zaterdag 13 september 2014

Ensemble Scaramuccia

Javier Lupiáñez, viool

Inés Salinas, cello en gamba

Giulio Quirici, gitaar en teorbe

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Scaramuccia streeft ernaar het barokke repertoire dat gespeeld werd in paleizen en kroegen in ere herstellen. Dat leidt tot de ontdekking van kleine verborgen en verlorengewaande muziekjuweeltjes . Scaramuccia heeft deelgenomen aan de Fringe van het Festival Oude Muziek Utrecht 2013 en in de Fringe in het MAfestival Brugge 2013.

ARTIESTEN

Scaramuccia is ontstaan in februari 2013 op initiatief van de violist Javier Lupianez

Javier Lupiáñez klFrancisco Javier Lupiáñez, barokviool
Javier werd geboren in Melilla (Spanje), waar hij meerdere prijzen won als violist. Hij leidde meerdere ensembles zoals het Barokorkest van het Conservatorium van Salamanca, het Barokorkest van Salamanca, de Europese Barok Academie van Ambronay, Academia Montis Regalis. Als medeoprichter van het ensemble Les Esprits Animaux speelde hij regelmatig t in Spanje, Portugal, Frankrijk, Italië, Duitsland, Japan en Nederland en nam een CD op voor het label Harmonia Mundi.
Nu volgt hij een masterop-leiding aan het Koninklijk Conservatorium van Den Haag.

Inés Salinas klInés Salinas, barokcello
Ines werd geboren in 1985 in Zaragoza (Spanje), waar ze haar bachelor op klassieke cello behaalde aan het 'Conservatorio Superior de Música de Aragón'. Ze volgde lessen bij Silvia Márquez, Saskia Roures en Anna Margules. Na het afronden van haar studie besloot ze zicht specialiseren in historische uitvoeringspraktijk. Daarom verhuisde ze naar Nederland om Oude Muziek te studeren aan het Koninklijk Conservatorium bij Lucia Swarts. Ze kreeg haar bachelor afgelopen juni 2013 en ze volgt momenteel een master bij Jaap ter Linden en neemt les op de viola da gamba bij Mieneke van der Velden.
Ze is lid van de Britten-Pears Baroque Orchestra (UK) en 'I Giovani della Montis Regalis 2013' (Mondovì, IT).

Giulio Quirici klGiulio Quirici, barokgitaar
Giulio QUIRICI (geb. 1987) studeerde oude tokkelinstrumenten bij Joachim Held en Mike Fentross van het Koninklijk Conservatorium van Den Haag.
Hij is continuospeler in de kamergroep Radio Antiqua, en speelde in orkesten onder de leiding van P. Pierlot, M. Fentross, S.Williams, E. Gatti en anderen. Hij studeerde ook jazzgitaar aan het Conservatorium van Vicenza, in zijn geboorteland Italië. Hij volgde mastervlasses bij instellingen van wereldklasse, zoals het Berklee College of Music van Boston, de New School for Jazz and Contemporary Music van New York.

PROGRAMMA

Programme

New Vivaldi discoveries

  1. Antonio Lucio Vivaldi:

    Dresden Sonata in D major RV 10 for violin and continuo

    Allegro/Adagio/Allegro/Adagio - Allegro - Adagio - Allegro

  2. Antonio Lucio Vivaldi ?

    Anonymous Dresden Sonata in G major for violin and violoncello

    [Without indication] - Adagio - [Violino] Solo - Violoncello solo - [Allegro]

  3. Antonio Lucio Vivaldi ?

    Anonymous Dresden Sonata in A major for violin and continuo

    Adagio - Allegro - Largo - Allegro

    Irish Coffee

  4. Francesco Maria Veracini

    Sonata accademica op.2 nr.9

    Allegro moderatamente - Adagio - Scozzese - Largo - Scozzese

    - Pause -

  5. William McGibbon

    Sonata in B minor

    Adagio – Allegro – Largo – Presto

  6. William McGibbon. A Collection of Scots Tunes, some with Variations for a Violin, 1746

    The Flower of the forest - The Botton of the Punch bow - An we had been where I have been you would not been son

    canty

    The Last of Plates Mill

    Willie was a wanton wag

  7. Francesco Geminiani

    Airs from “A Treatise of Good taste in the Art of musick” (1749)

    Air 1. Auld Bob Morrice - Allegro

    Air 2. The Country Lass - Allegro

    Air 3. Lady Ann Bothwell's Lament - Allegro

    Air 4. Sleepy Body

  8. Turlogh O´Carolan. The Hibernian Muse, ca. 1770

    Irish Air

    John Playford (ed.) The division of the violin, 1684

    Duke of Norfolk or Paul´s Steeple

    Program notes

    This is a two-in-one concert. Two concerts in one featuring two kinds of discoveries.

    The first part will be an exciting journey to Dresden, one of the major archives of baroque music. There, hidden in the library and sleeping for hundred of years there are still a lot of pieces that remains anonymous. After a long research and study we recovered some pieces that seem to belong to the hand of one of the major composers of the European baroque: Antonio Vivaldi.

    The relationship of Vivaldi and Dresden is very well documented. Dresden is in fact one of the major archives of Vivaldi’s music. During the first part of XVIII century the concertmaster of the Dresden court orchestra: Georg Pisendel recopilation a great amount of chamber music, especially music from italian composers and Vivaldi.

    Pisendel was in fact a great friend of Vivaldi and his pupil. The pieces that we perform are from Pisendel collection.

    The Sonata RV 10 was copied by Pisendel during his travel to Italy and is preserved in Dresden. It is a great example of the more refined and imaginative Vivaldi, this is not music to be sell to big audiences or amateurs, it was music written especially for his friend and great musician Pisendel.

    The trio sonata in G major was also copied by Pisendel, but the manuscript lacks the cover page so the name of the composer is lost. Beside the style of the trio sonata, which is a lot in concordance with the early Op.1 trio sonatas by Vivaldi or the RV 60 there are a lot of concordances with other Vivaldi’s works (One of the personal

    characteristic of Vivaldi musical language is the reutilization of his own musical material creating concordance passages between pieces). The major concordance is found in the Giga for solo cello of this trio sonata, which is a variation of the previous sonata RV 10.

    The Sonata in A major is now named as Anonymous in all the sources. The fact is that the first movement of the sonata is almost the same music of the slow movement of Vivaldi RV 205 and the rest of the sonata shares more than 50 concordances with other Vivaldian works. The second movement is very similar to the Nissi Dominum by Vivaldi, wrote in the same date than the RV 205 and, just to name some clues that can point to Vivaldi as

    composer, the last movement holds some formal characteristics than had be named by specialist as uniquely Vivaldi.

    The second part is a different discovery. The discovery of a baroque style.

    For any baroque music lover it is easy to listen to Italian baroque music, which is considered to be different from French baroque music, which is also different from German music... and that ́s all! Three national styles... but we

    are forgetting the Scotch and Irish music, authors such Veracini or Geminiani were amazed with this music, for baroque musicians this music was something special, and still today, it is.

    “[...] the fame harmonies, the fame modulations were practised in the compositions of the Flemish, the Italian, the German, the French and the English musicians and nothing characteristic of the genius or humour of a particular country or province [...] except in those of the Scots and Irish the former where of are in a style so peculiar as borrowing very little from art and yet abounding in that sweetness of melody which it is the business

    of art to cultivate and improve that we are driven to seek for the origin of this kind of music elsewhere than in the writings of those authors who have treated on the subject in general terms” John Hawkins, “A General History Of The Science and Practice Of Music: In Five ..., Vol. 4” London, 1776

    Javier Lupiáñez

 

 

 

 

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