FloReMus – EVENING CONCERT: Tasto Solo/ La Flor en Paradis

10September2024

9.15 pm

Book

Biblioteca di Michelozzo, Museo di San Marco, Piazza San Marco, Firenze

FloReMus – EVENING CONCERT: Tasto Solo/ La Flor en Paradis

The roots of musical humanism

Ensemble Tasto Solo

Anne-Kathryn Olsen, soprano
Pau Marcos, viella
Guillermo Pérez, organetto & direction

Music from manuscripts of the 14th century, Codex Montpellier, Las Huelgas

Full price tickets € 18
Two persons together € 30
Reduced tickets € 12 (musica students, persons under 30 and over 65 years of age)

Booking of seats is highly recommended (seats will be held until 15 min. prior to the start of the concert)

This concert programme is supported in part by a grant from Acción Cultural Española (AC/E), a state agency.

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Synonymous with beauty, ornament, allegory of God and evocation of Virginal purity, the flower is omnipresent in the medieval imagination. In the chapels and places of pleasure of medieval kingdoms, this flower is also a symbol of nobility, power and sensuality. During the second half of the 13th century, it was around these sacred, and at the same time secular, themes that music began an essential period for the emergence and development of polyphony in the West. Of all musical forms, the French motet established itself as the favorite genre of the intellectual classes, particularly in academic and bourgeois Parisian circles. The motet, the result of the process of adding new voices to a pre-existing Gregorian melody, thus opened new avenues for experimentation, becoming a vibrant vehicle for the exploration of modern compositional techniques and contrapuntal formulas. But above all, the motet presented a structural support in which it was possible not only to embody new musical currents, but also to propose an artistic universe in which to combine the sacred and the profane, the literal and the allegorical, the text and its metatext, through the juxtaposition of different themes and subjects: such as plainsong in dialogue with love poems, often with two or three different texts, in Latin and in vernacular languages, creating combinations between reality and Metaphore. It is certainly the addition of these new voices and new poetry one of the main characteristics of the genesis of medieval motets, which would explain the origin of the term “motet” as a French derivative of “mot” (word). Regardless, the subtleties, expressive power, and compositional complexity of motets were known and appreciated by practical and theoretical musicians of the time, beginning with the famous scholar Johannes de Grocheo (active c. 1300), who describes that “this type of music should not be played in front of a vulgar audience, because they cannot appreciate its refinement and take pleasure in it. Rather, it should be performed before ecclesiastics and all people who seek subtlety in art.”

This concert presents a small selection of works composed between the years 1250 and 1300, performed mainly with the unique association of song and organetto, according to the medieval use of “intabulation”: the small organ plays the lower parts while the singer performs the upper part, in this case sometimes also accompanied by the viella. In addition to motets, Tasto Solo presents other pieces characteristic of Ars Antiqua and the beginning of Ars Nova, such as the organum-flori (a Gregorian chant organized in long values ​​and decorated with rapid and virtuoso ornaments, or “flowers” ​​according to medieval terminology), Latin sequences, instrumental dances, and extracts from the Ordinarium Missae, most of these works being linked to the Marian devotion in full swing during the last centuries of the Middle Ages. Two main manuscripts were used in developing the program. On the one hand, the famous and precious “Codex Montpellier”, a manuscript which, despite its small size, has incalculable value because it contains the largest and most luxurious collection of French motets from the 13th century, richly decorated and illuminated. On the other hand, the famous manuscript of “Las Huelgas”, which includes the music used by the sisters and expert singers of the monastery of Santa María la Real de Las Huelgas, in Burgos, during the last decades of the 13th century and the beginning of the 14th century.

10September2024

9.15 pm

Book

Biblioteca di Michelozzo, Museo di San Marco, Piazza San Marco, Firenze

Book

10 September 2024 | FloReMus – EVENING CONCERT: Tasto Solo/ La Flor en Paradis

Biblioteca di Michelozzo, Museo di San Marco, Piazza San Marco, Firenze





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