
Saturday, October 3rd, 7.30 pm
alessandro giangrande & orfeo futuro
ti amo alla follia
Cantatas and serenades of love from the Italian Seicento
ALESSANDRO GIANGRANDE
countertenor
ORFEO FUTURO
Giovanni Rota, Valerio Latartara
violins
Gioacchino De Padova
viola da gamba
Pino Petrella
baroque guitar
Gabriele Natilla
tiorba
Pierfrancesco Borrelli
clave i direcció

PROGRAMME
Ti amo alla follia
Cantatas and serenades of love from the Italian Seicento
Benedetto Ferrari (1597 - 1681)
Amanti io vi so dire
from the Musiche e poesie varie à voce sola, 3r llibre, Bartolomeo Magni, Venice 1641
Giovanni Battista Buonamente (1595-1642)
Ballo del Gran Duca
from the 4t Llibre de Varie Sonate, Venice, 1626
Anonymous folk music
Tu bella ca lu tiene
Andrea Falconiero (1585/6 – 1657)
Folias echa para mi Señora Doña Tarolilla de Carallenos,
from the 1r llibre de Canzoni, sinfonie e fantasie, Naples, 1650
Simone Coya (17th century)
L’Amante impazzito
from L'Amante Impazzito con altre Cantate, e Serenate, Op.1, Milan, 1679
PROGRAMME notes
Ti amo alla follia
This concert program features a selection of Italian vocal and instrumental pieces from the 17th century dedicated to themes of love, passion, irony, and melancholy. Alongside the famous works of Benedetto Ferrari, Falconiero, and Buonamente, the program highlights less common repertoire such as the serenades of Simone Coya and the folk song “Tu bella calu ti eni.” A musical journey full of affection and love-induced madness, suspended between high culture and folk songs, between words and dance.
alessandro giangrande
countertenor
Alessandro Giangrande, tenor and countertenor, graduated with top marks in singing and violin from the Nino Rota Conservatory in his hometown of Monopoli. He has deepened his study of the baroque repertoire with internationally renowned teachers such as Maria Cristina Kiehr, Roberta Invernizzi, and Paul Esswood. He won the first absolute prize at the VI Spazio&Musica Baroque Singing Competition at the Conservatory of Vicenza, and his career stands out especially for the interpretation of works by Claudio Monteverdi. He has performed Orfeo at the Aix-en-Provence Festival and at the Teatro Colón in Buenos Aires, and has taken on the role of Ottone in L’incoronazione di Poppea at the Ambronay and MITO Settembre Musica festivals. He has worked with conductors such as Jordi Savall, René Jacobs, Rinaldo Alessandrini, Leonardo García Alarcón, and Christina Pluhar, performing at prestigious international venues like Carnegie Hall in New York, the Philharmonie in Paris, and the Concertgebouw in Amsterdam. His discography includes works by Pergolesi and Cavalli, and maintains an intense activity in the performance of early, medieval, and baroque music.
ORFEO FUTURO
Baroque ensemble
ORFEO FUTURO is an ensemble with a variable geometry, ranging from a quartet to an orchestra. It brings together Italian and non-Italian musicians who specialize in performance practices with historical instruments, since 2010. It works on new and large-scale projects, sometimes even crossing old repertoires with new music. It has produced hundreds of concerts and numerous CDs, also in collaboration with other artists and groups. Among its most recent productions are: Around the Ground, L'Eredità di Arcangelo, Dancing Bass, Estimada Cantonada, which mixes Spanish Golden Age music with early 20th-century Latin American song; and Insight Lucrezia, a chamber opera with Nunzia Antonino, directed by Carlo Bruni, based on an original text by Antonella Cilento with electronic music by Gianvincenzo Cresta. Together with the vocal ensemble Spirito di Lione, it debuted in 2019 at the Venice Music Biennale. It regularly collaborates with the Anima Mea Festival in Bari and other cities in Apulia.
Saturday, October 9, 7pm
Lucentum XVI
Francesc de Borja
Music for the 450th anniversary of his death
Pere Saragossa, shawms and direction
Quiteria Muñoz, soprano; Carla Sanmartín, alto
Jesus Navarro, tenor; Giorgio Celenza, bass
Carlos García-Bernalt, organ
Xavier Boïls, cornetto; Vicent Osca, sackbut; Antoni Lloret, shawms;
Antoni Llofriw, dulzians; Fernando Fernández, lute; Facundo San Blas, percussion
PROGRAMme
francesc de borja
· La Bataille, by Clément Janequin (c.1485-1558), of the Dixiéme livre (Amberes, 1545) of Tielman Susato
· Rondeau «Ce jour», by Guillaume Dufay (c.1397-1474)
· Ave Maris Stella, by G. Dufay / Booksongs of Montecassino (c.1480)
· Miserere Nostri – Vexilla Regis, C. Montecassino
· El cervel mi fa, anonymous of the Booksong of Palacio (c. 1500)
· Susanne un jour, d’Orlando de Lassus (1532-1594)
· Credo in unum Deum of the Mass about Susanne un jour, by Orlando de Lassus.
· Makam Muhayyer «Kúme» usules Düyek Acemler, Turkish war march.
· Passio Domini nostri Iesu Christi secundum Mattheum*, by Jan Nasco (c.1510–1561) and Joan Baptista Comes (c.1582-1643)
*Named as «Passion de Valencia» by Joan Baptista Comes (Escorial Monastery Archive, c.1607)
ABOUT THE GROUP
lucentum xvi
Group of ministers (instrument players) led by Pere Saragossa , created to interpret and spread the rich and varied musical repertoire of the Renaissance. Bands of wind instruments, with the name alta capella , spread throughout cities and towns in Europe in the 15th and 16th centuries. The main function of the ministers within the liturgy was to accompany the vocal music, dubbing the voices. In the civil sphere, the high chapel was in charge of performing dances, popular songs, and love pieces and epics of courtly and popular origin.
Lucentum XVI's performances include those performed in Bari and Molfetta as part of the Anima mea de la Puglia Festival (Italy), Musical Vespers of the Monastery of Pedralbes, Festival of Ancient Music of the Pyrenees, Serenades Festival of the University of Valencia, Music Festival Antiga de Morella, Clásicos en la Frontera a la Ribagorça, Festival of Contemplative Music of Santiago de Compostela, Festival of Sacred Music of Benicàssim, Festival of Ancient and Baroque Music of Peñíscola.
In 2021 they published their first record work with the title " El Cantoral del Monestir de Santa Maria de la Murta d'Alzira ", a disc of which the specialized critic has said "The execution is absolutely exquisite, full of balance in the excellent voices and the instruments (...). The album is a gem, both for the interpretation and for the unprecedented and beautiful polyphony and for the documentation.» (Manuel de Lara Ruiz, Scherzo Magazine, June 2021).
Programme notes
francesc de borja
This programme comemorates the 450th anniversary of the death of Francesc de Borja i Aragó ( Gandia 1510- Roma 1572) who was Duke of Gandia, Lieutenant of Catalunya, later joining the Jesuit order being proclaimed a Saint in 1671, for which reason the Catholic church is now celebrating the 350th anniversary of this fact.
In this concert we present the premiere in modern times , of the Passion of Our Lord Jesus Christ according to Matthew, a work which Ferran d'Aragó, viceroy of Valencia and Duke of Calabria commisioned from the Flemish composer, Jan Nasco ( 1510-1561) to give as a gift to the Cathedral of Valencia , being known at the time as the Passion of Valencia.
This work is part of the repertoire of the choir of the monastery of Murta d'Alzira, a musical body to which our group has dedicated the first of their albums released earlier this year.
The representation or interpretation of the Passion according to Matthew , where the gospel of this prophet is narrated, took place in the Roman Catholic liturgy during the Mass of Palm Sunday (the following Tuesday was the gospel of Saint Mark, on Wednesday, the gospel of Saint Luke and on Good Friday the gospel of Saint John.).
The main characters of the Passion are Christ, the Evangelist narrator and the crowd, the so-called “mob” played by the whole congregation.
The score for the crowd has not been found in the Monastery of Alzira , so it could have been performed in plain singing or in a now lost poliphony.
But some parts sung by the crowd appear in poliphony for 6 voices originally written by the Valencian Joan Baptista Comes ( chapel master in the Cathedral of Valencia, successor to Josep Prades) which is in the monastery of San Lorenzo d'El Escorial, a Jerónimo monastery, like that of Alzira. And the interventions of the mob, but for 4 voices, appear in a document of 1561 signed by Jan Nasco himself.
Since the Second Vatican Council, held between 1959 and 1962 the singing of the Latin Passion has been replaced in almost all diocese by the reading of the Passion in the vernacular language ( except in our territory where our own language is not used.).
Together with this great work we present among others pieces from the Cancionero de Palacio , the palace of Queen Isabel of Castilla ( the Catholic) and king Ferdinand of Aragón, and the Songbook of Montecasino ( Naples) a collection written in the 1480s which accompanied Alfons and Roderic de Borja to Rome where they became Popes with the names Calixtus lll and Alexander Vl.
