. Therefore tradition and innovation are not necessarily a matter of time sequence, but can mutually enrich each other simultaneously!