Monteverdi e


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    Monteverdi’s compositional style and the innovations that he introduced are, at least in part, the result of a parallel evolution of musical instruments. The exhibition Monteverdi e Caravaggio, sonar stromenti e figurar la musica (“Monteverdi and Caravaggio: Playing instruments and depicting music”), at the Museo del Violino from 8 April to 23 July, 2017, will reconstruct the L’Orfeo orchestra using original instruments from Monteverdi’s era, selected based on the indications recorded in the first printed editions of the opera, which was performed for the first time exactly 410 years ago.
    Indeed, the score specifies a well-defined ensemble: “duoi gravicembali, duoi contrabassi de viola, dieci viole da brazzo, un’arpa doppia, duoi violini piccoli alla francese, duoi chitaroni, duoi organi di legno, tre bassi da gamba, quattro tromboni, un regale, duoi cornetti, un flautino alla vigesima seconda, un clarino con tre trombe sordine” (“two harpsichords, two double-bass viols, ten arm viols, one double harp, two small French violins, two bass lutes, two organs with wooden pipes, three bass viols, four trombones, one regal, two cornetts, one small recorder, one high trumpet with three soft trumpets”). The list not only bears witness to the musical customs of the age but anticipates the baroque trends in Italy, with the dominance of “arm viols” (viole da braccio) over the bass “leg viols” (viole da gamba).
    The instruments on display have been chosen according to philological and aesthetic criteria and come from major Italian and international collections. Particular priority was given to instruments that have been preserved in their original condition, or restored to it, without the interventions that in subsequent centuries proved necessary to perform 17th and 18th century repertoires. Where this has not been possible, a copy in the late-Renaissance configuration will be presented alongside the modernized instrument.
    The exhibition, curated by Fausto Cacciatori, Renato Meucci, Virginia Villa and Clovis Whitfield, will be located within the museum space, to underline the affinities that already linked violinmaking and music between the 16th and 17th centuries. It will also be possible to trace the invention of the violin thanks to Cremona’s Amati family and revisit the contribution of the Brescian school, testified to by the work of Gasparo da Salò e Giovanni Paolo Maggini, and the Venetian school.
    Monteverdi’s L’Orfeo, has a happy ending: the hero becomes a symbol of love overcoming death. The Apollonian and salvific role of the music has inspired many artistic representations. Among the most famous is undoubtedly Caravaggio’s The Lute Player. This wonderful work, presented in Cremona as an introduction to musical instruments and from a private collection, has a fascinating history: it is the original painting made in 1597 by the great painter for Cardinal del Monte.
    During the exhibition period, conferences and meetings on subjects relating to the study of musical instruments and performance practice in Monteverdi’s time will be organized in collaboration with other local institutions.

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  • Michelangelo Merisi known as Caravaggio, “The lute player”, Oil on canvas – private collection – Europe


    Andrea Amati, Carlo IX violin 1566c. – private collection – “friends of Stradivari” in MdV
    Andrea Amati, Carlo IX violin 1566c. – “Collezioni civiche liutarie del Comune di Cremona” in MdV
    Girolamo Amati, Stauffer alto viola 1615 – “Collezione Fondazione Walter Stauffer” in MdV
    Antonio and Girolamo Amati, viola 1597 – Conservatory of Music “Giuseppe Verdi”, Milan
    Gasparo da Salò, tenor viola (with baroque stringing) 1609 – Ashmolean Museum of Art and Archaeology, University of Oxford
    Girolamo Amati, bass viol 1611 – Ashmolean Museum of Art and Archaeology, University of Oxford
    Girolamo Amati, “small” violin 1618 – Ashmolean Museum of Art and Archaeology, University of Oxford
    Giovanni Paolo Maggini, double bass 1610c. – Civici Musei d’Arte e Storia, Brescia
    Magno Dieffopruchar (Tieffenbrucker), chitarrone 16th-17th centuries, Civici Musei d’Arte e Storia, Brescia
    Giovanni Tesler, theorbo 1622 – Giovanni Accornero private collection
    Anton Schnitzer “the Elder”, tenor sackbut 1579 – Accademia Filarmonica, Verona
    Anton Schnitzer “the Elder”, pretzel-shaped” trumpet 1585 – Accademia Filarmonica, Verona
    Bassano family, two cornetts, Venice 16th-17th centuries – Accademia Filarmonica, Verona


    copy of Andrea Amati’s Carlo IX violin (with baroque stringing) – I.I.S. “A. Stradivari” – Scuola Internazionale di Liuteria, Cremona
    copy of baroque cello – I.I.S. “A. Stradivari” – Scuola Internazionale di Liuteria, Cremona
    copy of Amati brothers’ tenor viola (with baroque stringing) – Civica Scuola di Liuteria, Milan
    wood positive organ with a regal stop (rebuilding by several data of 17th century) – Civica Scuola di Liuteria, Milan
    copy of 6-course late renaissance lute (inspired by the instrument on the “Madonna in trono”, oil on canvas of Jacopo Negretti known as “Palma il vecchio” Venice, Church of S. Stefano, 1528) – Civica Scuola di Liuteria, Milan
    late renaissance double harp (rebuilding by several data of 17th century) – Civica Scuola di Liuteria, Milan
    two recorders – private collection
    copy of the Giovanni Baffo’s harpsichord  (Venice, 1584) – private collection
    historical copy of a late renaissance regal – private collection

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  • robGala Concert
    Auditorium Giovanni Arvedi (Museo del Violino) – Cremona
    Friday, April 7 – 9pm

    la bella più bella

    Musiche di G. Caccini, B. Ferrari, C. Monteverdi, L. Rossi, B. Strozzi
    Roberta Invernizzi, soprano
    Franco Pavan, liuto e torba

    Known for her dazzling and elegant displays in the music of the later Baroque, the Milanese singer has also nurtured, across her career, the more delicate and nuanced art of the Italian song repertory from the early 17th century, a time when courtly and polyphonic expression were giving way to the moving of the emotions by a solo singer accompanied by a single instrument. La bella più bella sees that queen of Baroque music, Roberta Invernizzi, sailing gracefully across the terrain of such monody in songs composed by the likes of Girolamo Kapsberger’s, Giulio Caccini, Barbara Strozzi, Luigi Rossi (whose dream-like piece provides the album with its title) and Claudio Monteverdi.

    Biglietti Interi
    Posto unico numerato € 15,00
    biglietto studenti € 8,00

    biglietti in vendita da sabato 25 febbraio presso le biglietterie del Teatro Ponchielli e del Museo del Violino

    on line


    Informazioni e prenotazioni telefoniche ai numeri
    tel: 0372.022.001,  0372.022.002 e 0372.080.809

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  • Monteverdi e Caravaggio

    sonar stromenti e figurar la musica


    Fausto Cacciatori, conservatore Collezioni MdV
    Virginia Villa, direttore generale MdV
    Renato Meucci, organologo – presidente Comitato Scientifico MdV
    Lorenzo Girodo, organologo – docente Civica Scuola di Liuteria di Milano
    Massimiliano Guido, musicologo – docente Dipartimento Musicologia e Beni Culturali Università degli Studi di Pavia

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