Dichos Diabolos - Concert Programmes

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DICHOS DIABOLOS

CONCERT PROGRAMMES


EPIDEMICS

Vous ne croiriez pas la force que l’harmonie des accords a sur l’harmonie de nos corps, répondant à l’harmonie des cieux qui font aller secrètement tout l’univers à la cadence de leur musique. Etienne Binet, Consolation et réjouissance des malades, 1617

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THE MUSICIANS OF THE PLAGUE


EPIDEMICS

PROGRAMME ANDREA FALCONIERO La suave melodia

SALOMONE ROSSI Sonata 11 'Bergamasca'

GIOVANNI FONTANA Sonata IV

GIOVANNI PAOLO CIMA Sonata a 4

ORLANDO GIBBONS

THE MUSICIANS OF THE PLAGUE “Many people, from fear and imagination alone, have fallen to pestilential fever; therefore, it is necessary to be joyful...[...] It is especially advantageous to listen to songs [cantilenas] and lovely instrumental music, and to play now and then, and to sing with a quiet voice”.

Pavana - Fantasia a 3

BIAGIO MARINI Sonata IX per doi fagotti

DARIO CASTELLO

Niccolo Masa, Liber de febre pestilentiali, ac de pestichiis (Venice, 1540)

Sonata XVI

On an unnamed day in 1480, the prior of a monastery near Brussels, had an unusual visit: a few of his monks, returning from a journey, came to ask him for help with a serious problem that had arisen during the trip. One of their companions had suffered a violent crisis one night, when he suddenly started shouting that he was doomed and condemned to eternal damnation. The monk in question was none other than Hugo van der Goes, one of the greatest Flemish artists of the late fifteenth century. Father Thomas then prescribed a cure reminiscent of biblical tradition. In the same way that David had calmed Saul by playing his harp, so the prior recommended that music, if played frequently, might also succeed in soothing his anguish.

JOHANN SCHMELZER Sonata 2

ANDREA FALCONIERO Sinfonia IV - L'Eroica

This story is one amongst many accounts about using music as treatment and prevention against illness. With this programme, Dichos Diabolos, aim to explore the nexus between music and medicine during the great plague epidemics of the XVI. This concert recreates the Black Death’s soundscape through works written exclusively by composers who died from the plague.

EMILIANO PEREZ CRISTINA ALTEMIR ALFONSO BARRENO DIMITRI KINDYNIS MARC SUMSI

RECORDER/CORNETT VIOLIN DULCIAN VIOL HARPSICHORD


NOCHE DE SIGLOS

A night of time so infinite must needs have twice as many lights, and so two suns rise to bathe the gate of Bethlehem in light. Joan Cererols, Serafín, que con dulce harmonía

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MUSIC FOR THE 400TH ANNIVERSARY OF JOAN CEREROLS


NOCHE DE SIGLOS

PROGRAMME JOAN PAU PUJOL Amor, cuando yo pienso

JOAN CEREROLS Gloria (Missa Martyrium) Son tus bellos ojos - Serafín, que con dulce harmonía

SEBASTIAN DURON Vaya pues rompiendo el ayre

MUSIC FOR THE 400 th ANNIVERSARY OF JOAN CEREROLS There are some people so lacking in piety that they attend church but once a year, and miss all the Masses of Obligation, because they are too lazy to get up out of bed. But let it be known that there will be villancicos, and there is no-one more devout in the whole place, none more vigilant than these people, for there is no church, oratory or shrine that they will not visit, nor do they mind getting up in the middle of the night in the freezing cold, just to hear them. Pietro Cerone, El Melopeo y maestro, 1613. Joan Cererols (Martorell 1618 - Montserrat 1680) lived during one of the most turbulent times in the history of Catalonia and Europe. The year of his birth saw the beginning of the Thirty Years' War, and he was not even 20 when the Reaper’s War (Guerra dels Segadors) broke out. The use of the spanish language became a customary instrument in literary and musical culture during this time. However, it was also one of the periods of greatest splendour in the history of catalan music. Cultural exchange with France, Genoa, Naples and Sicily, which was ever on the increase, and the influence of the great musicians of the Royal Chapel where key in developing a fascinating and subtle repertoire. The most rigorous Palestrinian counterpoint coexisted with great showcases of polychorality and the seconda prattica’s avant-garde style. This programme represents a journey in Joan Cererols’ life and shows a collection of his own music and pieces from composers he knew: musicians like Matheo Romero, Carlos Patiño and Gabriel Manalt, among others. It includes strictly liturgical works as well as paraliturgical ones (villancicos): where we find perhaps the most experimental and innovative aspects of this repertoire.

BELEN VAQUERO EMILIANO PEREZ CRISTINA ALTEMIR ALFONSO BARRENO DIMITRI KINDYNIS MARC SUMSI

BARTOLOMEO DE SELMA Vestiva i colli passegiato

GABRIEL MANALT Tiento partido de mano izquierda

JUAN HIDALGO Quedito, pasito

PABLO BRUNA Tiento 1º tono mano derecha

MATEO ROMERO Ay, que me muero de zelos

CARLOS PATIÑO Maria, mater Dei

SOPRANO CORNETT/RECORDER VIOLIN DULCIAN/TENOR DULCIAN VIOL ORGAN/HARPSICHORD


STRANGE DREAM

I have, many and many a time, thought since, of this strange Dream upon the water: half wondering if it lie there yet, and if its name be VENICE. Ch. Dickens. Pictures from Italy

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VENETIAN MUSIC FOR MIXEDÂ CONSORT


STRANGE DREAM

PROGRAMME GIOVANNI BASSANO Frais e gaillart

SALOMONE ROSSI Sinfonia grave

GIOVANNI PICCHI Canzon undecima a 4 - Ballo a la polacha

GIOVANNI PAOLO CIMA Sonata a 4

VENETIAN MUSIC FOR MIXED CONSORT Sometimes sixteene played together upon their instruments, ten sagbuts, foure cornets, and two violdegambaes of an extraordinary greatness; sometimes tenne, sixe sagbuts and foure beautiful cornets; sometimes two, a cornet and a treble violl. Thomas Coryat, Crudities, 1611 From Shakespeare to Nietzsche, from Lord Byron to Thomas Mann... Venice has always had a long history of awing its visitors. Among its numerous architectural, political, religious and pictoric wonders, music has always held a pivotal place. Thomas Coryat, the curious englishman who traveled through Europe, mostly walking, described the venetian soundscape as being “so good, so delectable, so rare, so admirable, so superexcellent”, that he felt “for the first time even rapt up with Saint Paul into the third heaven.” He put special care on describing the sumptuous variety of musical timbres that he heard: sackbuts, cornets, viols, violins, theorbos and organs, as well as the amazing technical abilities of their players. With this award-winner recital (First prize: Concours International de Cuivres Anciens, Toulouse 2016), Dichos Diabolos recreate seventeenth-century Venice’s soundscape with a rich mixed ensemble: cornett, recorder, violin, sackbut, viol, dulcian, organ and harpsichord.

EMILIANO PEREZ CRISTINA ALTEMIR ALFONSO BARRENO DIMITRI KINDYNIS MARC SUMSI BORJA MARTIN

FRANCESCO ROGNONI Vestiva i colli

GIOVANNI GABRIELI Canzon prima a 4 "La Spiritata" - Canzon prima a 5

DARIO CASTELLO Sonata ottava a 2

MARCO ANTONIO FERRO Sonata 11

ANDREA FALCONIERO Sinfonia IV - L'Eroica

RECORDER/CORNETT VIOLIN DULCIAN VIOL ORGAN/HARPSICHORD SACKBUT


DICHOS DIABOLOS This young ensemble was founded in 2013 as an artistic research project under Tiam Goudarzi’s guidance at the Escola Superior de Música de Catalunya (Barcelona, Spain). It’s first aim was experimenting on the Elizabethan Broken Consort repertoire. Since then, Dichos Diabolos has been devoted to explore historic forms of instrumentation and orchestration on repertoires ranging from sixteenth century polyphony (minstrels’ repertoire) to music from the beginning of the eighteenth century, including seventeenth century italian, english and german music. Dichos Diabolos’ main goal is not only to explore timbrical richness but also to generate “new” repertoire by experimenting with historically informed processes of adaptation, transcription and improvisation.

Stephano Labarca, ESMUCdigital

In 2016, Dichos Diabolos won the 1st prize at the Concours International de Cuivres Anciens in Toulouse, organized by Les Sacqueboutiers. The jury, chaired by Michel Becquet included: JeanPierre Mathieu, Gebhard David, Adam Wolf, Fabrice Millischer, Wim Becu, Lluís Coll, Jeremy West and Adrien Mabire. Currently, the ensemble’s main mentors are Lluís Coll (Les Sacqueboutiers, Hespèrion XXI, La Caravaggia) and Josep Borràs.

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Dichos Diabolos owes its name to the “Baile de los dichos diabolos”, one of the Canzone, Sinfonie, Fantasie, Capricci… (1650) by Andrea Falconiero (Naples 1585/6 - 1656).

"LISTENING TO THEIR PERFORMANCES FEELS LIKE GAZING AT A PICTORICAL WORK FROM THE 16TH CENTURY"


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