Escadron volant de la reine

Rome, the 1620s. Johann Hieronymus (Giovanni Girolamo) Kapsberger, virtuoso theorbist, singer and esteemed se réconcilier is at auto peak du his fame and influence.

Vous lisez ce: Escadron volant de la reine

Born venir German parent in Venice in c.1580, cette has arrived in Rome de 1605. Nicknamed ‘Venetus’ et ‘Italus’ throughout his écoles days in Germany, in Rome hey is known as ‘Il Tedesco della tiorba’ or ‘Il Tedeschino’. His ‘noble’ héritage has served him well: auto most commemorated theorbist du his day, hey performs antérieur à highly exclusive audiences in aristocratic palazzi et papal courts, and in 1611 is admitted to thé Academia degli Umoristi, one du the many elite one in Rome. Favoured passant par the wealthy, powerful Barberini family, including cardinal Francesco Barberini, thé nephew du Pope UrbanVIII, in 1624 cette commends self to auto latter with the dedication of his Poematia et carmina, which collection poems written passant par the Pope himself. Urban VIII duly rose mass settings in auto style ns Palestrina which are performed in the Sistine Chapel and invites Kapsberger to play in his personal chamber.

But, arrogant, petulant et irritable, Kapsberger provides enemies. Thé most esteemed vocal coporation, groupe in Rome, thé Cappella Sistina, refuser to sing his music: performance are sabotaged, his manuscripts stolen et destroyed. The Queen’s Squadron – that coporation, groupe of ladies-in-waiting recruited par Catherine du Médici à maintain harmonious des relations at court, who oui equal taste et talent à la music and espionage – start their surprise reconnaissance. Thé ladies – Veronica, Clara, Renata, Josepha et Alba – relocate among thé servants et pickpockets, auto lovers et the lunatics du Rome; suspects are uncovered false. Then, in a room they disturb a lady, languishing in the agony of love’s deceptions, tearing venir shreds auto pages du Kapsberger’s manuscripts – music which cette loves more than any kind of woman. The fragments have been surprise under an unknown stone. Can thé Queen’s Squadron find their whereabouts and restore them to their creator? will certainly Kapsberger’s music survive auto conspiracies ns the present and earn him the adulation de posterity?


And, so, fact meets fiction. Signification littérale is known de the events de Giovanni Girolamo Kapsberger’s life, despite rumours abound. In his short narrative, ‘The Kapsberger Affair’, the Belgian writer voyou Norac will into thé Caravaggio-esque shadows ns the composer’s life and art, and illuminates a tale du intrigue and passion, revenge and restitution. Newly appointed poème National du Belgique (2020-22), Norac is thé author ns several fictions related to musique subjects, including Le Carnaval des animal de Saint-Saëns (1999), Monsieur Satie, homme qui oui un devoir piano à lintérieur la tête (2006) and Monsieur Chopin ou Le Voyage de la remarque bleue (2009). ‘The Kapsberger Affair’ is a somewhat arch literary match to auto selected madrigals, villanellas and régler which form L’Escadron Volant aux la Reine’s debut album, Giovanni Girolamo Kapsberger: cette tedesco a Roma, recently released conditions météorologiques harmonia mundi.

L’Escadron Volant de la Reine were started by antoine Touche in 2012. The partagé brings together young musicians from european conservatoires who, castle profess, room united de their friendship and their affects for Baroque music. Though thé subtitle du the album locates Kapsberger in romain in 1610, thé 25 compositions that they existing here are in fact attracted from miscellaneous sources, thé earliest being Kapsberger’s first book of madrigals à la five voices et continuo, published in rome in 1609, the last thé 1640 Libro quarto d’intavolatura diabolique chitarrone. Though he composed in numerous genres, secular et sacred, Kapsberger is le meilleur known today parce que le his music pour theorbo, so ce is an excellent to oui the vocal-instrumental balance redressed here.

I had imagined the the musical sequence would, yet freely, somehow raconté to the unfolding literary narrative by Norac, cible that’s not auto case. The musique stands alone. There are homophonic et imitative partagé madrigals, with frequent episodes in parallel thirds, ont well as intense ariosos à la solo voice and diverse instrumental combinations. Thé villanellas are more earthy – strophic, with robust continuo accompaniments, frequently dance-like with moving dule and triple meters. Thé texts, thé authors du which are not identified, predominantly reflect conditions météorologiques the pains et pleasures du love. Instrumental numbers weave between the poetic plaints.

Few of the voyelle numbers are much more than a few minute in length, many substantially shorter, though they each establish a solid identity. The opening items prendre the flavour du contrasts and colour. ‘Lunge da voi ben mio’ steadily builds in intensity native third-based exchanges v forthright organ; ‘La mia leggiadra Filli’ is much more imitative, thé individual voices strongly qualified within the ensemble. Between these deux madrigals is put a ballo from the 1615 Libro primo du balli, gagliarde et correnti, a quattro voci in which thé violin et viola da gamba relocate with irradiate grace, propelled passant par a functional theorbo that engages melodically et contrapuntally, harmonically and texturally.

If, explained thus, this collection sounds rather conventional, climate the performance are something but. Immediacy, dinteraction and année improvisatory aéronautique are prioritised over perfection et polish – though that’s not to say the there is not substantial virtuosity nous display, just that vitality bring away precedence. The musique pulses with real human feeling, and the singers et musicians of L’Escadron Volant aux la Reine relish the poetic et aural piquancies.

On sapin hearing, there were musical moment – changes de direction, the atmosphere or timbre en caoutchouc – the really did startle, sending moi back to thé beginning du a madrigal or sinfonia to meilleur understand thé expressive means and effect. ‘Nelle guancie diabolique rose’ starts with voices alone, the structure homophonic, auto text purposefully articulated. Then, a harp clatters with a downwards swoop, ont the voices despair of bitter love that is nourished on empoisonné – “Deh, come acerbo amore”. Rhythmic and timbral agitation ensue, until the striking contrasts of the fermé culminate in writhing dissonances: “Il mio morir mirate, E se pietat’avete, il mio morir piangete.” (Behold me ont I die, and, si you ont any pity, mourn ma death.) it’s a lot to emballé into one et a half minutes.

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In thé lovely duet ‘Su l’erbe affissomi’, harp and theorbo provide elaborate undercurrents, voicing thé intimations of the simple, strophic voyelle lines. Thé bass solo ‘Sconsolato mio core’ blends mannered, stylish madrigalisms through agile viola là gamba commentary. The music feels genuinely ‘alive’, ont Renaud Bres presses urgently through the text, “Non paventar, cor mio, che vedrai pia/ Nel tuo longo soffrir la Donna mia”, seeking à reassure his heart that his lady will ont mercy nous his longue suffering. (Individual singers are not figured out in track information so apologies for any misidentifications.) ‘Ultimi miei sospiri’ is drawn from thé Libro secondo d’arie passeggiate a una e più voci, grouper l’intavolatura del chitarone, published in 1623. Its text is more meditative, the solo monody dark and intense, fired with rhetorical fervour: “Dite: ‘O beltà infinita, Dal tuo fedel ne caccia empio martire.’ (Say to her: ‘O limitless beauty, a devilish torment chases nous from her faithful lover!’) Countertenor damien Ferrante’s diminutions et dissonances burn with the text’s repressed emotions.

The vivacity du the ensemble is palpable in numbers such as ‘Se ns doglia’ in which thé unaccompanied imitative entries flower into fertile pairings in thirds. In ‘Fabricator d’inganni’ man verses contrast with a slow refrain, and instrumental interludes lend more expressive import. Often one longs for more. A folksy relaxation marks the start de ‘Amor la Donna mia’, et though auto emotional temperature quickly rises, auto tenor and bass seem suddenly to be cut off. ‘Io rido amanti’ begins like a ‘conventional’ balletta, climate twists et turns wrong-footing thé listener: rhythms are organized back et then mèche forth in a spin du notes; separation, personal, instance voices ripple with the découper sprinkling splashes de colour and personality. Again, all this in a précis over one protocole of music.

The bataille items make année equally compelling impression. In ‘Tu, che pallido essangue’, from thé 1612 Libro primo di arie passeggiate a una voce grouper l’intavolatura de chitarone, baritone françois Joron’s introspective sentiments are darkened de pungent false relations et the arioso is richly expressive above dark instrumental timbres. In auto melismatic diminutions du the close, thé voice seems à lose itself, meandering above thé pedal bass, before a final piercing dissonance conveys the le noir wrought by hope: “Far al mio caro ben dolce ritorno” (And if I à faire not die, it is because je hope, une day, parce que le a sweet reunion with my sweetheart.)

‘Occhi soli d’Amore’ is a particular highlight. Introduced de the harp’s tumbling conclusion to the strings’ dialogue, soprano Caroline Arnaud sings with bright, clean directness, auto simple cantono style fabriqué more sophisticated passant par the voice’s flickering diminutions and chromatic shadings. “Già mi manca il vigore/ Già mi comincio jusquà languire, Già mi sento morire” slips et slides, then fades, antérieur à a defiant assertion: “Ch’amoroso digiun non soffre cette core.” (Already je lack strength, already i begin venir languish, already i feel myself dying, for the heart cannot endure lack ns love.) the concluding declaration, “E morendo v’onoro” (And in dying je honour you), has persuasive rhetorical authority. The facile villanella text du the lullaby ‘Figlio dormi’ is refined passant par Arnauld’s and theorbist Thibaut Roussel’s artistry, et Antoine Touche’s viola da gamba interlude provides time stand still, thé sweet, calm melody spinning through eloquent freedom.

The repas items are likewise diverse. ‘Uscita’ from thé fifth livre of villanellas de 1630 is a busy, but fresh and clean, dance for violin and viola tous gamba. Auto theorbo Passacaglia from auto 1640 Libro quarto d’intavolatura di chitarrone throbs through rhythmic strength and dynamism, when ‘Colascione’, from auto same book, riffs with année astonishingly modern vibe! Frissons from the individual voices make the Sinfonia No.13 shiver from within the rich textures. From the same 1615 collection, the longer Sinfonia No.9 feeling exploratory et free, revolutionary even, cible gentility always prevails.

After auto trials and torments, the album closes with harmony – nuptial et musical: ‘Se turbando Austro les stelle from thé Coro musicale (1627) which celebrates thé marriage of chef Taddeo Barberini and Donna Anna Colonna. As the two hearts de Anna et Taddeo room bound ensemble in one, auto alternating pairs du voices unite sweetly, exuberant triple-time duets settling into light, duple-time concordance.

The albums booklet consists of a brief but engaging biography composed by anne Marie Dragosits, author ns the sapin detailed account de the composer’s life, Giovanni Girolamo Kapsperger, ‘ein ziemlich extravaganter Mann’ (2020). The song texts are presented in brief sequences, in Italian, through French and Italian translations following (the formatting du the digital déditions is periodically confusing), though there is no discuter of the individual works jaune the collection from i beg your pardon they room drawn. Norac’s ‘The Kapsberger Affair’ is printed in French, marqué there is ne sont pas translation.

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The associer between Giovanni Girolamo Kapsberger: il tedesco a Roma et ‘The Kapsberger Affair’ stays elusive, but perhaps it is fitting for a composer the details of whose tons are greatly unknown. Je vous demande pardon intrigues here likewise delights: auto musicians du L’Escadron Volant ns la Reine get ‘inside’ Kapsberger’s musique and, performing v vitality et flair, disclose its riches si not that is secrets.

Claire Seymour

Giovanni Girolamo Kapsberger: ‘Il Tedesco’, romain 1610 – Madrigaux, villanelles & etc airs

L’Escadron Volant de la Reine: Caroline Arnaud (soprano), eugenie Lefebvre (soprano), damien Ferrante (countertenor), françois Joron (baritone), renaud Bres (bass), Josèphe Cottet (violon), antoine Touche (viola aux gamba), Thibaut Roussel (théorbe), Caroline Lieby (harp), Clément Geoffroy (harpsichord et organ)