Lunchconcert: Queen's Priest

7 juni 2016, 12:30-13:00 uur

Queen's Priest
Renaissance Consort bestaande uit 6 jonge musici:
Davide Catina, Mami Hashimoto, Fabio de Cataldo, trombone
Irene Sorozabal Moreno, Sophia Schambeck, Verena Barie, blokfluit


“Da Venezia, con furore”

An exciting and charming programme, with some highlights from the Venetian Era around the 17th Century. Including few of the most known composers, the music is taken from instrumental pieces, vocal motets and madrigals.

Giovanni Gabrieli, (1554-1612), “Beata es Virgo”
G. Gabrieli, was one of the most influential musicians of his time, and represents the culmination of the style of the Venetian School, at the time of the shift from Renaissance to Baroque idioms.
Like composers before and after him, he would use the unusual layout of the San Marco church, with its two choir lofts facing each other, to create striking spatial effects. Most of his pieces are written so that a choir or instrumental group will first be heard on one side, followed by a response from the musicians on the other side. The acoustics were and are such in the church that instruments, correctly positioned, could be heard with perfect clarity at distant points. Thus instrumentation which looks strange on paper, for instance a single string player set against a large group of brass instruments, can be made to sound, in St. Mark’s, in perfect balance.
The six-part motet Beata es, Virgo Maria appeared in the 1597 publication. Although it is one of the collection's more modestly laid-out pieces, it demonstrates many of the stylistic features characteristic of the composer, notably a well judged balance between homophonic and polyphonic writing, energetic cross-rhythms and answering phrases between upper and lower voices.

Francesco Cavalli, (1602-1676), “Sonata a 6”
F. Cavalli was an Italian composer who worked in Venice as a singer and organist from 1616, in the golden age of the city’s musical splendor. The operas of Cavalli have earned him a secure place among the masters of the 17th century, yet he has remained almost completely unknown as a composer of sacred music.
While the greater part of his time and energy was undoubtedly devoted to the 32 operas which he produced in Venice, Cavalli nonetheless pursued a constant and parallel career in sacred music which spanned 60 years of activity at St. Mark’s. When Cavalli published the Musiche sacre in 1656 he was at the height of his creative powers and at the apex of his career: this instrumental canzona is taken from the collection.

Biagio Marini, (1594-1663), “Passacalio a 3 e a 4”
Born in Brescia (Italy), Marini was a virtuoso violinist and violinist of the first half of the seventeenth century. His works were printed and influential throughout the European musical world. He traveled throughout his life, and occupied posts in Brussels, Düsseldorf, and Venice in 1615 joining Monteverdi's group at St. Mark's Cathedral, Padua, Parma, Ferrara, Milan, Bergamo, and Brescia.
Although he wrote both instrumental and vocal music, he is better known for his innovative instrumental compositions. He contributed to the early development of the string idiom by expanding the performance range of the solo and accompanied violin and incorporating slur, double and even triple stopping.
The term Passacalio (Passacaglia) derives from the Spanish pasar (to walk) and calle (street), but despite its Spanish roots the first examples are found in italian sources from 1606. It is usually of a serious character and often written in triple meter, and composers developed the form with a series of variations over an ostinato pattern. This Passacalio is taken from Marini’s 1655 collection “Sonate da camera e da Chiesa a due, tre e a Quattro”.

Jean Mouton, (1459-1522), “Ave Maria, Virgo serena”
J. Mouton was a French composer, and his style has superficial similarities to that of Josquin des Prez, using paired imitation, canonic techniques, and equal-voiced polyphonic writing.
Around 1500, Mouton seems to have become more aware of chords and harmonic feeling, probably due to his encounter with Italian music. At any rate this was a period of transition between purely linear thinking in music, in which chords were incidental occurrences as a result of correct usage of intervals, and music in which the harmonic element was foremost.
The text of this motet, for five voices, fits what is known of his personality: Mouton was a humble musician, writing music of serenity and beauty. The text of “Ave Maria, Virgo serena” praises the Virgin with a number of richly contrasting images -- she is the temple of Christ, rose without thorn, city of the King's justice -- yet Mouton doesn't allow himself to be carried away in sharply contrasted musical motives. Rather, both halves of the motet progress with melodic echoes of one another, creating a flowery garland of subtly shifting colors over the Virgin's head.

Orlando Gibbons, (1583-1625), “Fantasia no.3 a 6”
Gibbons was an English composer, virginalist and organist of the late Tudor period, and his music incorporate a large number of keyboard works, around thirty fantasias for viols, a number of madrigals and many popular verse anthems. all set with English texts.
The fantasia is a musical composition with its roots in the art of improvisation: the term was first applied to music during the 16th century, at first to refer to the imaginative musical "idea" rather than to a particular compositional genre. The fantasia had the sense of "the play of imaginative invention", particularly in lute or vihuela composers, and its form and style consequently ranges from the freely improvisatory to the strictly contrapuntal, and also encompasses more or less standard sectional forms.

Adrian Willaert, (1490-1562), “Canti or Piango”
A. Willaert, Dutch composer and one of the founder of the Venetian school, set in music this madrigal, with text by F. Petrarca, in such a way that displays how deeply he thought about the fact that harmonic quality might be manipulated in subtle ways to give musical substance to his reading of the essence of a poem and underscore the overall message, rather than stress the surface meaning of the words.
Originally written in two parts, we are going to present only the first one:
I sang, and now I weep, and I take no less delight in weeping than I took in singing,
for the cause and not the effect, is in my senses, longing for my noble one.
So I bear mildness and severity,cruel or humble or courteous actions,
equally, no weight burdens me, no weapon tipped with disdain touches me.

Josquin des Prez, (1450-1521), “La Spagna a 5”
La Spagna is originally a Basse Dance melody, here taken as Cantus Firmus line in the tenor. The basse danse, or "low dance", was a popular court dance in the 15th and early 16th centuries, especially at the Burgundian court. The word “basse” describes the nature of the dance, in which partners move quietly and gracefully in a slow gliding or walking motion without leaving the floor, while in livelier dances both feet left the floor in jumps or leaps. The basse danse was a precursor of the pavane as a dignified processional dance. The term may apply to the dance or the music alone.
For the most part we do not have polyphonic settings for the Basse Dances, with the exception of the tune La Spagna. This tune was a favourite for over two centuries and was given polyphonic settings by a large number of composers in both the Fifteenth and Sixteenth Centuries, including Josquin des Prez and Heinrich Isaac. In this piece, Josquin sets the best example in great counterpoint, using syncopated dissonances freely between the two higher voices and the lower two voices, whilest the cantus firmus performs the basse dance as a guideline.

20160607Queen´s Priest” is een jong, internationale ensemble en bestaat uit drie blokfluitisten en drie trombone spelers die het geluid van de Renaissance muziek verkennen.
Het ensemble treedt op in zes stem gebroken consort of kleinere instellingen en zij spelen vocale polyphony, als ook instrumentale muziek en dansen. Het herzien van de esthetische taal van de Renaissance muziek is even cruciaal voor het ensemble als het levend houden van de muziek, en tegelijkertijd intrigerend en inspirerend voor de artiesten en het publiek.

Dit concert wordt mogelijk gemaakt door vrienden van Thomas Open