Schola Cantorum Basiliensis

Villa I Tatti
n the 16th century the pieces in printed books of unaccompanied mad-
The Harvard University Center
for Italian Renaissance Studies
rigals are normally grouped and ordered according to musical principles
such as system, cleffing and final. A quick survey of the printed books by
the main madrigal composers of the last quarter of the century bears out
this assertion.
The published books of unaccompanied madrigals by Luzzasco Luzzaschi,
however, do not follow the same principle. Anthony Newcomb will suggest
that especially in one of them (the Third, dated 1582) dedicated to Marg he
rita Gonzaga d’Este, Duchess of Ferrara, another method of organization
was followed. This proves to be closer to the authorized collections of poems from Ferrarese academies and by the principle Ferrarese poets of the
time, Torquato Tasso and Battista Guarini. Luzzaschi’s Third book, in
other terms, will be presented as a mini-canzoniere dedicated to Margherita, centered around a single poetic theme, and ordered internally by groups
linked together both by poetic topics and musical detail.
F
ive student musicians of the Schola Cantorum Basiliensis will exem
plify some of the madrigals discussed by Anthony Newcomb and compare
them with the repertoire of the celebrated Concerto delle dame di Ferrara.
We are grateful for the generous support of the donators
Ruth and Hans-Joachim Rapp-Moppert in memoriam
Their programme includes works by Luzzaschi, Jacques de Wert, Lodovico Agostini and other contempories; and it re-enacts the historical practice
of the vocal-instrumental self accompaniment.
On the recto: Frans Pourbus the Younger (attr.), Portrait of Margherita Gonzaga
d’Este, Ferrara, Palazzina Marfisa, courtesy of the Musei Civici di Arte Antica, Ferrara.
Schola Cantorum Basiliensis
I
We thank the following institutions for their kind support:
Grand Tour
A mini- canzoniere
for Margherita Gonzaga
d’Este (Ferrara, 1582)
22-27 May
2 0 15
A mini- canzoniere
for Margherita Gonzaga
d’Este (Ferrara, 1582)
I
n the 16th century the pieces in printed books of unaccompanied mad-
rigals are normally grouped and ordered according to musical principles
such as system, cleffing and final. A quick survey of the printed books by
the main madrigal composers of the last quarter of the century bears out
this assertion.
The published books of unaccompanied madrigals by Luzzasco Luzzaschi,
however, do not follow the same principle. Anthony Newcomb will suggest
that especially in one of them (the Third, dated 1582) dedicated to Marg he
rita Gonzaga d’Este, Duchess of Ferrara, another method of organization
was followed. This proves to be closer to the authorized collections of poems from Ferrarese academies and by the principle Ferrarese poets of the
time, Torquato Tasso and Battista Guarini. Luzzaschi’s Third book, in
other terms, will be presented as a mini-canzoniere dedicated to Margherita, centered around a single poetic theme, and ordered internally by groups
linked together both by poetic topics and musical detail.
F
ive student musicians of the Schola Cantorum Basiliensis will exem
plify some of the madrigals discussed by Anthony Newcomb and compare
them with the repertoire of the celebrated Concerto delle dame di Ferrara.
Their programme includes works by Luzzaschi, Jacques de Wert, Lodovico Agostini and other contempories; and it re-enacts the historical practice
of the vocal-instrumental self accompaniment.
Presentation
A mini- canzoniere
for Margherita Gonzaga
d’Este (Ferrara, 1582)
Girolamo Frescobaldi, Canzona terza à 2 (1634)
Giaches de Wert, Cara la vita mia (1595)
***
Giovanni de Macque, Seconda Stravaganz a (c. 1610)
Luzzasco Luzzaschi, Aura soave (1601)
Luzzasco Luzzaschi, Stral pungente d’amore (1601)
Luzzasco Luzzaschi, Canzona decima à 4 (1608)
Giaches de Wert, O primavera gioventù (1595)
Lodovico Agostini, O villanella (1574)
Giaches de Wert, Diminuzioni su Cara la vita mia
Giaches de Wert, Cara la vita mia (1595)
Venues
22 May 2015, 15:00, Florence
Villa I Tatti, The Harvard University Center for Italian
Renaissance Studies (in collaboration with the
Kunsthistorisches Institut in Florenz - Max-Planck-Institut),
Via di Vincigliata, 22, 50135 Florence
24 May 2015, 20:30, Bologna San Colombano, Collezione Tagliavini,
via Parigi, 5, 40121 Bologna
25 May 2015, 21:00, Ferrara
Palazzo Schifanoia, Sala dei Mesi,
Via Scandiana, 23, 44121 Ferrara
Lecturer: Anthony Newcomb (UC Berkeley)
Performers: Ensemble Concerto di Margherita
(Schola Cantorum Basiliensis)
Tanja Vogrin, harp, Giovanna Baviera, viola da gamba,
Francesca Benetti, theorbo, Rui Staehelin, lute,
Ricardo Leitão Pedro, lute and baroque guitar.
27 May 2015, 16:00, Basel
Musik-Akademie Basel, Raum 6-348
Leonhardsstrasse 6, 4009 Basel
Villa I Tatti
n the 16th century the pieces in printed books of unaccompanied mad-
The Harvard University Center
for Italian Renaissance Studies
rigals are normally grouped and ordered according to musical principles
such as system, cleffing and final. A quick survey of the printed books by
the main madrigal composers of the last quarter of the century bears out
this assertion.
The published books of unaccompanied madrigals by Luzzasco Luzzaschi,
however, do not follow the same principle. Anthony Newcomb will suggest
that especially in one of them (the Third, dated 1582) dedicated to Marg he
rita Gonzaga d’Este, Duchess of Ferrara, another method of organization
was followed. This proves to be closer to the authorized collections of poems from Ferrarese academies and by the principle Ferrarese poets of the
time, Torquato Tasso and Battista Guarini. Luzzaschi’s Third book, in
other terms, will be presented as a mini-canzoniere dedicated to Margherita, centered around a single poetic theme, and ordered internally by groups
linked together both by poetic topics and musical detail.
F
ive student musicians of the Schola Cantorum Basiliensis will exem
plify some of the madrigals discussed by Anthony Newcomb and compare
them with the repertoire of the celebrated Concerto delle dame di Ferrara.
We are grateful for the generous support of the donators
Ruth and Hans-Joachim Rapp-Moppert in memoriam
Their programme includes works by Luzzaschi, Jacques de Wert, Lodovico Agostini and other contempories; and it re-enacts the historical practice
of the vocal-instrumental self accompaniment.
On the recto: Frans Pourbus the Younger (attr.), Portrait of Margherita Gonzaga
d’Este, Ferrara, Palazzina Marfisa, courtesy of the Musei Civici di Arte Antica, Ferrara.
Schola Cantorum Basiliensis
I
We thank the following institutions for their kind support:
Grand Tour
A mini- canzoniere
for Margherita Gonzaga
d’Este (Ferrara, 1582)
22-27 May
2 0 15

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