Cappella Mediteranea

Monteverdi – Piazzolla

Monteverdi-Pizzolla, Cappella Mediterranea

In this audacious and deeply moving programme, Leonardo García Alarcón brings together two seemingly disparate composers. Although they may have lived 350 years apart, each revolutionised the music of their era. Time comes to a standstill for these two composers who sought to freely express emotion through music.

“Before this project, Baroque music was nothing more than folklore to me. Unearthing this music and trying to bring it back to life was almost like an archaeological excavation. I realised that Baroque music is just as vibrant as tango and is not only for young people who like pretending to be old people.

William Sabatier, Bandoneonist

Music across time

Ancient instruments dialogue with modern instruments in a performance that is situated somewhere between past and present, between dance and music. The powerful dramaturgy draws us into a journey that takes us from life to death, fully embracing both musical aesthetics. The scores have been transcribed for the bandoneon, which runs like a thread throughout the concert.

“It is incredibly challenging to bring together two influential musical worlds that are separated by more than 400 years. Not everyone is prepared to take on this task, but it’s a hugely rewarding experience that gives us much hope for the future, opening the door to new questions, new research and new projects.”
Quito Gato

Prochaines dates

20 Juin 2024

19h00

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Programme

Night
Anibal Troilo La Ultima Curda (Tango, 1956)
Claudio Monteverdi Dormo ancora (Il ritorno d’Ulisse in patria 1640)
Claudio Monteverdi Sinfonia (L’Orfeo 1607)
Claudio Monteverdi Dorme l’incauta Dorme (L’incoronazione di Poppea 1642)

An omen
Astor Piazzolla Romance del Diablo (Serie del Diablo 1965)
Claudio Monteverdi Ohimé, ch’io cado (Il primo libro delle canzonette 1593)
Astor Piazzolla Vuelvo Al Sur (texte de Pino Solanas 1987)

Love
Astor Piazzolla Milonga del Angel (Serie del Angel 1965)
Claudio Monteverdi Sol per te bella Euridice (L’Orfeo 1607)
Claudio Monteverdi Pur ti miro (L’incoronazione di Poppea 1642)

Abandonment
Astor Piazzolla Balada para un loco (texte de Horacio Ferrer 1969)
Claudio Monteverdi Lamento della ninfa (VIII Libro dei Madrigali 1638)
Astor Piazzolla Chiquilín de Bachín (Horacio Ferrer 1968)

War
Claudio Monteverdi Sinfonia da Guerra (Il ritorno d’Ulisse in patria 1640)
Astor Piazzolla Jacinto Chiclana (text by Jorge Luis Borges, 1965)
Astor Piazzolla Michelangelo 70 (1969)

Death
Claudio Monteverdi Benedicta (Il Vespro della beata Vergine 1610)
Astor Piazzolla Muerte del Angel (Serie del Angel 1962)
Astor Piazzolla Balada para mi muerte (text by Horacio Ferrer 1968)
Claudio Monteverdi S’apre la tomba (Il secondo libro delle canzonette 1637)

Performance running time: approx. 1 hour 40 minutes

Artists

Mariana Flores, soprano
Diego Valentín Flores, tenor

Cappella Mediterranea

William Sabatier, bandoneon
Girolamo Bottiglieri, violin
Rodrigo Calveyra, cornett
Ronald Martin Alonso, viola de gamba
Quito Gato, theorbo, guitar
Romain Lecuyer, double bass

Leonardo García Alarcón, direction, piano, harpsichord

Programme created for the 2009 Festival d’Ambronay.

A word from Léonardo Garcia Alarcon

“The greatest creators can overcome their fear of displeasing audiences to create new styles and allow music to progress. Two composers of Italian origin fit this Don Quixote-like role: Claudio Monteverdi for the Italian Baroque style and Astor Piazzolla for tango.

Monteverdi worked in Venice, a city defined by its port. Piazzolla was also of Italian origin, but lived in Buenos Aires, a city where the inhabitants are called porteños (literally ‘port dwellers’). The deaths of these two visionaries left a huge void. Their styles are so personal that Cavalli, a pupil of Monteverdi’s, seems to predate his master, and some contemporary Argentine bandoneon composers struggle to renew Piazzolla’s style.

The Centre culturel de rencontre d’Ambronay originally suggested that I come up with a programme featuring Vivaldi and Piazzolla. I proposed to instead explore the relationship between Monteverdi and Piazzolla because if we overlook the centuries that separate them, we can see that they shared the same struggles and dreams. They both wanted to create freely put their brilliant technique at the services of intense and contradictory emotions. I gave this idea a name: Angel y Demonio. Monteverdi is not an angel and Piazzolla is not a demon, but both can switch from one to the other at any time. It is the very foundation of their musical language. Both knew that life is synonymous with emotion, love, change, crisis and death.

What the press is saying

Leonardo García Alarcón blows our minds

“[Avec Leonardo García Alarcón] Alain Brunet has made the right choice [with Leonardo García Alarcón], who brings youth and experience, enthusiasm and reflection.” _
Gilles Macassar for Télérama, 9 September 2009.

“In this brilliant musical delirium, Leonardo García Alarcón hops from harpsichord to piano, while another musician jumps from viola da gamba to double bass. The programme does not simply alternate between Piazzolla and Monteverdi, but interweaves the two worlds. The guitarist picks up his theorbo over a haunting bandoneon chord […] and the tango dancer moves to the melody of a madrigal.”
Delphine Thouvenot for AFP mondial, 4 October 2009.

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New creation for the Festival d'Ambronay