With their programm “Morte della ragione” Giovanni Antonini and the Italian original sound ensemble Il Giardino Armonico will pursue Mannerist tendencies in the music of the 16th and 17th centuries: whether battle music or lamentations of love, here the emotion makes the music.
La morte della ragione - A Journey Through the Music of the 16th and 17th Centuries
Works by Heinrich Isaac, Josquin Desprez, Clément Janequin, Carlo Farina, Tarquinio Merula, Dario Castello, Giovanni Gabrieli, Girolamo Frescobaldi, Carlo Gesualdo di Venosa, Biagio Marini, Giovanni Pietro del Buono, Matthew Locke, Henry Purcell and Samuel Scheidt
Chamber Music Hall
Introduction: 7:00 pm
The “Morte della Ragione”, the “death of reason” is proclaimed by the pavane of the same name by an anonymous master from the second half of the 16th century – an end that signified a compositional new beginning in which sensual pleasure gained centre stage. The break with the traditional set of rules that resulted in the triumph of the “affetti” over strict counterpoint led – following fine arts and painting – to mannerism in music as well. Its typical traits are unexpected changes of key, diminished interval jumps, distorted or obscured cadences and innumerable deceptive cadences – in brief: a concentration of the most striking exotic sounds in a narrow timeframe.
With their programme “Morte della Ragione”, Giovanni Antonini and the Italian original sound ensemble Il Giardino Armonico will pursue Mannerist tendencies in the music of the 16th and 17th centuries, whereby two “Battaglie” by Heinrich Isaac and Samuel Scheidt form the musical framework. Between these two pieces of battle music characterised by extreme contrasts and full of chromaticisms, in which homophonic and polyphonic sections of varying rhythmic concentration are strung together, there will be works by Josquin Desprez, Tarquinio Merula, Giovanni Gabrieli, Girolamo Frescobaldi, Carlo Gesualdo and others – music with such bold, abrupt modulations, unprepared dissonances and nervous and eccentric rhythms that you can hardly believe the compositions are almost half a millennium old.