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Nicolas Achten Programs Table of contents Actéon La Pellegrina An Evening with Handel La saison des amours Astra Cœli Laudate Pueri Bistouris, ventouses et maladies... Le Meraviglie di Natale Canticum Canticorum L’Euridice Combattimenti ! Magnificat Cupid & Death Missæ Urbanæ VIII Dialoghi amorosi Morte & Vita Dido & Æneas Musica Neerlandica Dulcis Amor Iesu Non si scherzi con Amore Enea Nuove Musiche Firenze 1600 Oh Solitude Für Anna Magdalena Bach O Penosa Lontananza Guerra Amorosa O Splendida Dies Himmel und Erde Salve Regina Il Concerto Caccini Stabat Mater Il Pianto d’Orfeo Stabat Mater nel Seicento Je meurs sans mourir Tempro la Cetra La Maddalena Vanitas Lamentatio Venus & Adonis Lamentatio Jeremiæ Prophetæ Zefiro Torna The sheets of the other programs are available on request! update: 04/10/19 Clickable PDF NEW Nicolas Achten Actéon Marc-Antoine Charpentier With Actéon, Charpentier has given us a wonderful example of a miniature opera, which will undoubtedly inspire Blow and Purcell in England. Actéon, having surprised Diane while she was bathing, will be changed to deer and devoured by his own dogs. A touching libretto served by music on the verge of skin. With the appearance of a children’s tale, this page of mythology extracted from Ovid’s metamorphoses is an ideal gateway to the world of lyrical tragedy and French Baroque. 7 SINGERS Nicolas Achten, baritone, theorbo & direction Reinoud van Mechelen, Actéon Déborah Cachet, Diane Wei-Lian Huang, Arthébuse Griet De Geyter, Daphné Lucile Richardot, Hyale/Junon Francisco Mañalich, chasseur Sönke Tams Freier, chasseur 8 INSTRUMENTISTS 2 flutes 2 descant viols 2 bass viols 1 harpsichord & organ 1 theorbo & guitar NEW Nicolas Achten An Evening with Handel G. F. Handel There is no need today to present G.F. Händel, as he is so well represented in the largest opera houses. However, it is a more intimate portrait that we offer you here. We will spend an evening together with Handel in a small private lounge, listening to his early works (Italian duets, harpsichord pieces, violin sonatas), but also to excerpts from his most acclaimed operas of the time. This journey will give us the opportunity to hear the most diverse music, borrowing from the German, Italian, French and English styles that Handel has assimilated so well. Rinaldo — Overture Quando in colma ride il mar cantata per soprano e basso Sonata per violino in re maggiore O Numi Eterni cantata per soprano Lascia ch’io pianga (arr. Babell) Dalla guerra amorosa cantata per basso Sonata per violino in fa maggiore Giù nei tartarei regni cantata per soprano e basso 2 SINGERS Nicolas Achten, baritone, theorbo, harp & direction Deborah Cachet, soprano 4-5 INSTRUMENTISTS 1 violin 1 bass violin 1 harpsichord & organ 2 theorbo & guitar Nicolas Achten Astra Cœli Jean-Noël Hamal If his name does not evoke much today, Jean-Noël Hamal was nevertheless an essential composer in the musical life of Liège at the end of the Baroque period. A disciple of Jommelli, appreciated by Grétry, this composer left an important sacred opus, in a style ranging from gallant baroque to a writing that sometimes frankly announces Mozart... Astra Cœli motet pour soprano, alto, ténor, basse & orchestre Obstupescite Gentes motet pour soprano, alto, ténor, basse & orchestre Ecce Panis motet pour soprano, alto, ténor, basse & orchestre Ite O pompæ fallaces motet pour soprano, alto, ténor, basse & orchestre 4 SINGERS Nicolas Achten, baritone & direction Wei-Lian Huang, soprano Camille Bauer, alto Francisco Mañalich, tenor 17-21 INSTRUMENTISTS 8 violins 3 violas 3 cellos 1 double bass 2 oboes 2 horns 1 harpsichord 1 organ Nicolas Achten Bistouris, ventouses et maladies... Lassus, Lully, Charpentier, Marais, Purcell... The concept of medicine has somewhat evolved over the last few centuries. Not so long ago, barbers and surgeons were one, just as doctors were difficult to distinguish from charlatans. In an original concert, Scherzi Musicali brings together Renaissance and Baroque music with the medical practices of the time! In a serious or burlesque tone, body and soul aches, epidemics, cures and surgical procedures are on the agenda: enough to treat small and large sores with laughter and music! Passacaglia della vita Anonyme, XVIIè s Qui veut chasser une migraine G. Bataille Puisque vous ayme T. Crequillon Alix avoit aux dens la malerage G. Dalla Casa/T. Crequillon Une puce j’ai dans l’oreille hélas R. de Lassus Tarentela S. de Murcia, L.R. de Ribayaz Antidotum Tarantulae Anathasius Kircher A demy mort par maladie J. Clemens non papa Musick for a While H. Purcell Toccata VII M. Rossi Litanie de tous les Saints - contre la Peste R. de Lassus Tableau de l’Opération de la Taille & Les Relevailles M. Marais Forests solitaires et sombres S. Le Camus Enfin il est en ma puissance - Monologue d’Armide J.B. Lully Le Médecin malgré lui: J.B. Lully Champagne heurtant aux portes de 4 Médecins Pour les 4 médecins L’Amour médecin: J.B. Lully Scène de l’Opérateur Sans nous les hommes deviendraient malsains Le Malade imaginaire: M.A. Charpentier Scène des Chirurgiens 2 SINGERS Nicolas Achten, baritone, theorbo, guitar & direction Wei-Lian Huang, soprano 3-4 INSTRUMENTISTS 1 violin 1 viola da gamba & lirone 1 organ & harpsichord 1 theorbo & guitar NEW Nicolas Achten Canticum Canticorum Kapsberger, Rossi, Grandi, d’India, The Song of Songs, which is one of the shortest books in the Hebrew Bible, is also the one that provoked the greatest number of comments. But the multiplicity of lights projected on this poem has not yet succeeded in dispelling all obscurities. The most supreme of songs, the most singing is a great erotic poem in 8 chapters, which unfolds through an extremely rich scenery, where the two lovers leap through hills and windows, in a game of hide and seek lovers. At all times, these songs seem to have been set to music. In this program, Scherzi Musicali follows the poem over the 8 chapters with excerpts from each of them, set to music by composers of seicento (XVII Italian). Nigra Sum Johannes Hieronymus Kapsberger Ego flos Campi Claudio Monteverdi Adiuro vos anonymous (CG manuscript) Sinfonie 11 & 10 Salamone Rossi In lectulo meo Alessandro Grandi O quam tu pulchra es Alessandro Grandi Vulnerasti cor meum anonymous (CG manuscript) Sinfonia 3 Johannes Hieronymus Kapsberger ego dormio anonymous (CG manuscript) Anima mea Johannes Hieronymus Kapsberger Dilectus meus Sigismondo d’India Sonata 6 in dialogo Salamone Rossi Veni dilecte mi anonymous (CG manuscript) Quæ habitas in hortis Jean Verryth 2 SINGERS Nicolas Achten, baritone, theorbo & direction Wei-Lian Huang, soprano 3-4 INSTRUMENTISTS 1 violin 1 bass viol & lirone 1 organ 1 theorbo NEW Nicolas Achten Combattimenti ! Monteverdi, Sances, D’india, Landi To arms! Whether it involves two enemy warriors fighting each other, or a knight liberating a princess from the clutches of a sea monster, these fights highlight the heroism of the male protagonist. However, these heroes are quickly deceived in their fight: one kills the one he loves without knowing it, the other is upset when the beauty makes herself invisible and flees from him. So while we are talking about fighting, the real issue is love. A diptych where Monteverdi’s emblematic Combattimento responds to Angelica de Sances’ L’infortunio, but also an alternative epilogue to Sigimondo d’India’s Combattimento. Alla guerra d’amore Stefano Landi Saltarello della Battaglia Gasparo Zanetti Combattimento Claudio Monteverdi Consonanze Stravagante Giovanni de Macque Amico hai vinto Sigismondo d’India Caccia amorosa e correnta Gasparo Zanetti Alla guerra d’amore Stefano Landi Sonata sopra l’aria di Ruggiero Salamone Rossi L’infortunio d’Angelica Giovanni-Felice Sances 3 SINGERS Nicolas Achten, baritone, theorbo, direction Deborah Cachet, soprano Reinoud van Mechelen, tenor 6-7 INSTRUMENTISTS 2 violins 1 alto 1 bass violin 1 viola da gamba & lirone 1 harpsichord & organ 1 theorbo & guitar Nicolas Achten Cupid & Death M. Locke & O. Gibbons London, 1659. Matthew Locke and Christopher Gibbons give a musical dimension to James Shirley’s Cupid & Death mask (1653), sublimating the poetry and humour of the libretto with a deep and sparkling music. In a very French style, the recitatives, arias and choirs, in turn catchy or touching, alternate with dances of endless theatricality. Taken from Aesop’s fables, the plot depicts an unfortunate exchange between Cupid’s arrows and those of Death: Cupid assassinates young lovers, Death makes old men succumb to the frenzies of a youthful love, when it is not a suicidal showman who surprises himself to declare his flame with verve to his two apes! Nature, concerned with such a disorder, is rescued by Mercury, who banishes love from the court and confines it to the modest countryside. A semi-staged version will be designed by the unavoidable Ben Crystal who will also guide the singers through the meanders of historical English pronunciation. 10 SINGERS Nicolas Achten, Mercury, theorbo & direction Deborah Cachet, Nature Reinoud van Mechelen, Chamberlain Wei-Lian Huang, Cupid William Shelton, Death Ben Crystal, Host 6 INSTRUMENTISTS 1 violin soprano 1 flute countertenor 2 lutes tenor 1 viola da gamba bass 1 harpsichord & organ 1 EXTRA Ben Crystal, coach original pronunciation & semi-staging Nicolas Achten Dialoghi amorosi arie, duetti e terzetti di Giovanni Felice Sances Giovanni Felice Sances published his collections of cantade in Venice around 1640. Their music, poetic, lively, rhythmic and sensual, is placed at the service of a rich palette of amorous sentiments: innocence, desire, seduction, jealousy and despair all make their appearance. Sances also left us a number of ‘amorous dialogues’, miniature operas depicting Ruggiero and Angelica (who, to safeguard her virginity, makes herself invisible and flees the doughty knight who has just saved her from a monster’s clutches) and the naughty frolics of Tirsi and Filli, who want at all costs to ‘die’ together.
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  • The Renaissance Period

    The Renaissance Period

    The Renaissance Period The Renaissance, which literally means “rebirth” in French, saw movement and change in many different spheres of cultural activity as Europe began to rediscover and identify with its Greco-Roman heritage. The natural sciences (in particular astronomy) began advancing at a rapid pace, and some philosophers began to discuss secular humanism as a valid system. The discovery of the American continents by European navigators resulted in the first widespread speculations of international law and began a crisis of consci ence over human rights that would haunt the West for centuries to come. In particular, however, the Renaissance is remembered for a great a flourishing of the Arts. Secular instrumental music (for early instruments like shawms, crumhorns, and sackbuts) became increasingly popular during this period and composers began to write it down for the first time. The polyphonic madrigal became very popular in England thanks to composers like John Dowland and William Byrd. The motet, a three-part polyphonic composition written for voices or instruments, became popular around this time as well. Despite the increase in secularism, it was still within a religious context that the Renaissance arts truly thrived. Renaissance popes (corrupt as they were) were great patrons of such artists as Michelangelo, Raphael, and Gianlorenzo Bernini. Composers of church music expanded polyphony to six, eight, or even ten interwoven parts. The masses of Giovanni Pierluigi da Palestrina, Tomás Luis de Victoria, and Orlando di Lasso in particular remain some of the most beautiful music ever composed. This polyphonic style was also used by the French composer Josquin des Prez, who wrote both sacred and secular music.