The label ARCANA has reprinted our CD recording of some violin sonatas by Francesco Maria Veracini: it was our 1st CD with Arcana!
Quando Michel Bernstein nel 1994 mi chiese di iniziare ad incidere dischi per Arcana la scelta del programma del primo CD cadde su alcune opere di Francesco Maria Veracini, all’epoca non ancora troppo conosciute.
Veracini (1690-1768), di cui quest’anno ricorrono 350 anni dalla morte, è stato un grande violinista fiorentino dal temperamento fiero e acceso, un concertista famoso che ha traversato l’Europa ed ha lasciato segni indelebili in luoghi che furono teatro di una vivace vita musicale come Dresda, Londra, Francoforte e Praga. Le sue sonate per violino ci testimoniano un’immaginazione sempre accesa ed
una verve tutta personale unite ad una 
tecnica strumentale assai brillante.
Le 12 sonate dell’op. I (1721) si dividono in 6 sonate cameristiche che contengono Ouvertures o Preludi seguiti da suite di danze di vario genere e 6 sonate “da chiesa” in cinque movimenti fra cui spicca sempre almeno un fugato. La scrittura violinistica è notevolmente più ardita rispetto allo stile austero di Corelli.
Le Sonate Accademiche op. II (1744) appartengono all’ultimo dei periodi londinesi del violinista toscano. Esse si distinguono, oltre che per l’originalità e l’eccellenza della musica, grazie alla presenza di segni dinamici ed indicazioni esecutive inusuali per l’epoca, per l’uso frequente dell’arcata lunga tipica dei massimi virtuosi italiani, di una abbondante varietà di colpi d’arco e di invenzioni idiomatiche di grande effetto. L’autore vi opera una commistione dei generi e gli antichi fugati vengono sostituiti da “Capricci” molto estesi che utilizzano sì svariate tecniche contrappuntistiche ma servono per lo più come spazio libero per il dispiegamento di un virtuosismo estroverso ed esuberante.
Recorded in Longiano, Fondazione Tito Balestra (Castello Malatestiano), Cesena in June 2017 with a booklet essay by Francesco Zimei In English - Français - Italiano - Deutsch
“Cross-dressing Bach” is how Enrico Gatti and Rinaldo Alessandrini have chosen to call their Bach programme of rare works and alternative versions. They experiment with how marvelously enriched the musical writing becomes by changes in scoring, often with the instruments permeating one another, as the inversion of roles is reached. The flexibility of the instrumentation is linked to various stages in the composer’s career, to practical contingencies, and above all to the inexhaustible striving for perfection that induced Bach, according to his first biographer, Johann Nikolaus Forkel, to revise his works many times, refining them in every minimum detail. This compels us to take into account a rather different story from one that is rooted in our mentality as listeners, conditioned by the crystallization of the repertoire, and extorted by the Urtext-philosophy.”
(From the booklet essay by Francesco Zimei)
THE NEW RECORDING of Ensemble Aurora:
music by Leonardo Leo, Pietro Marchitelli, Giovanni Carlo Cailò, Nicola Fiorenza, Francesco Paolo Supriani
violins:
Enrico Gatti, Marie Rouquié,
Joanna Huszcza, Sebastiano Airoldi
cello:
Gaetano Nasillo
organ & harpsichord:
Guido Morini
Musicological research: Guido Olivieri (The University of Texas at Austin)
Cooproduced by Fondazione Pietà de' Turchini (Napoli) and Outhere Music France
With the support of "Gaudete" - Festival Internazionale di Musica Antica
Special thanks to the Istituto Abruzzese di Storia Musicale
Cover: Roman bronze from Ercolano, photo by Mimmo Jodice
ARCANA - Artistic Director: Giovanni Sgaria
Happy anniversary, Ensemble Aurora!
In autumn 2016 Ensemble Aurora celebrates its 30th anniversary: the very first concerts of the group, founded and lead by the violinist Enrico Gatti, took place in Milano and Bologna at the beginning of September 1986, then the ensemble went to Fusignano (Ravenna), the native town of Arcangelo Corelli, where an international symposium on the composer was held. The first recording (Corelli’s triosonatas) was made then.
We will celebrate this anniversary on the 4th of december 2016 in Modena. Everybody is invited to join us in the San Carlo church from 11am until 13am. There will be free admission for our ex-tempore concert and everybody can come, enjoy fresh music and talk to the performers: be welcome!
Finally my long article on the history
of the different ornamentation styles
from the XVI century to the beginning of the XIX century
is now available: almost 120 pages of full immersion
in the most various instrumental and vocal diminutions,
with particular attention to those written for the violin.
With 75 plates and a 9 page long bibliography.
«Però ci vole pacientia»:
un excursus sull'arte della diminuzione
nei secoli XVI, XVII e XVIII
«per uso di chi avrà volontà di studiare»,
pp. 71-188, in «Regole per ben suonare e cantare»
Quaderni del Conservatorio «Giuseppe Verdi» di Milano
n.s. 2/2014
Edizioni ETS, Pisa 2015
pp. 227, € 23,00
Grandezze & Meraviglie and Gruppo Arcomelo 2013
present
THE BONONCINIS: FROM MODENA TO EUROPE
(1666-1747)
International Symposium
Modena, 2-4 December 2016
SCIENTIFIC COMMITTEE:
Enrico Gatti (Royal Conservatoire, Den Haag, NL - Conservatorio "G. B. Martini", Bologna)
; Guido Olivieri (The University of Texas, Austin, USA)
; Agnese Pavanello (Schola Cantorum Basiliensis, Basel, CH);
Marc Vanscheeuwijck (University of Oregon, Eugene, USA);
Francesco Zimei (Istituto Abruzzese di Storia Musicale)
CALL FOR PAPERS
The Festival Musicale Estense “Grandezze & Meraviglie” and the Gruppo Arcomelo 2013 are organizing an international symposium on the Bononcini family during the first weekend of December 2016. The conference will focus on the period that begins with the artistic début of Giovanni Maria (Primi frutti del Giardino musicale op. 1, 1666)— launching the golden age of the Modena violin school—through the European success of the Musico Prattico (1673), paralleling that of the ducal court after the marriage (also in 1673) of Maria Beatrice d’Este and the Duke of York James Stuart, and the second generation of Bononcini musicians (Giovanni and Antonio Maria), who were instrumentalists and opera composers of great international renown.
Objectives of the conference are both to explore the life, works, and influence (in a European perspective) the Bononcinis had on Emilian instrumental and vocal music, and to shed light on the circulation of music and musicians from Emilia, and on issues of performance practice. Although preference will be given to papers dealing with these three major topics, the scientific committee also invites proposals concerning other aspects of Emilian music, including the relationship between musical patronage and production, reciprocal influences between instrumental and vocal music, instrument making, etc.
The scientific committee, created three years ago for the organization of the Congresso Arcomelo 2013 (Enrico Gatti, Marc Vanscheeuwijck, Guido Olivieri, Agnese Pavanello, and Francesco Zimei) invites paper proposals through submission of an abstract. Paper presentations will be rigorously limited to 25 minutes in order to allow some time for discussion.
The (anonymous) abstract should include the title of the paper and a text of maximum 250 words, and indicate the topic and/or thesis, the state of research, the principal sources used, and a statement on the relevance and originality of the contribution. In a separate file, please indicate the paper title, first and last name of the author, e-mail address, and provide a short half-page CV.
The abstract and additional files should be sent as an attachment to Cette adresse e-mail est protégée contre les robots spammeurs. Vous devez activer le JavaScript pour la visualiser. by March 31st, 2016.
The organization will host all presenters for the entire duration of the conference.
We expect a peer-reviewed publication of the proceedings. Upon their arrival in Modena presenters will be asked to provide a Word file including the complete text of their paper in the format that will be communicated in detail when the scientific committee has completed the selection of papers. After the conference presenters will have 60 days for corrections and modifications before we begin the editorial work of the proceedings.
VERSIONE ITALIANA:
http://www.grandezzemeraviglie.it/index.php/it/progetti/2-non-categorizzato/135-bononcini-congresso-internazionale-2016.html
- A musicological introduction by Guido Olivieri
- Critical notes by Enrico Gatti
- Facsimile of the 12 sonatas in ms. 177 (Biblioteca del Sacro Convento di S. Francesco)
- Critical edition in a separate file, suitable for performance
Texts both in Italian (17 pp.) and English (17 pp.)
LIM - Libreria Musicale Italiana
ENRICO GATTI È IL NUOVO DOCENTE DI VIOLINO BAROCCO PRESSO IL CONSERVATORIO "G.B. MARTINI" DI BOLOGNA
Il Conservatorio "G.B. Martini di Bologna
ha istituito, a partire dal presente anno
accademico 2015-'16,
una nuova cattedra di violino barocco
affidata ad Enrico Gatti,
che termina così il suo servizio
presso il Conservatorio di Milano.
LE ISCRIZIONI SONO ATTUALMENTE APERTE
Per informazioni:
Conservatorio di Musica "Giovan Battista Martini"
Piazza Rossini, 2 - 40126 Bologna
Tel. 051/22.14.83; 051/23.39.75
Cette adresse e-mail est protégée contre les robots spammeurs. Vous devez activer le JavaScript pour la visualiser.
http://www.consbo.it/flex/cm/pages/ServeBLOB.php/L/IT/IDPagina/1
*********************************************************
ENRICO GATTI IS THE NEW BAROQUE VIOLIN TEACHER
AT THE BOLOGNA "G.B. MARTINI" CONSERVATORY
The Conservatory of Bologna has started, from the current academic year,
a new baroque violin class and Enrico Gatti will be entrusted with it,
therefore leaving the Conservatory of Milano.
ENROLMENT IS CURRENTLY OPEN
For any information:
Conservatorio di Musica "Giovan Battista Martini"
Piazza Rossini, 2 - 40126 Bologna
Tel. 051/22.14.83; 051/23.39.75
Cette adresse e-mail est protégée contre les robots spammeurs. Vous devez activer le JavaScript pour la visualiser.
http://www.consbo.it/flex/cm/pages/ServeBLOB.php/L/IT/IDPagina/1
The label ARCANA has reprinted our CD recording
of J.S.Bach's "MUSICALISCHES OPFER" BWV 1079
The recording - made by Michel Bernstein in 1999
at the Abbaye de Fontevraud (France) -
was unobtainable for several years.
This CD contains also the G major
Triosonata BWV 1038 for Traverso, Violino discordato & b.c.
and the sonata BWV 1021 for Violin and b.c.
Villa Santa Maria (Chieti), 24 - 26 novembre 2014
La città natale di Marchitelli e Mascitti accoglierà un incontro internazionale
ricco di nuovi contributi musicologici e di 3 concerti ad hoc
ARCANGELO CORELLI'S EARLY VIOLIN SONATAS (before 1675): THE "ASSISI SONATAS"
(world première recording)
a new CD from Enrico Gatti & Ensemble Aurora
Glossa GCD 921209
infos at: http://www.glossamusic.com/glossa/reference.aspx?id=335
All the torments, interior conflicts, passions and ravings of a great woman in pain
MEDEA
Melodrama by Georg Anton Benda on text by Friedrich Wilhelm Gotter (1775)
Tanja Obalski, Medea
João Luís Paixão, Jason
Laila Neuman, Die Hofmeisterin
Jonas Elzas, Der ältere Knabe
Pibe Baartman, Der jüngere Knabe
ENSEMBLE AURORA:
Enrico Gatti, violin I
Rossella Croce, violin II
Sebastiano Airoldi, viola
Gaetano Nasillo, cello
Research:
Mary Helen Dupree, Jed Wentz
In october 2014 a baroque violin competition will take place in Italy,in a very special and charming place:
the Prince Ruspoli castle in Vignanello (Viterbo),
where Georg Friedrich Haendel spent long periods
and composed many of his works,
mainly the famous "italian cantatas".
Enrico Gatti will be the President of the jury.
Infos at: www.centrostudisgm.it
A new recording of Aurora as a string quartet.
A journey into the philosophy of counterpoint:
through the centuries and works of some
of the greatest composers, the fugue unveils
the sense of a conversation in which
the instruments renounce their own individuality
in order to blend together in spiritual transcendence.
Standing upon the shoulders of these giants of the past,
we moderns can see far into the distance
and forever regain our innocence...
Preparing the edition for "Medea"
Melodrama by Jirí Antonín Benda [Georg Anton Benda]
(Staré Benátky, 1722 - Köstritz, 1795)
Enrico Gatti is currently working at the first edition
of the last autograph version of this famous melodrama.
Medea was composed by the Bohemian composer Georg Benda in 1775
on the libretto of the German poet and playwright Friedrich Wilhelm Gotter (1746 - 1797).