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Quint Essential Sackbut and Cornett Ensemble

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Quint Essential Sackbut and Cornett Ensemble Música antigua . para nuestro tIempo QuintEssential Sackbut and Cornett Ensemble Inglaterra Agrupación instrumental de música antigua Viernes 13 de septiembre de 2002 • 10:00 a.m. SALA DE CONCIERTOS ... B ANCO DE LA REPÚBLICA BIBLIOTECA LUIS Á GEL ARA GO Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. QuintEssential Sackbut and Cornett Ensemble Inglaterra I Inglaterra - Agrupación instrumental de música antiguá ~ l . •• Richard Thomas (cometas y cornamusas) Philip Dale, y Adrian France (sacabuches y trompetas naturales) Nicholas Perry (bajón, chirimías, gaitas flamencas"flautas dulces y percusión) Kathryn Cok (clavecín) "QuintEssential es una agrupación muy bien equilibrada y muy vigorosa, con una entonación verdaderamente resplandeciente y una tendencia irresistible a tomar riesgos". (Andrew Robinson, Early Music Oranisation ofIreland). La agrupación está conformada por cinco músicos con un deslumbrante arsenal de talento musical. Especializada en música antigua y con un inusual repertorio, logra que los instrumentos de cobre de época hablen a una audiencia contemporánea con un sonido emocionante e innovador. Escuchar a este ensamble único permite ser transportado al Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. pasado a través de instrumentos de cobre renacentistas y con un repertorio fresco y vibrante. Conformado en 1993 por un organista y cinco intérpretes de instrumentos de viento, los miembros de QuintEssential han tocado con los más importantes grupos británicos de música antigua. También ha colaborado con agrupaciones vocales como la Oxford Camerata, Concertare, el Coro del Brompton Oratory y el Coro de la Capilla Real de la Torre ~ " de Londres. La participación en varios festivales de música antigua tales como los de York, Beverley, Warwick & Leamington y N orfolk & N orwich y la realización de frecuentes giras por Europa le han asegurado al grupo crecimiento y continuidad y le han permitido apuntalar su reputación como un conjunto de instrumentos de época muy inventivo y expreSIVO . 2 En annonía con su filosofia de dar a conocer la música antigua a una audiencia tan amplia como sea posible, QuintEssential ha desarrollado una.intensa actividad ed cativa basada en el esquema 'Live Music Now', de Yehudi Menuhin. Su conocimiento rico y amplio de la importancia histórica y social de los instrumentos que interpretan sus miembros añade una dimensión estimulante a su interpretación, y un alto nivel de participación del público durante los conciertos asegura una • experiencia inolvidable. QuintEssential Sackbut and Comett Ensamble graba para los sellos Meridian y Chandos. ESTE CONCIERTO SE REALIZA CON EL COPATROCINIO DEL CONSEJO BRITÁNICO .00.00. 0.0.0.0 The 00••••••• ••• 00 B rllSet e h 00 ••• 00 ~~g:g~~ Council Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. PROGRAMA Battaglia Francese FLORINI CANALI (c.1550-c.1603) .0 Passacaglia BIAGIO MARINI (c. 1597-1665) Bailo del Granduca JAN PIETERSZOON SWEELINCK (1562-1621) Sonatina No. 9 GOTTFRIED REICHE (1667-1734) Paduana SAMUEL SCHEIDT (1587-1654) Est-ceMars JAN PIETERSZOON SWEELINCK 3 He/as Madame ENRIQUE VIII (1491-1547) En vray amoure ENRIQUE VIII Pastymes wifh good company ENRIQUE VIII Adson's masque JOHN ADSON (c. 15 90-c .1640) Fantasía WILLIAM BYRD (1543-1623) Dances from the Dancing Master JOHN PLA YFORD (1623-c.1687) CONCIERTO No. 56 Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. Notas al programa "¡Qué suenen las trompetas, los sacabuches y las chirimías!" El conjunto de instrumentos de viento pertenecientes a varias familias, que es el antecesor de las bandas modernas, fue uno de los más Importantes en la vida musical del tardío medioevo (siglo XIV), el Renacimiento (siglos XV y XVI) Y temprano Barroco (comienzos del siglo XVII). Tal conjunto está documentado desde el siglo XIV, yen general estaba conformado por músicos que interpretaban instrumentos de la familia de las dobles cañas tales como la chirimía, la cornamusa, el douca;ne, el orlo yel bajón, e instrumentos de viento de vibración labial como las cornetas, las trompetas y los sacabuches. En algunos casos también se usaban instrumentos como las flautas 4 dulces y traversas, y tambores cilíndricos o timbales. En el periodo tardo-medieval y renacentista quienes integraban esos conjuntos recibían diferentes nombres: n1instrels en inglés, n1enetrier en francés, p~ffari o p~fferari en Italia y n1inistriles en el ámbito español y portugués. En otras regiones se les llamó de otra manera, como por ejemplo en Inglaterra donde desde el siglo XV se les conocía como waits. Los antecesores de los waits datan de los tiempos medievales cuando esas personas ran fundamentalmente vigilantes nocturnos ('night-watchman'), pero posteriormente su papel social cambió al de intérpretes de instrumentos de sonido potente como los ya mencionados, hasta llegar a convertirse en músicos municipales que participaban oficial e intensamente en las ceremonias públicas citadinas. En efecto, tocaban cuando era recibido un dignatario, en banquetes, marchas y parada , en presentaciones teatrales,' etc. Como dato curioso es de anotar que, no obstante los cambios de estatus, en Londres Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. los waits continuaron durante un tiempo considerable combinando ambas actividades -la de vigilantes y la de músicos- y ello hacía posible que alguien con la necesidad de levantarse muy temprano pudiera garantizar, por unas monedas, que le despertaran con una pieza llamada The Hunt's up tocada bajo su ventana. .... J 5 Jean-Léon GÉRÓME (1824 -1904) Piflerari Los instrumentos más importantes del conjunto de ministriles, piffari o waits, eran las chirimías, las cornetas y los sacabuches. Por su sonido, estos instrumentos resultaban muy aptos para la música en espacios exteriorés, pero su flexibilidad (al ser instrumentos de entonación variable) los hacia también adecuados para el acompañamiento de las voces en la música vocal, tanto religiosa como profana. La corneta (comett, cornetto, cornet) era un instrumento de vibración labial construido en madera, con agujeros digitales similares a los de la flauta dulce. Se construía en dos variedades, derecho o diritto y torto o arqueado~ este último era el más común y presentaba Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. dos tipos: uno pequeño en Re llamado cornerttino y el más común en La llamado cornetto. En estos conjuntos este instrumento se acompañaba por otros de su misma familia como los sacabuches. Los sacabuches tenían diferentes tamaños que constituían una familia; entre los más tocados estaban el contralto, el tenor y el bajo, y su funcionamiento era muy similar al del trombón moderno siendo diferentes su boquilla y el pabellón en el que termina el tubo, más pequeño en los sacabuches. Por su parte, las trompetas se tocaban en grupos de tres o cuatro que construían bloques sonoros (acordes con las notas fundamentales) sobre los cuales otra trompeta improvisaba en el llamado registro de e/armo. Los conjuntos de trompetas eran generalmente acompañados por los timbales, mientras que los otros, al igual que el pífano, se acompañaban del tambor cilíndrico de dos membranas. 6 Cornetas Sacabuches Trompeta Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. Otra familia de instrumentos era la de las chirimías. Las chirimías también eran tocadas y fabricadas en familias, de las cuales las más comunes eran la soprano y la contralto, aunque había conjuntos de ministriles que usaban instrumentos como el t.enor y el bajo. La familia de los instrumentos de doble lengüeta tenía diferentes variedades, con sonidos y tim bre distintos. Este es el caso de las cornamusas y los orlos (llamados también krumhorns o crumhorns) que, además de tener su caña tapada por una caperuza, presentaban una perforación interna cilíndrica diferente a la perforación cónica de las ya mencionadas chirimías. Esto hacía que su sonido fuese de menor volumen y más adecuado a los ambientes domésticos. 7 Chirimía Cornamusa Orlos Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. Las flautas dulces, tocadas en familias que seguían el modelo de las voces (soprano, alto, tenor y bajo) así como las traversas, están igualmente documentadas en forma amplia en el periodo a que nos hemos venido refiriendo, y proporcionaban variedad a la música instrumental aún mezclándose con instrumentos como los de la familia de las violas y la de los violines cuyos conjuntos funcionaban con pautas muy similares en todos los países europeos. 8 Flautas dulces Música y vida cotidiana La vida musical urbana de las ciudades europeas y americanas de mayor importancia durante los siglos XV, XVI y parte del XVII estuvo marcada por la presencia de los conjuntos que hemos descrito, los cuales, así como participaban en las procesiones y ceremonias cívicas oficiales también brindaban música para la iglesia y para eventos privados y domésticos. Son de imaginar no solamente los salones de las cortes o las familias pudientes o los teatros, sino el mundo vibrante de las calles y las tabernas. En cuanto a las clases altas, hacer música como Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. pasatiempo llegó a ser uno de los talentos requeridos por la etiqueta, y se sabe que los adinerados poseían instrumentos para su uso y el de sus invitados. Los compositores y los impresores, por su parte, competían en su afán por satisfacer la creciente demanda de música, y producían gruesos volúmenes que incluían tanto piezas de verdadero vuelo artístico como piezas ligeras para aficionados. Por lo que concierne a otros estratos de la sociedad y a su entorno es de recordar que muchas de las ciudades de la época eran congestionadas y caóticas, y en las calles se confundían los gritos estridentes de los buhoneros con el galopar de caballos, con las disputas entre • vecinos, con el tránsito de carretas, con el repique de campanas, etc.
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