avery

1 2 3 4

Other programs

3 novembre 2014

Other programs

Lucidarium on Demand – Commissioned Programs
Lucidarium has a long history of creating themed programs for festivals, for example “Una Festa Ebraica” for the Festival Oude Muziek Festival (theme: Roma – Città Eterna), “Ninfale” for the Boston Early Music Festival (theme: Metamorphoses: change and transformation), “Il Moro di Granata” for “Figures Mediterrannées” (Radio France) and “Kehi Kinnor,” a semi-staged production with historical dance created for the marriage-themed 2010 York Early Music Festival, “Macchine” for the Royaumont Foundation.
If you would like to commission Lucidarium to create a program, please contact us for prices and proposals

Older programs
In the twenty-three years since its founding, Lucidarium has created and performed dozens of programs – far too many to fit on one website…
Here is a selection, please contact us for prices and more information

LO MIO SERVENTE CORE – TRADITION AND AVANT-GARDE IN THE MUSIC OF DANTE’S TIME
7 performers (6 musicians, one narrator)
EN CHANTAN M’AVEN A MEMBRAR – TROUBADOUR, TROUVÈRE AND MINNESANGER FROM RHONE TO RHINE
7 performers
LE DROICT CHEMIN, POPULAR DEVOTION AT THE TIME OF THE REFORMATION
8 – 11 performers
CHANTONS “NOËL” A LA PUCELLE – A FRENCH RENAISSANCE CHRISTMAS
6 – 10 performers
MACCHINE – SCIENCE AND MUSIC AT THE TIME OF LEONARDO DA VINCI
9 – 11 performers (vocal quartet + 5 – 7 instrumentalists)
IL MORO DI GRANATA – ANIMA MEDITERRANEA BETWEEN CONFLICT AND CONCORDANCE
KEHI KINNOR – A JEWISH WEDDING
9 – 12 performers
(7 – 10 musicians + Bruna Gondoni and Steve Weintraub, historical and Yiddish dance)
MUNDI SPLENDOR – MUSIC IN VENICE AT THE WANING OF THE MIDDLE AGES
7 musicians

The series “Klein aber Fein” consists of programs using a reduced formation, suitable for intimate spaces or conferences.

MED-REN-JAM
A “just for fun” instrumental jam session made up of dance music, intabulations and Improvisations from sources ranging from the 13th to 21st century.
4-5 performers

AL NAHAROT BAVEL: JOY, FOLLY, PENIENCE AND LAMENTATION
4-5 performers: Enrico Fink, Gloria Moretti: voice, 2-3 instrumentalists

DIZE LA NUESTRA NOVIA – WOMEN’S VOICES FROM ACROSS THE DIASPORA
4-5 performers: 4-5 performers: Gloria Moretti, Anna: voice, 2-3 instrumentalists

ROSTIBOLI GIOSO – duo Gosfield / Dragoni
Percussion, pipe and tabor, hammer dulcimer, double flute and recorder, in an eclectic program ranging from medieval dances to Klezmer

Please contact us for prices and more information

Read more >

La Fabula dI Orpheo

16 ottobre 2014

La Fabula dI Orpheo

Coproduction Royaumont Foundation / the University of Music of Geneva / Konzertgebouw Bruges) (altro…)

Read more >

Le Voyage de Pinocchio

15 ottobre 2014

Le Voyage de Pinocchio

Coproduction Compagnie Sandrine Anglad/ Maîtrise de Paris A musical theater production using actors/musicians from the professional children’s school of Paris that was performed more than 30 times in 17 French National Theaters (including the Lyon and Lille Opera Houses).
Lucidarium was responsible for transcribing and arr anging traditional talian pieces for children’s choir and instruments, giving rhythmic workshops and private lessons, and coaching the children’s choir.

Read more >

Ciao mondo!

28 agosto 2014

Benvenuto in WordPress. Questo è il tuo primo articolo. Modificalo o cancellalo e inizia a creare il tuo blog!

Read more >

I MODI DELL’AMORE

5 novembre 2010

I MODI DELL’AMORE

Love, Lust and Diversity in the Italian Renaissance

Although spiritual, pure love, considered an experience capable of renewing the human spirit, was undeniably the main subject of Renaissance poetry, another kind of love was also written about, more or less explicitly, in a number of late fifteenth and early sixteenth century sources.  When describing the imaginary land of ‘Arcadia,’ the poets of the Renaissance painted a picture of a place where nymphs, gods and heroes acted without shame or reserve in their relentless pursuit if pleasure.  When describing the joys and heartaches of the complicated love lives of these mythical figures, the heirs of Petrarch did not use the same kind of introspective, yearning tone they employed for courtly poetry.

Poetry devoted to Eros – which, in the Renaissance, following the Classical tradition, was used to describe love as a pure, transcendent force – is set to music in sophisticated madrigals, while those that treat Antieros, the ‘other’ love: physical, free, and void of all sentiment, are usually found in the musical forms considered ‘minor.’ It’s no accident that this kind of poetry was relegated to popular-style music, often written in dialect, even if most of the musicians and poets who composed them were also fully capable of writing refined madrigals and high-toned poems.

The modi of the title are a series of drawings (lost, but the basis of later engravings and woodcuts) that portray gods, nymphs, satyrs and heroes in poses that leave little to the imagination – a kind of Italian Renaissance kama sutra. These modi would be published (and quickly banned) accompanied by a series of licentious sonnets penned by Pietro Aretino. Aretino was just one of the many homosexual or bisexual intellectuals active during the Italian Renaissance.  Indeed, probably inspired by Classical mores, the Italian courts were remarkably tolerant, so that painters, sculptors, thinkers and poets such as Angelo Poliziano, Michelangelo Buonarroti, Leonardo da Vinci, Marcello Ficino, and Pico della Mirandola, were able to express their diversity more or less openly in their art and lifestyle.

Repertoire: Here, love will be viewed in all of its guises: romantic, in the madrigal, considered the summit of secular composition. Physical love is expressed in the earthy frottole, canzoni villaneschi, and moresche from late 15th and 16th Italian sources and in settings of texts from the Commedia dell’Arte. Some rather graphic examples are ‘Hora mai che fora son,” where a former nun expresses her joy at being able to finally get out of her habit or  ‘Veni, veni clerici,’ an ode to solitary comfort. Pieces praising diversity include texts by Angelo Poliziano exalting the love of men over that of women, or “A Paris la joyeuse cité” a piece that apparently talks about a celebrated transvestite – reflecting the sometimes surprising broad-mindedness of Renaissance Italy.

7 – 8 performers: Gloria Moretti, Anna Pia Capurso, Lior Leibovici: voice, Avery Gosfield, Marco Ferrari: Renaissance winds, Francis Biggi: plucked strings, Massimiliano Dragoni: percussion, hammer dulcimer (Oleguer Busque Aymami: viola da gamba)

Read more >

1 2 3 4

Reviews

Raze/Raise

Lucidarium is an irresistibly fun group, a light-hearted collection of friends out to relish each other’s company by making music together. That unbuttoned ethos is a welcome intrusion in the concert hall, one that will hopefully infect other performers.

Basler Zeitung

Next to their stylistic confidence and saddle-sure historical interpretation, Ensemble Lucidarium shows us just how contagiously vivacious the reconstruction of medieval sounds can be.

Tagblatt.ch

The six members of Lucidarium let their listeners dive into a completely enchanting world… The musical poetry of the Middle Ages was brought back to life in the most beautiful way possible

New York Times

… The Ensemble Lucidarium, an Italian group, in a program of vocal works (and a couple of high-energy saltarellos) on Wednesday afternoon, performed in a style free of vibrato and other forms of modern polish but plentifully adorned with florid vocal embellishments…

American Recorder Society Magazine

Anyone who arrived thinking of Medieval repertoire as “minor” or as music that ‘all sounds alike’ left with changed ideas.

The Arts Desk

There was a naturalness and relaxedness to their performance that was immensely pleasing.

Dernières Nouvelles d’Alsace

… it was enough to be swept away, by the refinement and conviction of the performers, to a place where magic reigns.