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The Waverly Consort MICHAEL JAFFEE, Director

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The Waverly Consort MICHAEL JAFFEE, Director LA BIBLIOTECA LUIS-ANGEL ARANGO DEL BANCO DE LA REPUBLICA Presenta en su SALA DE CONCIERTOS a The waverly consort MICHAEL JAFFEE, Director Lucy Shelton - Soprano Lucy Bardo - Viola da gamba Judith Malafronte - Mezzo-soprano Kay Jaffee - Flauta dulce, rauschpfeife, Jeffrey Gall - Contra tenor flauta, arpa Frank Hoffmeister - Tenor Sally Logemann - Shawm, dulciana, flau­ Patrick Mason - Barítono ta dulce, krummhorn John-Paul Bogart - Bajo Michael Jaffee - Laúd, flauta dulce Bogotá, D. E., Barrio de La Candelaria Jueves 21 de julio de 1977 Hora: 6.45 p. m. Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. NOTAS PARA EL PROGRAMA El transcurso de unos cuatrocientos años no ha deslucido para nuestros ojos y nues­ tros oídos, la inigualable belleza y elegancia de la pintura, de la escultura, de la arquitectura y de la poesía del Renacimiento italiano. Por 10 tanto no deja de ser irónico el hecho de que en el campo de la música el Renacimiento italiano floreciese en manos de extranjeros -en tierra italiana desde luego- pero extranjeros sin em­ bargo, importados del norte de Europa para rendir servicios en las cortes y las ca­ pillas ricas de Italia durante gran parte del siglo dieciséis. Algunos de esos norteños, como Felipe de Monte, permanecieron brevemente en Italia para servir a una familia o a un príncipe antes de seguir sus andanzas y responder a las demandas de otros patrones en otras partes de Europa. Otros compositores del norte pasaron gran parte o la totalidad de sus vidas como músicos "italianizados" -Verdelot, en Florencia, como director del coro de San Giovanni; Giaches de Wert, que pasó toda su vida de adulto en el empleo del Duque de Mantua- contribuyendo a los géneros y a los es­ tilos que para fines del siglo venían haciéndose productos artísticos italianos, indíge• nas y únicos. La mayor parte de la música esta noche es de italianos nativos: Andrea Gabrieli, Luzzasco Luzzaschi, Giulio Caccini, y los frotolistas y compositores de danzas y de música de la corte de las formas ligeras. Añadieron a la destreza y maestría de ::ontrapunto del norte esas características y técnicas que en nuestros tiempos se iden­ tifican tan íntimamente con el estilo renacentista italiano: conciencia armónica, sen­ sibilidad hacia el texto, cromaticismo y efectos coloristas, un nuevo estilo vocal decla­ matorio, y la manipulación de recursos instrumentales. Para fines del siglo dieciséis el estilo italiano se había impuesto por toda Europa e Inglaterra, y se abría el camino a una época nueva de música y a un genio italiano sin par, C1audio Monteverdi. El 'Vaverly Consort está unánimemente reconocido como uno de los más prestigiosos conjuntos de cámara especializados en música medieval, del renacimiento y barroca. Un distinguido quinteto vocal se ve complementa do con un brillante cuarteto de ins­ trumentistas, que tocan más de cincuenta diferentes instrumentos del medioevo, del renacimiento y del barroco, incluyendo laúd, v"101a da gamba, recorder, rebec, organe­ tto, cornetto, salterio, etc. Desde su debut en New York en 1966, el Waverly Consort ha recogido elogios de la crítica y el público de los EE. UU. y Europa, y recibió auspicios de la "Martha Baird Rockefeller Fund for Music", y del "New York State Council on the Arts" para el desarrollo de programas especiales para audiencias universitarias. Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. PROGRAMA MUSICA ITALIANA DE FINES DEL RENACIMIENTO BEATUS VIR ....................................... Claudio Monteverdi Conjunto. 1567-1643 AIRES Y "SCHERZI MUSICALI" c. 1600 Se io m'accorgo ben mio d'uh altro amante Anónimo Solo laúd. Caduca fiamma ...................................... Giulio Caccini Judith Malafronte y continuo. 1545-1618 Damigella tutta bella ................................. Vincenzo Calestani Patrick Mason e instrumentos. -1600 Amarilli mia bella ................................... Giulio Caccini Frank Hoffmeister y continuo. Fugge il yerno ............................. .. ....... Claudio Monteverdi Conjunto. DANZAS DE LAS CORTES ITALIANAS Instrumentos. Pavana. Gallarda Ferrareze. Spagnuletto. Branles: Tedes~ha - Schiarazula Marazula - Un~ares­ ca - Saltarello. CARA LA VITA MIA, Madrigal ..................... Giaches de Wert Voces. 1535-1596 "CARA LA VIT AMIA", Missa Super Philippe de Monte Conjunto. 1521-1603 Kyrie - Credo - Agnus Dei. INTERMEDIO LOS MADRIGALISTAS Voces. Ecco l'aurora ........................................ Andrea Gabrieli 1520-1586 La piaga c'ho nel core - lo mi son giovinetta. (Dos madri- gales del libro IV - 1603) ......................... Claudio Monteverdi Quivi sospiri ........................................ Luzzasco Luzzaschi 1545-1607 Vezzosi augelli ........................ : ............. Giaches de Wert CANCIONES Y DANZAS CON EL LAUD O CON OTROS INSTRUMENTOS DE LOS LIBROS PARA LAUD DE DALZA, BOTTEGARI y BOSSINENSIS lo non compro piu speranza .......................... Marco Cara John-Paul Bogart e instrumentos. Ostinato YO' seguire ................................. Bartolomeo Tromboncino J effrey Gall e instrumentos. Pa vana alla Venetiana ............................... Joan Ambrosio Dalza Instrumentos. Virgine Bella (Canción del Petrarca) .................. Bartolomeo Tromboncino Lucy Shelton e instrumentos. Passo e mezzo - Piva ................................ Joan Ambrosio Dalza Instrumentos. Non vuo pregare .................................... Anónimo J ohn-Paul Bogart, Patrick Mason y laúd. So ben mi chi ha bon tempo Orazio Vecchi Patrick Mason y conjunto. ITALIA MIA ....................................... Philippe Verdelot Conjunto. -1567 Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. PROXIMOS CONCIERTOS: Miércoles 3 de agosto ORQUESTA DE CAMARA DE ROUEN (Francia) Director Jean-Olaude Bernede Miércoles 31 de agosto ERNST-ULRICH VON KAMEKE Organista ale'mán Miércoles 14 de septiembre Orquesta de cámara italiana "1 SOLISTI AQUILANI" Director Vittorio Antonellini Con la participación especial de Lucía Vinardi, soprano y Patricia Adkins-Chiti, contralto LOS CONCIERTOS EMPIEZAN INVARIABLEMENTE A LA HORA INDICADA Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia..
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