Preventivo/Quote

Da:

Sede legale: Via Col di Lana 7 - 0095 Roma
Tel: 063210806
Codice Fiscale: 80412990584

corsi@fima-online.org

Numero Preventivo/Quote QUO-2021-0193
Data Preventivo/Quote 31 Maggio 2021
Totale/Total €30,00
A:
Dora Donata Sammer

Grundsteingasse 39/2/23 A-1160 Vienna, Austria

Programm:
i l t e a t r o b a r o c c o
The Vanitas theme is omnipresent. It begins and it ends, the circle closes itself with the famous Ostinato of "La Follia". The last Sonata of Corelli’s Opus 5, a cycle in which Corelli brought the musical form of the Sonate da camera e da chiesa to perfection. In the programm il teatro barocco different stages of the path of the Sonata’s evolution are presented. Starting with Giulio Caccini, one of the most influential creators of the stile recitativo. With this beginning of the monody he created a type of direct musical expression, as easy understood as speech, which later developed into the operatic recitative and which influenced numerous other stylistic and textual elements in Baroque music. Bringing the era of affect to life, in which everything stands under the light of "la musica serva il parole". Another form and stage of evolution were the Sonate written in the so-called stylus fantasticus, represented here by Pandolfi Mealli and Isabella Leonarda. Athanasius Kircher characterised this style as being especially suited to instruments. Being a most free and unrestrained method of composing, bound to nothing, neither to any words nor to a melodic subject. It was instituted to display genius and to teach the hidden design of harmony and the ingenious composition of harmonic phrases and fugues. Traveling then further in time and following the prevalence of the Sonata across Europe, the Sonata is established in the clear structure in the alternating order of slow and fast movements as by Telemann, Veracini and Detri.
il teatro barocco tries to capture paradigmatic moments of expressing words through instrumental music, portraying the chiaroscuro elements combined with vocality, virtuosity and theatric.

1. Round:
Arcangelo Corelli (1653-1713)
from “Sonate a violino e violone o cimbalo op. 5”, Roma 1700, (Transcription by J.Walsh):
Sonata Nr.12 “La Follia” 11’

2. Round:
Isabella Leonarda (ca.1620-1704)
from “Sonate a 1,2,3 e 4 Instromenti op. 16”, Bologna 1693:
Sonata Duodecima 10’

Francesco Maria Veracini (1690-1768)
from „12 Sonate a violino o flauto solo e basso”, Venezia 1716:
Sonata Quinta en do maggiore per flauto e basso - Largo - Vivace - Largo - Allegro 12’

3. Round:
Giulio Romolo Caccini (1551-1618)
from “Le nuove musiche” Firenze 1602:
Amarilli mia bella 6’

Georg Philipp Telemann (1681-1767)
from „Essercizii Musici“, Hamburg 1726:
Solo d-Moll TWV 41:d4 Affettuoso - Presto - Grave - Allegro 9,30‘

Giovanni Antonio Pandolfi Mealli (1624-1670)
from „Sonate á violino solo, per chiesa e camera op. 4“, Innsbruck 1660:
Sonata „La Biancuccia” 8’

Sig. Detri (~1730)
Solo flute à bec Sonate in c-Mol für Blockflöte und Basso continuo Adagio - Presto - Adagio - Giga. Allegro 9,30’

Q.tà/Qty Servizio/Service Prezzo/PriceAggiusta/AdjustSubtotale/Sub Total
1 Registration €30,000.00%€30,00
Subtotale/Sub Total €30,00
Tax €0,00
Totale/Total €30,00