Più vizi che virtù – More vices than virtues
MUSIC FROM ITALIAN HUMANISM Stories of knights, unhappily married gals, intrigues, puns, “old” witches and impossible love affairs: masks and characters from the Italian Humanism, told through music and texts from that time.
Alma, svegliate ormai
DEVOTIONAL CONTRAFACTA IN SECULAR MUSIC The use of contrafacta in Italy develops between the XVth and the XVIth century, as an approach to witness the religious moral and ethics of the laical world: spiritual and paraliturgical piece of writings substitute secular texts maintaining the original polyphonic compositions untouched. The result, a copious production of moral and religious texts, is to be sang on secular ditties already well known.
EASTER IN MUSICAL HUMANISM A journey through compositions dedicated to Easter between the end of the Middle Ages and the beginning of European Renaissance.
Il Cantorino di Reims
FROM THE LIBRARY OF THE SACRO CONVENTO IN ASSISI, PERUGIA The “Cantorino” of the XIIIth century, arriving from the city of Reims in France, tells the music and the story of this century in a very detailed manner, representing at the same time the first example of music dedicated to the Franciscan Order.
Musica disonesta – Indecent Music
MYTHS AND TALES FROM HUMANISM “Indecent music” starts from the basic postulate that the Quattrocento tells the fusion of two cultural worlds: the written and the oral one. The boundary between these two contexts appeared tenuous, so much that they coexisted in the same communicative universe: clichés, locutions, metaphors converged into the same cultural mode of interpretation. The songs tell stories, feelings and characters that are apparently generic: they actually describe a slice of the cultural context, repository of ancient knowledge, where what appears is not simply what is written but the representation of a huge container of meanings.
CARNIVALESQUE TRIUMPHS IN DE MEDICI’S FLORENCE BETWEEN XVth AND XVIth CENTURY In the second half of the XVth century the de Medici family, mostly liberal, encouraged beaux arts by changing and innovating everything in Florence. Although they reined with an iron fist, they still promoted every kind of bliss as supreme model. The city saw a blooming of new manners of costumes and several kinds of poetry: from triumphs and masquerades in the streets to the indecent and irreverent carnivalesque chants.
1414: 1 Papa su 4
THE COUNCIL OF CONSTANCE AND THE MUSIC OF ITS TIME In November 1414 the King of Germany Sigismund pressed for the organization of the Council to resolve the desegregation of the Western Church. The Council took place in Constance and important people from different spheres of the society of the time participated. The concert tells the council and its music through the compositions and the practice of the time,