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Schola Cantorum Basiliensis a Mini-Canzoniere for Margherita Gonzaga D’Este (Ferrara, 1582)

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Schola Cantorum Basiliensis a Mini-Canzoniere for Margherita Gonzaga D’Este (Ferrara, 1582) A mini-canzoniere for Margherita Gonzaga d’Este (Ferrara, 1582) We thank the following institutions for their kind support: Villa ITatti The Harvard University Center for ItalianRenaissanceStudies In the 16th century the pieces in printed books of unaccompanied mad- rigals are normally grouped and ordered according to musical principles such as system, cleffing and final. A quick survey of the printed books by the main madrigal composers of the last quarter of the century bears out this assertion. The published books of unaccompanied madrigals by Luzzasco Luzzaschi, however, do not follow the same principle. Anthony Newcomb will suggest that especially in one of them (the Third, dated 1582) dedicated to Mar ghe- rita Gonzaga d’Este, Duchess of Ferrara, another method of organization was followed. This proves to be closer to the authorized collections of po- ems from Ferrarese academies and by the principle Ferrarese poets of the time, Torquato Tasso and Battista Guarini. Luzzaschi’s Third book, in other terms, will be presented as a mini-canzoniere dedicated to Margheri- ta, centered around a single poetic theme, and ordered internally by groups linked together both by poetic topics and musical detail. ive student musicians of the Schola Cantorum Basiliensis will exem- F We are grateful for the generous support of the donators plify some of the madrigals discussed by Anthony Newcomb and compare Ruth and Hans-Joachim Rapp-Moppert in memoriam them with the repertoire of the celebrated Concerto delle dame di Ferrara. Their programme includes works by Luzzaschi, Jacques de Wert, Lodovi- Schola Cantorum Basiliensis co Agostini and other contempories; and it re-enacts the historical practice On the recto: Frans Pourbus the Younger (attr.), Portrait of Margherita Gonzaga Grand Tour d’Este, Ferrara, Palazzina Marfisa, courtesy of the Musei Civici di Arte Antica, Ferrara. of the vocal-instrumental self accompaniment. 22-27 May 2015 A mini-canzoniere for Margherita Gonzaga d’Este (Ferrara, 1582) In the 16th century the pieces in printed books of unaccompanied mad- rigals are normally grouped and ordered according to musical principles such as system, cleffing and final. A quick survey of the printed books by the main madrigal composers of the last quarter of the century bears out this assertion. The published books of unaccompanied madrigals by Luzzasco Luzzaschi, however, do not follow the same principle. Anthony Newcomb will suggest that especially in one of them (the Third, dated 1582) dedicated to Marghe - rita Gonzaga d’Este, Duchess of Ferrara, another method of organization was followed. This proves to be closer to the authorized collections of po- ems from Ferrarese academies and by the principle Ferrarese poets of the time, Torquato Tasso and Battista Guarini. Luzzaschi’s Third book, in other terms, will be presented as a mini-canzoniere dedicated to Margheri- ta, centered around a single poetic theme, and ordered internally by groups linked together both by poetic topics and musical detail. Five student musicians of the Schola Cantorum Basiliensis will exem- plify some of the madrigals discussed by Anthony Newcomb and compare them with the repertoire of the celebrated Concerto delle dame di Ferrara. Their programme includes works by Luzzaschi, Jacques de Wert, Lodovi- co Agostini and other contempories; and it re-enacts the historical practice of the vocal-instrumental self accompaniment. Presentation A mini-canzoniere Venues for Margherita Gonzaga d’Este (Ferrara, 1582) 22 May 2015, 15:00, Florence Girolamo Frescobaldi, Canzona terza à 2 (1634) Villa I Tatti, The Harvard University Center for Italian Giaches de Wert, Cara la vita mia (1595) Renaissance Studies (in collaboration with the Kunsthistorisches Institut in Florenz - Max-Planck-Institut), *** Via di Vincigliata, 22, 50135 Florence Giovanni de Macque, Seconda Stravaganza (c. 1610) Luzzasco Luzzaschi, Aura soave (1601) Luzzasco Luzzaschi, Stral pungente d’amore (1601) 24 May 2015, 20:30, Bologna Luzzasco Luzzaschi, Canzona decima à 4 (1608) San Colombano, Collezione Tagliavini, Giaches de Wert, O primavera gioventù (1595) via Parigi, 5, 40121 Bologna Lodovico Agostini, O villanella (1574) Giaches de Wert, Diminuzioni su Cara la vita mia Giaches de Wert, Cara la vita mia (1595) 25 May 2015, 21:00, Ferrara Palazzo Schifanoia, Sala dei Mesi, Via Scandiana, 23, 44121 Ferrara Lecturer: Anthony Newcomb (UC Berkeley) Performers: Ensemble Concerto di Margherita (Schola Cantorum Basiliensis) 27 May 2015, 16:00, Basel Tanja Vogrin, harp, Giovanna Baviera, viola da gamba, Francesca Benetti, theorbo, Rui Staehelin, lute, Musik-Akademie Basel, Raum 6-348 Ricardo Leitão Pedro, lute and baroque guitar. Leonhardsstrasse 6, 4009 Basel A mini-canzoniere for Margherita Gonzaga d’Este (Ferrara, 1582) We thank the following institutions for their kind support: Villa ITatti The Harvard University Center for ItalianRenaissanceStudies In the 16th century the pieces in printed books of unaccompanied mad- rigals are normally grouped and ordered according to musical principles such as system, cleffing and final. A quick survey of the printed books by the main madrigal composers of the last quarter of the century bears out this assertion. The published books of unaccompanied madrigals by Luzzasco Luzzaschi, however, do not follow the same principle. Anthony Newcomb will suggest that especially in one of them (the Third, dated 1582) dedicated to Mar ghe- rita Gonzaga d’Este, Duchess of Ferrara, another method of organization was followed. This proves to be closer to the authorized collections of po- ems from Ferrarese academies and by the principle Ferrarese poets of the time, Torquato Tasso and Battista Guarini. Luzzaschi’s Third book, in other terms, will be presented as a mini-canzoniere dedicated to Margheri- ta, centered around a single poetic theme, and ordered internally by groups linked together both by poetic topics and musical detail. ive student musicians of the Schola Cantorum Basiliensis will exem- F We are grateful for the generous support of the donators plify some of the madrigals discussed by Anthony Newcomb and compare Ruth and Hans-Joachim Rapp-Moppert in memoriam them with the repertoire of the celebrated Concerto delle dame di Ferrara. Their programme includes works by Luzzaschi, Jacques de Wert, Lodovi- Schola Cantorum Basiliensis co Agostini and other contempories; and it re-enacts the historical practice On the recto: Frans Pourbus the Younger (attr.), Portrait of Margherita Gonzaga Grand Tour d’Este, Ferrara, Palazzina Marfisa, courtesy of the Musei Civici di Arte Antica, Ferrara. of the vocal-instrumental self accompaniment. 22-27 May 2015.
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