Classical concert
H. Schütz: Madrigali (1611)
Martinskirche
Martinskirchplatz
4, 4051 Basel
On the 350th anniversary of the death of H. Schütz (1585-1672)
Event details
In the 16th and 17th centuries, there were several places to go for high-quality professional musical training, such as the guild-like communities of musicians in larger cities or the chapels at large churches and courts under the leadership of a recognized "master". It is to this constellation that we owe the only madrigal print by Heinrich Schütz (1585 - 1672), published in Venice in May 1611. Schütz, still unsure whether he should focus entirely on music, received a scholarship from his sovereign, Moritz of Saxony, which enabled him to study for three years in Venice from 1609 with the venerable Giovanni Gabrieli (ca. 1554/57 - 1612), the famous cathedral organist of San Marco throughout Europe.
Schütz joined an illustrious group of students from northern European countries, many of whom concluded their years of training with Gabrieli with a printed collection of madrigals, of which Schütz's is certainly one of the most spectacular. The works based on contemporary texts by Giovanni Battista Guarini and Giambattista Marino show, despite their great expressivity, compositional "normality in the realm of the topical" (Konrad Küster). Schütz, however, oriented himself not only on Gabrieli, but even more so on other masters of the Italian madrigal art of the preceding years. The five-part works do not yet require a basso continuo, but already contain elements of the "seconda pratica" in details of the harmonic treatment. However, one characteristic of Schütz's art is already clearly recognizable here: the intensive examination of the (Italian) text, which leads to a dense and fascinatingly expressive tonal language.
For the first time at the FAMB, the ensemble LES ARTS FLORISSANTS under the direction of Paul Agnew will present these treasures of a 25-year-old highly talented composer, whose success ultimately led their creator to devote his life entirely to music.
ThomasDrescher
Performers and additional information:
Ensemble Les Arts Florissants
Paul Agnew - tenor and conductor
Miriam Allan - Soprano
Hannah Morrison - Soprano
Mathilde Ortscheidt - alto
Sean Clayton - Tenor
Edward Grint - Bass
Note: This text was translated by machine translation software and not by a human translator. It may contain translation errors.
Schütz joined an illustrious group of students from northern European countries, many of whom concluded their years of training with Gabrieli with a printed collection of madrigals, of which Schütz's is certainly one of the most spectacular. The works based on contemporary texts by Giovanni Battista Guarini and Giambattista Marino show, despite their great expressivity, compositional "normality in the realm of the topical" (Konrad Küster). Schütz, however, oriented himself not only on Gabrieli, but even more so on other masters of the Italian madrigal art of the preceding years. The five-part works do not yet require a basso continuo, but already contain elements of the "seconda pratica" in details of the harmonic treatment. However, one characteristic of Schütz's art is already clearly recognizable here: the intensive examination of the (Italian) text, which leads to a dense and fascinatingly expressive tonal language.
For the first time at the FAMB, the ensemble LES ARTS FLORISSANTS under the direction of Paul Agnew will present these treasures of a 25-year-old highly talented composer, whose success ultimately led their creator to devote his life entirely to music.
ThomasDrescher
Performers and additional information:
Ensemble Les Arts Florissants
Paul Agnew - tenor and conductor
Miriam Allan - Soprano
Hannah Morrison - Soprano
Mathilde Ortscheidt - alto
Sean Clayton - Tenor
Edward Grint - Bass
Note: This text was translated by machine translation software and not by a human translator. It may contain translation errors.
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