Further events
Grünewalds Grossgeige
Historisches Museum Basel: Barfüsserkirche
Barfüsserplatz
7, 4051 Basel
A large violin modeled on an image from the Isenheim Altarpiece by Matthias Grünewald will be specially recreated for ReRenaissance.
Event details
Basel, 1511: Sebastian Virdung publishes his "Musica getutscht" with descriptions of all kinds of instruments, including the bowed, fretted great violin. Basel, 2021: A gift from Hartmut Raguse leads to the construction of a great violin by Jacob Mariani, modeled on an image on the Isenheim Altarpiece by Matthias Grünewald.
Angels and devils emerge from the painting and play music by Senfl, Isaac and other contemporaries of Virdung in a musical program for small and large violins. With the developments of the 1500s, the string consort was born and would enjoy increasing popularity in the first decades of the 16th century. The polyphonic sources of this period - and among them especially the early printed music - explicitly invite instrumental performance, with the great violin being specifically emphasized as a suitable ensemble instrument. It is true that marketing considerations also played a role at the time, in order to open up a broader clientele for the prints with the players of instruments. However, the movements work wonderfully with such a homogeneous ensemble, so ReRenaissance follows contemporary advice and goes on the trail of an early family of instruments.
Contributors and additional information:
Baptiste Romain - small violin | Marc Lewon - lute, large violin | Tabea Schwartz - large violin | N.N. vocals | ReRenaissance conducting team: Elizabeth Rumsey - grand violin
Note: This text was translated by machine translation software and not by a human translator. It may contain translation errors.
Angels and devils emerge from the painting and play music by Senfl, Isaac and other contemporaries of Virdung in a musical program for small and large violins. With the developments of the 1500s, the string consort was born and would enjoy increasing popularity in the first decades of the 16th century. The polyphonic sources of this period - and among them especially the early printed music - explicitly invite instrumental performance, with the great violin being specifically emphasized as a suitable ensemble instrument. It is true that marketing considerations also played a role at the time, in order to open up a broader clientele for the prints with the players of instruments. However, the movements work wonderfully with such a homogeneous ensemble, so ReRenaissance follows contemporary advice and goes on the trail of an early family of instruments.
Contributors and additional information:
Baptiste Romain - small violin | Marc Lewon - lute, large violin | Tabea Schwartz - large violin | N.N. vocals | ReRenaissance conducting team: Elizabeth Rumsey - grand violin
Note: This text was translated by machine translation software and not by a human translator. It may contain translation errors.
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