RMA 2015


Venetia me genuit

22nd2-29th, August 2015

Venice was one of the most important Capital City during sixteenth century, and played a great role in the Baroque History as others European Cities ( Paris, Vienna and Amsterdam).
Despite its opulence, recognized also by G. Brunet that in 1685 wrote “.. there’s an incredible wealth and abundance of all things.. “, Venice fought against great plague (Calamitas Calamitatis in 1630) and after that started to lose attractiveness as political and economic centre, also due to the quick development of the Savoy Kingdom in the West, and of all nothern european countries (Netherlands and England above all).

In the musical field we have to recognize the great scenario grown up and consolidated by Venice both in the holy liturgical and devotional music and profane with opera performances.
The great season of theater “public” (fantastic commercial idea) inaugurated by the “music dramas” by Monteverdi, Cavalli, Manelli, Ferrari and many others, well-led by new teachers – former students – as Ziani, Baskets, Legrenzi, Pollarolo, located worthy counterpoint in the sumptuous liturgies and sacred scenic representations that the major churches and religious institutions in the city do not cease to strike, in a riot of voices and instruments (with many local musicians and many others called from out of town “… in the grace Master … “reads the statements of accounts of the doge’s chapel).
They celebrate military victories of the recent past, and exalted patron saints and various solemnity “Serenissima”, honored princely visits, and embellish the nights of carnival, they seal events of the noble families, in a continuous “transfer” of capital, ideas and professional resources between public and private, church and state, where it is often difficult to drawn out the scope and the calendar.

So much music industries had given excellent results both in terms of musical quality and education sector’s “operators”. Cristoforo Caresana represents the results: after hearing the formidable musical lesson in his hometown, he will bring his own ingenuity around the Peninsula and across Europe, harvesting the fruits of the “Venetian Knowledge” in places greedy at new (more or less recent) practiced in the doge’s city.
Figures like Natale Monferrato who spent his lives in the solid musical structures covering towns positions of the first level. Although he had never abandoned the shores of the Adriatic, some of his motet was given (in the transcription of a French copyist) to one of the chief Roman musicians, Giacomo Carissimi, a sign of sure value musical broad. We investigate these two figures little unknown to most people, Natale Monferrato (Venice, 1610 – ibid, 1685) and Cristoforo Caresana (Venice, ca. 1640 – Naples, 1709), a history of “handcraft music” that made great the Bel Paese.

Rovigo Musica Antica 2015 starts from the glorious Venetian musical institutions of the first XVII Century in order to land new cities and new styles, with a parallel project that investigates the strength of the musical thought of the Venetian baroque and new stylistic developments “Venetian” of southern Italy , Naples in particular.
The masterclasses, courses and workshops (vocal, instrumental and musical transcription), conferences, concerts will give tangible view to this full-bodied and almost unexplored repertoire. Of course you will need to consult the musical legacy of the old masters (Monteverdi in particular) to juggle in the language of “new composers.” Courses and concerts will end with the now traditional concert at the Tempio della Beata Vergine del Soccorso (the “Rotonda”)in Rovigo on August 29th, with a program of music by the late seventeenth century vocal and instrumental groups, among which the pages of Monferrato and Caresana.

The final concert will be under the coordination and direction of the Maestro Llu√≠s Vilamajo, tenor and choir’s director of the most internationally renowned in the field of early music. Jordi Savall’s collaborator as singer and ensemble selection for La Capella Reial de Catalunya and Hesperion XXI.