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Home  >  Early Music Vancouver Events  >  The Rise of European Music

Friday, March 12, 2027 | 7:30 pmChrist Church Cathedral

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The Rise of European Music

Artists: La Fonte Musica, directed by Michele Pasotti

Pre-concert Chat: TBA

Runtime: approximately 70 minutes, plus interval

More than 600 years ago, a young musician named Johannes Ciconia left his native Liège to travel south. The first major Franco-Flemish composer to make his fortune in Italy, he helped establish a long tradition of cultural exchange between the northern and southern parts of Europe that lent a new, international dimension to the music of the early 15th century. Michele Pasotti and his ensemble La Fonte Musica trace this rise of European music through the works of Ciconia and those of his precursors and famed successors such as Guillaume Dufay and John Dunstaple.


PROGRAMME:

TBA

La Fonte Musica

La fonte musica is an early music ensemble on period instruments, founded and led by Michele Pasotti.

La fonte musica was founded to interpret the astonishing musical season which goes from the end of the middle ages to the beginning of the humanism, with a particular focus on Italian Trecento. Our repertoire and research stretches until the end of Renaissance.

A constant and serious philological research is at the origin of every project together with a careful deciphering of rhetoric and grammar in order to understand and translate the creativity, refinement and beauty of ancient music with an experimental attitude for us today.

The ensemble has performed in the most prestigious early music festivals around Europe: Oude Muziek (Utrecht), Resonanzen (Konzerthaus, Vienna), MA Festival Bruges, Ravenna Festival, Innsbrucker Festwochen der Alten Musik, Laus Polyphoniae Antwerpen, Regensburg Tage Alte Musik, Wratislavia Cantans (Wroclaw), Herne Tage Alter Musik, Concerts Medieval du Musée de Cluny (Paris), Urbino Musica Antica, Festival Voix et Route Romane, Festival de Lanvellec, Musica Sacra Maastricht, Konzertsaal der Wiener Sängerknaben (Vienna), Festival Trigonale (Klagenfurt), Festival Povoa de Varzim, Festival Bachowski (Swidniça), Teatro la Fenice (Venise), Festival MiTo (Milan-Turin), Venetian Center for Baroque Music (Venise), Vespri in San Maurizio (Milan), Brighton Early Music Festival.

Enigma Fortuna, our 4 cds box containing the first recording of the complete work by Antonio Zacara da Teramo will be released at Alpha Classics in April 2021.

La fonte musica concerts and cd have been broadcasted by BBC (United Kingdom), Rai Radio Tre (Italy), ORF 1 (Austria), WDR (Germany), RBB kulturradio (Germany), Polskie Radio (Poland), NPO Radio 4 (Netherlands), Antena 2 (Portugal).

La fonte musica last cd “Metamorfosi Trecento”, released by the french label Alpha won the DIAPASON d’OR and Disco del Mese (Amadeus). DIAPASON elected “Metamorfosi Trecento” among The 100 records that all music lovers need to know.

“Metamorfosi Trecento” was also a finalist the best cd of the year (Early Music) at the International Classical Music Award (ICMA).

The first recording project “Le Ray au Soleyl. Musica alla corte pavese dei Visconti (1360-1410)” received the “Supersonic Award” by Pizzicato. DIAPASON rated the cd with 5 diapasons and reviewed it as an “impressive first disc”. It was also Disco del Mese and finalist for Disco dell’Anno on Amadeus.

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Michele Pasotti, Director

Since his beginnings with the electric guitar, Michele Pasotti plays and listens to very different musical genres.

He graduated in Lute with highest honours, studying with Massimo Lonardi, and specialized attending masterclasses by Hopkinson Smith and Paul O’Dette. At the Civica Scuola di Musica in Milan he later specialized in Renaissance music Theory and Counterpoint and deepened the study of late medieval practice both in Milan and Barcelona (Esmuc). At Rome’s University “Tor Vergata” he attended the specialization course Ars Nova in Europa, getting a first class degree.

He also received a first class degree in Theoretical Philosophy with a dissertation on Martin Heidegger.

From 2013 to 2018 Michele Pasotti held an Ars Nova course at the Civica Scuola di Musica di Milano. He is professor of Lute at the Conservatorio di Musica “B.Maderna” in Cesena He also gives lectures, either on musicological subjects, or to introduce and spread the knowledge of lutes and early music, also with Radio Broadcasts (Rai Radio 3).

He is founder and director of la fonte musica, the center of his musical life.

Beyond the activity with la fonte musica, he is called to conduct other ensembles like Capella Cracoviensis e Harmonia Cordis.

He plays regularly with Il Giardino Armonico, I Barocchisti, Les Musiciens du Louvre, Balthasar-Neumann Ensemble, Collegium Vocale, Arcangelo, Les Musiciens du Prince, Akademie für Alte Musik Berlin, Il Ricercar Continuo, Coro e Orchestra Ghislieri, Sheridan Ensemble, Cecilia Bartoli.

He loves playing chamber music with Alena Dantcheva, and his trio Il Ricercar Continuo with Giulia Genini e Alessandro Palmeri.

He was guested by the most eminent musical seasons and concert halls in Europe, United States and Asia and was directed by Claudio Abbado, John Eliot Gardiner, Giovanni Antonini, Philippe Herreweghe, Thomas Hengelbrock, Diego Fasolis, Christophe Rousset, Andrea Marcon, Monica Huggett, Nathalie Stutzmann, Barthold Kujiken.

As a soloist (lutes, theorbo, baroque guitar) he has a repertoire that spans from the Middle Ages to the late Eighteenth century. He recorded a cd devoted to the great 17th century guitarist Francesco Corbetta (Dynamic).

He played in more than 70 recordings (beyond those for Deutsche Grammophon, Decca, EMI/Virgin Classics, Naïve, Warner, Sony/Deutsche Harmonia Mundi, SWR, Glossa, ORF, Ricercar, Avie, The Classic Voice, Amadeus) and took part in several live broadcasts (BBC, ORF, WDR, Radio Polskie, Rai Radio 3, Rete 2 of Rsi, France 2, France Musique, Mezzo).

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Een Romantische Johannes Passion

Historical Performance has been steadily looking toward the nineteenth-century as a source of inspiration, and Orchestra Lagrandt wants to lead the charge into Romantic orchestral performance practice. As an orchestra of ambitious musicians in their twenties from 25 different nations, we aspire to represent the voice of the new generation in Historical Performance.

Een Romantische Johannes Passion is an ongoing project to reimagine the Johannes Passion of J. S. Bach in a late nineteenth century style. The first Passion revivals in the Netherlands took place in Rotterdam in 1870, featuring large symphonic orchestrations, and a radically different musical language than that of the HP and modern classical worlds. In our initial performance with the Tangram Chamber Choir, we pushed the boundaries of what Romantic Bach might have sounded like: exploring changes in orchestration, stoic tempi, rubato, phrasing, nineteenth- century bowing practices, and even portamento. We plan to establish this project as an annual tradition every Easter season, reworking the arrangement each time in the spirit of Romantic spontaneity.


One of the wonderful things about the Historical Performance movement is that we are able to use forgotten practices, this time hailing from the nineteenth century, to present such a beloved and well known-work in a new light.

The world is familiar with stories of clever forgers whose life’s mission is to cunningly reproduce the light and shadows of historical masterworks, from Vermeer’s brushstrokes to Da Vinci’s proportional precision… but what if these crimes of craftsmanship were to extend beyond the visual arts? What if the pieces we know to be by Palestrina, Monteverdi or even Johann Sebastian Bach were in fact stylistic copies, artfully composed by a secret circle of music forgers and passed off as the work of the greats? What if those music forgers are at work as we speak? 

This premise inspires our original program The Music Forgery Workshop. Our early music comedy imagines the lives of such a circle of musical criminals, offering a fresh and lively presentation of historical compositions, not as museum artifacts but as living works in progress. The workshop itself is set up on the stage and its members carry forth the plot in music and words. A narrator in the role of a suspicious inspector lends the performance a theatrical flow. The listener is invited into a satire on high society’s art commerce, while the performers make fun of themselves for having devoted their lives to the niche subject of historical music performance. 

Violinist Elizabeth Sommers combines her skills and experience in traditional music with expertise in the performance and improvisation of medieval and Renaissance repertoires. Multi-instrumentalist Eliot X. Dios (keyboards, bagpipes and flutes) works wholeheartedly to employ storytelling techniques developed through the history of literature and cinema in his early music concerts. Composer Gunnar Haraldsson (violin, guitar) seeks to translate the forms and intentions of early composition for a modern audience. Halldór B. Arnarson (keyboards, voice) has devoted his career to bringing musical craftsmanship from the era of counterpoint to the attention of the public and comedy to the early music scene. Singer and storyteller Ásta S. Arnardóttir brings the storyline to the public with personal immediacy, and through her character work defines the different veins of the show, sometimes hilarious and sometimes serious. 

The story is narrated by the character of the Inspector, acted out by the members of the MFW, and told in rhyming Icelandic verse in one musical pillar of the show, a madrigal composed by our very own 

Halldór in the style of Monteverdi. The show has an entertaining educational dimension. The audience is exposed to a broad sweep of historical and musical information in a condensed form, necessary to understand the musical humour, while dramatic rhythm and scenographic effects prevent overwhelm. We also place particular emphasis on theatrical illusion and synchronisation. One example appears in the opening scene, in which the inspector is seen watching television. On stage, this becomes a complex exercise in coordination: each time the inspector presses a button on the remote control, the musicians instantly switch pieces, creating the impression of rapidly changing television channels. 

This opening scene establishes the tone of the entire show, comical and satirical in its storytelling and diverse in its musical language. It not only introduces the wide range of musical styles that appear throughout the performance, but also functions as the plot’s inciting incident, as the inspector hears a news report about the discovery of a previously unknown concerto by Vivaldi. 

Another important scene takes place when one forger is alone on stage in low light, perusing books on medieval music, while the musicians perform and sing offstage, sounding his audiation as he reads. This intimate moment evokes the sleepless nights spent studying facsimiles and learning historical compositional techniques, by which the forger acquires the inspiration and the expertise necessary to his art, and reveals a hidden side of musical performance: the immense amount of study and preparation that precedes the moment on stage. This setting also creates space for visual and musical comedy, as seen in the trailer video, where a 14th-century melody is played backwards because Halldór is unknowingly reading the facsimile upside-down, only realising the mistake when the music begins to sound absurd. 

Fun and friendship are at the heart of the whole project, though the link between music and crime is an important historical consideration. Classical music was often used as the demonstration of a monarch’s power, music teaching as a cover up for secret affairs, and pieces were published under another’s name for profit. Such examples of “inappropriate practices” carry an exciting and attractive element for the audience which the MFW seeks to exploit. Under this light-hearted surface lies a more serious layer of questions concerning our present-day existence, such as excessive materialism in high society and the threat posed on human craftsmanship and skill by the rise of artificial intelligence. 

Please Note:

The main applicant and creative/intellectual driver of the project must be 30 or under (on May 15th).

The average age of all musicians must not be older than 32, and the maximum age of supporting musicians must be no more than 35 (on May 15th.)