16:00 – 17:30
COPENHAGEN RENAISSANCE MUSIC FESTIVAL 2022
Le più antiche Ballate d’amore e danze all’epoca del Decameron di Boccaccio
Patrizia Bovi – canto, arpa, tamburello, tromba
Goffredo Degli Esposti – flauto diritto, doppio flauto, cornamusa
Gabriele Russo – viola, ribeca, piffero, tromba
The Ensemble set up its musical activity on the research and study of direct and indirect sources, with a view to establish the interpretation of medieval music on credible assumptions, with regard to performance and, more generally, to musical aesthetics. The Ensemble’s work is thus based on the research of the sources, on historical, paleographical, organological and iconographical surveys (that allowed its members to recreate unique musical instruments), and also on the comparative study of written repertoires, on one hand, and collections that belong to oral tradition, on the other.
Ethnomusicology has been playing an essential role in reviving medieval music interpretation, as the result of its thorough studying has been the rediscovery of specific techniques, for both vocal and instrumental performance, together with the solution of many issues about intonation in modal and polyphonic music. Most scholars actually agree on the fact that the musical cultures that belong to oral tradition keep up several archaic features, which are very close indeed to some features of ancient music in general, and of medieval music in particular; due to this comparative study, grounded on an accurate methodology, we can now formulate theories about important aspects of medieval music interpretation, specifically about phrasing, vocal emission and instrumental and vocal ornament, thus distancing ourselves from some misleading performances which stem from more recent repertoires.
With a view to re-establish the primary function of music, for both performers and listeners, the musicians of the Ensemble Micrologus perfected an innovative way of interpretation that goes beyond the idea of a concert as a show – in fact, this concept of “show” was unknown in ancient times –; for this purpose, in their musical performances they bring together their academic and musicological knowledge and the skills they developed playing in countless medieval festivals; among them, let us only quote here the Calendimaggio (May Day) of Assisi, where the musical event takes place in its original sound and time setting: churches, yards, village squares, streets, all places in which prayers and celebrations, epic chants and lyric poetry, fairs, dances and religious processions all regain their ritual and symbolical essence.
All these elements joined together allow the Ensemble to propose, in an innovative way, unpublished music works, as well as partially known musical manuscripts that, after a thorough study, result in exhaustive performances and recordings, yet without disregarding the listener’s enjoyment and need for comprehension.
In 1984 she founded Ensemble Micrologus, a group whose main aim is research and interpretation of medioeval music. The group encountered greaty international success among audience and critics and every year they perform several concerts in Italy and abroad.
Since 1990 she is part of Quartetto Giovanna Marini, taking part to all its productions and tournée, while since 1995 she also cooperates with Ensemble Organum by Marcel Pères in a sacred rapresentation taken from Laudario di Cortona, whose first performance was held at Cité de la Musique in Paris.
She also recorded more than 40 CDs with Micrologus for Quadrivium and Opus 111 : the CD dedicated to “Landini and his contemporaries” won the Diapason d’or award for 1996, in 1997 the CD “O Jhesu dolce”, devotional songs from florentine and venetian confraternite in XV century.in 2000 Alla Napolitana won the award of Diapason d’or of the year.
With Quartetto di Giovanna Marini she recorded several CDs (among them “Partenze”, for the twentieth anniversary of Pier Paolo Pasolini’s death), and the Laudario di Cortona with l’Ensemble Organum for Harmonia Mundi. For Zig Zag territoire with the violinist Chiara Banchini a cd on Tartini.. In 2013 was released the cd “Lucrezia la figlia del papa Borgia” 1480-1519 who presented with the group Medusa her last research.
She directed and performed music for “Myth” of the coreographer Sidi Larbi Cherkaoui and she’s performing all over Europe, US, Corea, Japan, Australia, New Zealand in his last productions Babel , “Play”and “4D”.
Patrizia Bovi perfectioned a teaching method for medioeval chant with rapport to traditional music, helding stages in Italy and abroad and especially at Corsi di Musica Antica in Urbino and at Fondation Royaumont near Paris.She is giving regular courses at Centro Studi Europeo di Musica Medievale Adolfo Broegg. In 2008 she received the award “Chevalier des Art set des Lettres” from the Ministery of french culture.
He has given seminars and courses at various European Schools: at the Cité de la Musique in Paris, at the Abbaye de Royaumont in France, at Jeroslaw in Poland, at the Istituto superiore di Studi musicali “Briccialdi” in Terni, and International Courses of Ancient Music in Urbino and in Copenhagen. He has recorded 26 CDs of medieval music for Quadrivium, Fonit Cetra, Zig-Zag Territoires and Opus 111, of which two have been awarded the “Diapason d’Or de l’Année”, and 10 CDs of traditional and experimental music for Ricordi, Penta Music, SudNord Record, BMG, Il Manifesto and Alphamusic.
From 2009, has has been teaching, alongside the other musicians of Micrologus, at the International Annual Summer Courses at the Centro Studi “Adolfo Broegg” in Spello, Umbria.
TICKETS: 150 DKK/ Stud: 100 DKK (sælges i døren fra kl 15.30)
COPENHAGEN RENAISSANCE MUSIC FESTIVAL 2022 støttes af Statens Kunstfond, Københavns Kommune, Knud Højgaards Fond, William Demant Fonden, Augustinus Fonden, Toyota Fonden.
Samarbejdspartnere: KoncertKirken. Netværk: REMA.