Programmes

Nymph - Goddess - Amazon  
Metarmorphoses of the Women  
in Baroque Music  
   
Extract (tbc):  
Francesco Cavalli (1602-1676) “Piante ombrose” (from “Calisto”)
Alessandro Stradella (1639-1682) “La Medea” (cantata for soprano and b.c.)
Alessandro Scarlatti (1660-1735) “Arianna” (cantata for soprano, strings, b.c.)
Georg Friedrich Händel (1685-1759) “Riportai gloriosa palma” (from “Atalanta”)
Antonio Vivaldi (1678-1741) “Onde chiare” (from “Ercole sul termodonte”)
   
Besetzung: soprano, 2 violins,  
viola, violoncello, doublebass,  
theorbo, harp, harpsichord  
   
   
   
Viva la Diva!  
Opera Arias about Love,  
Suffering and Madness  
Claudio Monteverdi (1567-1643) “Dal mio permesso amato” (from “L’Orfeo”)
  “Lasciatemi morire” (from “Arianna”)
  Sinfonia (from “L’Incoronazione di Poppea”)
Francesco Cavalli (1602-1676) “Ardo, sospiro e piango” (from “Artemisia”)
Alessandro Stradella (1639-1682) “Su, su pensieri” (from “Moro per amore”)
Francesco Cavalli (1602-1676) Sinfonia (from “La Calisto”, 1651)
Georg Friedrich Händel (1685-1759) “Da tempeste” (from“Giulio Cesare”)
***  
Alessandro Scarlatti (1660-1725) Sinfonia (from “La Caduta dei Decemveri”)
Antonio Vivaldi (1678-1741) “Un guardo o dio” (from “Montezuma”)
Georg Friedrich Händel (1685-1759) “Chi cede al furore” (from “Xerxe”)
Antonio Vivaldi (1678-1741) Sinfonia (from “La Senna Festeggiante”)
Georg Friedrich Händel (1685-1759) “Se pietà di me non senti” (from “Giulio Cesare”)
Antonio Vivaldi (1678-1741) “Da due venti” (from “Ercole sul Termodonte”)
   
Instrumentation: soprano, 2 violins,  
viola, violoncello, doublebass, harp,  
theorbo, harpsichord, organ  
   
   
   
Alessandro Scarlatti: La Giuditta (1693)  
Blood and Eroticism in an Opera-like Oratory  
   
Instrumentation: 2 sopranos, alto,  
tenor, bass, 2 flutes, trumpet, 2 violins,  
viola, violoncello, doublebass, theorbo,  
harpsichord  
   
   
   
To the Holy Virgin  
An oratory on the eternal fight  
between virtue and evil.  
   
Alessandro Scarlatti (1660-1725) „Humanità e Lucifero” - oratory in two parts
  „per la Natività della Beata Vergine” (1706)
   
Instrumentation: 2 singers, trumpet,  
flute, 2 violins, viola, doublebass, theorbo  
   
   
   
Il duello amoroso 1  
Alessandro Scarlatti (1660-1725) “Perchè tacete, regolati concenti” - cantata for
  alto, 2 violins and b.c. H. 551
Antonio Vivaldi (1678-1741) Trio sonata for 2 violins and b.c. RV 63 “La Follia”
Giovanni Battista Bononcini (1670-1747) “Siedi Amarilli mia” - cantata for alto,
  2 violins, b.c.
***  
Giovanni Battista Bononcini (1670-1747) Lamento “In morte di Bella Ninfa” for alto and b.c.
Georg Friedrich Händel (1685-1759) Trio sonata in g minor HWV 393
Georg Friedrich Händel (1685-1759) “Mi palpita il cor” - cantata for alto, violin and b.c. HWV 132
   
Instrumentation: Raffaele Pe - countertenor,  
2 vioins, violoncello, theorbo, harpsichord  
   
   
   
Il duello amoroso 2  
Sensual and Virtuosic Duets  
with Raffele Pe and Filippo Mineccia  
   
Cristoforo Caresana (1640-1709) “Lamento degli occhi per non potersi vedere l’uno
  con l’altro”
Agostino Steffani (1654-1728) Duet “Prigionier io chiudo in petto”
Benedetto Marcello (1686-1739) Duet “Per saettarmi non ha più strali” S 444
Georg Friedrich Händel (1685-1759) “Caro autor di mia doglia” HWV 182a
Agostino Steffani (1654-1728) Duet “Io mi parto”
***  
Benedetto Marcello (1686-1739) Duet “Lontan dall’idol mio” S 437
Antonio Lotti (1667-1740) “Crudeltà Rimproverata”
Benedetto Marcello (1686-1739) Duet “Felice chi vi mira” S 420a
   
Instrumentation: 2 countertenors,  
violoncello, harp, theorbo, harpsichord  
   
   
   
Salve Regina  
Music in honour of the Celestial Queen  
Arcangelo Corelli (1653-1713) / Ave Regina coelorum
Antonio Tonelli (1686-1765)  
Arcangelo Corelli (1653-1713) one of the sonatas da chiesa
Alessandro Scarlatti (1660-1725) Salve Regina
Arcangelo Corelli (1653-1713) / Salve Regina coelorum
Antonio Tonelli (1686-1765)  
***  
Alessandro Scarlatti (1660-1725) Sonata à 4 parti
Alessandro Scarlatti (1660-1725) Lamentatione
Arcangelo Corelli (1653-1713) one of the sonatas da chiesa
Arcangelo Corelli (1653-1713) / Regina coeli
Antonio Tonelli (1686-1765)  
   
Instrumentation: soprano, alto,  
2 violins, viola, doublebass, theobo, organ  

Scherzi musicali - Passion and humor

Everyone knows Monterverdi’s stunning Lamenti, his sense for intensive melodies and painful harmonics. But the Italian composer was also a master of humor and his “Scherzi musicali” offer an entertaining mixture of true passion, (mostly) frivolous humor and a touch of melancholy.

Claudio Monteverdi (1567-1643) Damigella tutta bella / O Rosetta (Scherzi musicali)
Claudio Monteverdi Eccomi pronta ai baci (Settimo Libro dei Madrigali)
Ritornello: Biagio Marini (1594-1663) Una vecchia sdentata e bavosa (Scherzi e Canzonette)
Sinfonia: Claudio Monteverdi Oggi, oggi sarà Poppea (Incoronazione di Poppea)
Tarquinio Merula (1595-1665) Su la Cetra amorosa (Musiche concertate)
Sinfonia: Claudio Monteverdi Gira il nemico insidioso (Ottavo Libro dei madrigali)
Claudio Monteverdi Maledetto sia l’aspetto (Scherzi Musicali)
Sinfonia: Claudio Monteverdi Chi parla, chi parla? (Incoronazione di Poppea)
Claudio Monteverdi Bel Pastor (Nono Libro dei madrigali)
Sinfonia: Claudio Monteverdi Ohimè ch’io cado (Quarto Scherzo delle ariose vaghezze)
Ritornello: Claudio Monteverdi Amor se fossi arciero (Il Ritorno di Ulisse in Patria)
   
Instrumentation: 4 singers, 2 violins, viola,  
doublebass, harp, theorbo, harpsichord  
Monteverdi’s Mastery  
Madrigals from the Books Nos. 5 - 9  
   
Claudio Monteverdi (1567-1643) Oimè il bel viso (6. Buch, 1614)
  O come sei gentile (7. Buch, 1619)
  Gira il nemico insidioso (8. Buch, 1638)
  Su, su, su pastorelli vezzosi (8. Buch, 1638)
  Batto, qui pianse ergasto (6. Buch, 1614)
  Romanesca: Oimè dov’é il milo ben (7. Buch, 1619)
  Alcun non mi consigli (9. Buch, 1651)
  Lamento della ninfa (8. Buch, 1638)
  Misero alceo (6. Buch, 1614)
  Non è di getil core (7. Buch, 1619)
  Non partir, ritrosetta (8. Buch, 1638)
  T’amo mia vita (5. Buch, 1609)
  Zefiro torna (6. Buch, 1614)
   
Instrumentation: 5 snigers, theorbo,  
harpsichord  
Dawn of the Italian Baroque  
Madrigals by Monteverdi and Contemporaries  
   
Claudio Monteverdi (1567-1643) Al lume delle stelle
  Se il vostro cor madonna
Sigismondo d'India (1582-1629) La mia filli crudel
  Chi nudrisce mia speme
Giovanni Felice Sances (1600-1679) Tirsi morir volea
Claudio Monteverdi (1567-1643) Soave libertade
Benedetto Ferrari (1603-1681) Amanti io vi so dire
Claudio Monteverdi (1567-1643) Della bellezza le dovute lodi
  Ogni amante e' guerrier
  Io che nell'otio nacqui
  Ma per quell'ampio Egeo
  Riedi ch'al nostro ardor
Claudio Monteverdi (1567-1643) Ohime' dov'e' il mio ben
Benedetto Ferrari (1603-1681) Avverti o cor
Sigismondo d'India (1582-1629) Cruda Amarilli
Giovanni Felice Sances (1600-1679) Presso l'onde tranquillo
Claudio Monteverdi (1567-1643) Et è pur dunque vero
  Lidia spina
  Lamento della ninfa
   
Instrumentation: 5 singers, cornet, violin,  
theorbo, doublebass, harpsichord  

Monteverdi till Midnight

Monteverdi is still a fascinating and inspiring composer also for artists of all kind in our days. The naturaly flow of his language-oriented music is impressive in its immediacy. Claudio Cavina, who has spend practically his complete artist career with Monteverdi’s music has recently discoved another angle of view on this great master of Renaissance music. He focussed on Monteverdi’s closeness to the flowing music of Jazz and at the end it was actually just a small and surprisingly plausible step from the Renaissance to Jazz music. The result is a programme called Round M which La Venexiana recorded for Glossa.


Alternative: Parts I and II can be combined as full lenth programme without part III. Part III can also be extended to a full lenth programme.

  • Part I From Cremona to Mantua: Extracts from the Books of Madrigals Nos. 2, 3, 4 and 5 (duration: 1 hour)

  • Part II In Venice: Extracts from the Books of Madrigals Nos. 6, 7 and 8 (duration: 1 hour)

  • Part III Round M - Monteverdi meets Jazz: soprano, jazz-saxophone, drumset (duration: 1 hour)

Requiem for Monteverdi

Works by Rovetta, Cavalli, Merula etc. - Please ask for details.

Monteverdi died in Venice on 29 November 1643: “the very illustrious and reverend Don Claudio Monte Verde, maestro di cappella of the Church of St Mark aged 73”. He was buried in the Frari. From the chronicles of the time we know that the city of Venice “unanimously decided to honour him with one of the most solemn funerals that the city has seen and heard, directed by the most illustrious Signor Giovanni Rovetta.” The ceremony and the liturgy were sumptuous; the most important musicians connected with Monteverdi were involved in the music: his former students Alessandro Grandi and Giovanni Rigatti, with the friends Salomone Rossi and Tarquinio Merula. The funereal was one of the most important events of the time, from a musical and historical point of view.

The programme does not intend to historical correctly imitate this ceremony but to recreate its special atmosphere.

Instrumentation: 8 singers, 2 violins, 2 trumpets (+ 3 trombones), 2 theorbos, doublebass, organ