https://lavaghezza.com La Vaghezza Sat, 13 May 2023 13:36:31 +0000 https://lavaghezza.com en http://lavaghezza.com/Gianluca-Geremia Sat, 13 May 2023 13:36:31 +0000 La Vaghezza 442715 &lt;-- Back to Musicians Page <img width="2560" height="2557" width_o="2560" height_o="2557" src_o="https://cortex.persona.co/t/original/i/ff0444728df167c1c6cabc90db6b9c7dc58832f3eb52f38df5bbe95bedc75430/Gianluca-effect-square-.png" data-mid="1287342" border="0" /> Geremia Gianluca, theorbo Rather by chance I found myself playing the lute &nbsp;at the age of ten. I owe the luck of this particular incident to Maurizio Baghin and Dario Pivato (my first lute teacher). As part of the school project “Dolce Consort” they introduced me to this instrument – which was quite unusual for a boy of that age. However I would say that I received my first musical "education" a few years earlier thanks to my older brother and all the music he listened to: grunge, metal, rock, reggae and more. I consider these experiences the true beginning of my passion for music and the joy of listening and for that I am very grateful to my brother. Venice is the city of my most intense musical studies, which contributed the most to my actual training as a musician. First at the SMAV (Scuola di Musica Antica di Venezia) &nbsp;and then at the Benedetto Marcello Conservatory I was able to study lute, theorbo and related instruments as well as Renaissance and contemporary composition. In addition to this I have always had a particular interest in improvisation, which led me to play and study early music improvisation and jazz. During my training I was lucky enough to meet teachers to whom I owe much: among others I would like to thank Massimo Lonardi, Tiziano Bagnati, Riccardo Vaglini &nbsp;and Michele Calgaro for their importance in my years of study. More info &lt;-- Back to Musicians Page Geremia Gianluca, theorbo Rather by chance I found myself playing the lute &nbsp;at the age of ten. I owe the luck of this... http://lavaghezza.com/Mayah-Kadish Sat, 13 May 2023 13:19:36 +0000 La Vaghezza 442714 &lt;-- Back to Musicians Page <img width="2148" height="2148" width_o="2148" height_o="2148" src_o="https://cortex.persona.co/t/original/i/a2e3d001ffe4088a5b84771b68ec546fdb35ed4e6ed721e4408222edfb0f8014/mayah-effect-square-.png" data-mid="1286644" border="0" /> Mayah Kadish, 1st &amp; 2nd violin Mayah Kadish was born in Rome and grew up in London. At university she studied philosophy at King’s College London, working for several years as a translator. She obtained her Master's degree as a violinist from London's Royal Academy of Music and studied the baroque violin with Enrico Onofri in Sicily. Mayah plays internationally mainly with baroque and contemporary repertoire, equally at home in both worlds. She has played as soloist and chamber musician in halls such as the Barbican, Royal Albert Hall, Wigmore Hall, LSO St Luke's, Lisbon's Centro Culturel de Belem, Paris Philharmonie and the Köln Philharmonie amongst others. She is principle violinist of the Berlin-based genre-fluid contemporary ensemble&nbsp; s t a r g a z e&nbsp; directed by André de Ridder,&nbsp; principle violinist of London-based contemporary group Ensemble x.y, and has worked as Concertmaster and sometimes soloist with the European Union Baroque Orchestra, Orchestra Controcorrente (IT), La Tempête (FR), Oxford Baroque (UK)amongst others. She writes music and often works collaboratively on making new music. Mayah has worked extensively with groups such as the Pomo d'Oro, London Contemporary Orchestra, London Contemporary Orchestra Soloists, London Sinfonietta, Holland Baroque Society amongst others. Frequent collaborators include performers and composers&nbsp;Timothy Cape, Elischa Kaminer, Sara Cubarsi, Anna Fusek, Alex Paxton. More info &lt;-- Back to Musicians Page Mayah Kadish, 1st &amp; 2nd violin Mayah Kadish was born in Rome and grew up in London. At university she studied philosophy at... http://lavaghezza.com/Ignacio-Ramal Sat, 13 May 2023 13:09:20 +0000 La Vaghezza 442713 &lt;-- Back to Musicians Page <img width="2572" height="2567" width_o="2572" height_o="2567" src_o="https://cortex.persona.co/t/original/i/09db14ca29dd74dff2db5efe0f14f3a6818f465b6375472990548d8df7fa3ea5/nacho-effect-square.png" data-mid="1286641" border="0" /> Ignacio Ramal, 1st &amp; 2nd violin Ignacio is a violinist specialised in historically informed performance. He received a Masters Degree in Musicology and Early Music Performance in Barcelona with professor Manfredo Kraemer, also receiving advice from professors like Emilio Moreno, Pedro Memelsdorff or Andrew Ackerman. He later continues his training as a pupil of Enrico Onofri in the Conservatorio Superiore di Palermo. As a string quartet player he received also training from the Cuarteto Quiroga, and became a student in the European Chamber Music Academy, making his debut in the Palau de la Música Catalana within the “Primer Palau” season. He has repeatedly been invited as guest conductor to the Camerata de Murcia, and has been concertmaster and soloist on several occasions in the youth orchestra of the Academia Montis Regalis and in the ESMuC baroque orchestra, as well as to the Orquestra Barroca Catalana. Being concertmaster of Camerata Antonio Soler, he has recorded, among several other works from the iberian classical era, the Sinfonia Concertante nr. 3 for two violins by Gaetano Brunetti (Lindoro) as a soloist along with violinist Lina Tur. He collaborates regularly with groups such as Le Concert des Nations (Jordi Savall), La Real Cámara (Emilio Moreno) or L’Estro d’Orfeo (Leonor de Lera); and has collaborated with Pulcinella Ensemble, Academia Montis Regalis, Orquestra Barroca Catalana, La Spagna, L'Arcàdia, La Madrileña or Dichos Diabolos. Furthermore, he has been invited as musical coach to the Universidad de Murcia and to the Florida International University. He is founder member of the ensemble The Ministers of Pastime. &lt;-- Back to Musicians Page Ignacio Ramal, 1st &amp; 2nd violin Ignacio is a violinist specialised in historically informed performance. He... http://lavaghezza.com/Anastasia-Baraviera Sat, 13 May 2023 13:08:00 +0000 La Vaghezza 442712 &lt;-- Back to Musicians Page <img width="2578" height="2571" width_o="2578" height_o="2571" src_o="https://cortex.persona.co/t/original/i/338bf1ee9a0b9fb2a592e1fb049cf33306535fab705c9313f8ffa3cf58cd73e1/Nastia-effect-square.png" data-mid="1287341" border="0" />Anastasia Baraviera, cello Anastasia Baraviera is of Russian-Argentinian heritage. She began studying the cello with her father in Buenos Aires, then attended the Manuel Castillo Conservatory in Seville (Spain) and was a member of the Youth Orchestra of Andalusia and the Barenboim-Said Academy. She studied baroque cello with David Simpson at the CRR de Paris from 2012 to 2016. Since 2013 she has been playing with the Seville Baroque Orchestra, where she has worked with artists of the international baroque music scene such as Enrico Onofri, Giuliano Carmignola, Riccardo Minasi, Amandine Beyer, Diego Fasolis. She has collaborated with ensembles such as Le Concert des Nations (Savall), Les Arts Florissants, La Chapelle Harmonique, Il Pomo d'oro, Ensemble Matheus, Les Nouveaux Caractères, Concerto Madrigalesco, La Tempête, ARMA Barokopera and participated in L'Académie Baroque d'Ambronay 2015, conducted by Enrico Onofri.&nbsp;She is a member of the Parisian tango orchestra El Sindicato Milonguero under the direction of Patricio Bonfiglio. &lt;-- Back to Musicians Page Anastasia Baraviera, cello Anastasia Baraviera is of Russian-Argentinian heritage. She began studying the cello with her father in... http://lavaghezza.com/Marco-Crosetto Sat, 13 May 2023 13:01:25 +0000 La Vaghezza 442711 &lt;-- Back to Musicians Page <img width="2564" height="2573" width_o="2564" height_o="2573" src_o="https://cortex.persona.co/t/original/i/5701463d326cc77d5bad95fdcc1e82ed1ce4d1a1855746b117988e945be98024/marco-effect-square-.png" data-mid="1286637" border="0" /> Marco Crosetto, keyboards Harpsichordist Marco Crosetto studied in his hometown at the Conservatory of Turin, with Claudio Voghera and Ilaria Schettini as pianist, with Silvana Di Lotti and Alessandro Ruo Rui as composer, and with Giorgio Tabacco as harpsichordist. In 2012, he went to Barcelona's ESMUC as an Erasmus student to study with Béatrice Martin. He also studied in Paris at the CRR with Noëlle Spieth and Stéphane Fuget as part of the Chef de Chant for baroque opera course. In 2011 he completed his BA in History with a dissertation in the history of music. As a soloist and chamber musician he has given piano and harpsichord performances in such distinguished places as Italy, France, Spain, Germany, Austria and Sweden. As a continuo player he has collaborated with the Accademia Montis Regalis of Mondovi, the “De Sono” Association, Le Coin du Roi in Milan and the Talenti Vulcanici in Naples under the direction of Stefano Demicheli. In 2015 amd 2019 he won the third prize at the Paola Bernardi harpsichord competition in Bologna and in 2018 he was semifinalist in the Bruges Competition for Hapsichord. He is an accompanist in the conservatories of Torino and Novara. He has recently released an album of Mandolin and Fortepiano sonatas entitled Beethoven and his Contemporaries with Mandolinist Raffaele La Ragione on the Arcana Label. &lt;-- Back to Musicians Page Marco Crosetto, keyboards Harpsichordist Marco Crosetto studied in his hometown at the Conservatory of Turin, with Claudio... http://lavaghezza.com/Musicians-2 Sat, 13 May 2023 11:21:22 +0000 La Vaghezza 442706 &nbsp;  &nbsp;La Vaghezza About Concerts Media Musicians CD &amp; reviews Repertoire &amp; Press Kit Contact <img width="2814" height="3517" width_o="2814" height_o="3517" src_o="https://cortex.persona.co/t/original/i/13b3853006888f39895986d7fd52b8df88e00e609d91b364588c1dd38ff9644e/marco-LAVAGHEZZA-64.jpg" data-mid="1286616" border="0" data-scale="28"/> <img width="2749" height="3436" width_o="2749" height_o="3436" src_o="https://cortex.persona.co/t/original/i/f26a9a5e0cd886eaaae7b07d2d5751182fea41bccd3f9c9b985eb80fb4c021ad/nacho-LAVAGHEZZA-78.jpg" data-mid="1286615" border="0" data-scale="28"/>&nbsp;<img width="2749" height="3436" width_o="2749" height_o="3436" src_o="https://cortex.persona.co/t/original/i/830dba498860c7a10be073700b0922e1356f8d8c901f57a85f4034a2b859fe6e/LAVAGHEZZA-87.jpg" data-mid="1286629" border="0" data-scale="28"/> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Marco Crosetto - &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; harpsichord and organ Ignacio Ramal -1st &amp; 2nd violins Mayah Kadish - &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; 1st &amp; 2nd violins. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; <img width="2832" height="3540" width_o="2832" height_o="3540" src_o="https://cortex.persona.co/t/original/i/5c7a22a5e23877852d374c03f3f3c756253d088e001c573f8fed7c7ca4ef736c/nastia-LAVAGHEZZA-72.jpg" data-mid="1286617" border="0" data-scale="28"/> <img width="2749" height="3436" width_o="2749" height_o="3436" src_o="https://cortex.persona.co/t/original/i/5f10b5e6cb15401c9605fb55f45cf30fecadeff261488f1c7095fec2ba6765a4/LAVAGHEZZA-61.jpg" data-mid="1286618" border="0" data-scale="28"/> Anastasia Baraviera - violoncello Gianluca Geremia - theorbo Photographs by Laima Arlauskaite &nbsp;  &nbsp;La Vaghezza About Concerts Media Musicians CD &amp; reviews Repertoire &amp; Press Kit Contact &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;... http://lavaghezza.com/Contact Fri, 09 Feb 2018 22:02:25 +0000 La Vaghezza 250714 &nbsp;  &nbsp;La Vaghezza About Concerts Media Musicians CD &amp; reviews Repertoire &amp; Press Kit Contact For bookings please contact Toret Artist Management :Kaveh Daneshmand kaveh@toretartistmanagement.com Michele Tagliaferri mt@toretartistmanagement.com For any other information or to be in touch please contact:&nbsp; ensemble.la.vaghezza@gmail.com Support our music-making through PATREON, a 21st Century platform for Patrons of the Arts. Sign up to our mailing list: #mc_embed_signup{background:#fff; clear:left; font:14px Helvetica,Arial,sans-serif; width:600px;} /* Add your own Mailchimp form style overrides in your site stylesheet or in this style block. We recommend moving this block and the preceding CSS link to the HEAD of your HTML file. */ * indicates required field Email Address * Name Country © 2023 La Vaghezza &nbsp;  &nbsp;La Vaghezza About Concerts Media Musicians CD &amp; reviews Repertoire &amp; Press Kit Contact For bookings please contact Toret... http://lavaghezza.com/Repertoire-Press-Kit Sat, 03 Feb 2018 00:25:35 +0000 La Vaghezza 248785 &nbsp;  &nbsp;La Vaghezza About Concerts Media Musicians CD &amp; reviews Repertoire &amp; Press Kit Contact Here is our Electronic Press Kit Here is our Portfolio&nbsp; Here are a selection of our recent programmes. For more programmes feel free to contact us. <img width="3600" height="2571" width_o="3600" height_o="2571" src_o="https://cortex.persona.co/t/original/i/608a26980c3a3b0aaed8f80034939c4a28bc3820b420112cc62fb07733ebd9bd/LAVAGHEZZA-113.jpg" data-mid="1283010" border="0" />©Laima Arlauskaite MIRABILIA The evolution of instrumental music in the mid 17th Century The Italian 17th century was a period of change in music. This can be perceived in the letters, the treatises, the fervour with which the new theories and the birth of the basso continuo are supported. Therefore, it is not enough just to read the written music to interpret its spirit. On the contrary, the more one delves into the research, the more one observes that the living practice of the music and the way of notating it are quite different, because there is no way to relate the life of a sound: the notes are stones, inert objects to construct with, laid down for centuries on a sheet of paper, as evidence of a landscape that no longer exists and that must be recreated. The programme mixes pieces with extremely different approaches: from the meditative rationality of certain sonatas or songs to the rhythmic, interpretative and therefore improvisational power of the dances. The third element is the rule-free composition that avoids being classified as a particular musical genre and calls itself 'stylus phantasticus': the sonatas by Bertali and Valentini are an example of this. The programme sections are dedicated to different composers. The first is dedicated to Biagio Marini, a prolific composer from the Venetian area who devoted three of his published collections of music to instrumental music. He is considered one of the first experimenters in technical and harmonic fields: he is the first to notice the effect of the tremolo, in the Foscarina, and to write double stops for the violin. Giovanni Valentini and Antonio Bertali share a similar history: they were born in Italy but made their careers in Austria: Bertali was in fact Valentini's successor in Vienna as Kapellmeister. Many of their compositions are preserved in manuscript form in the Rost Codex and the Ludwig PartiturBuch, two manuscript collections. Of Andrea Falconieri, born in Naples at the height of Spanish rule, only a collection of instrumental works with evocative and imaginative titles is preserved. Tarquinio Merula lived in Lombardy with a short interlude in Poland and published instrumental music mainly in the form of songs, vocally based in the incipit but with clear instrumental sections. Tarquinio Merula (1595-1665) - La Pusterla, Canzoni da suonare, op 17 Biagio Marini (1594-1663) - Sinfonia del Terzo Tuono, Per ogni sorta di strumento musicale, op. 22 Biagio Marini (1594-1663) - La Foscarina. Sonata a 3 con il Tremolo, Affetti Musicali, op. 1 *** Si sona passacaglie… Giovanni Valentini (1582-1649), Sonata a 2 n. 33, Rost Codex Giovanni Valentini (1582-1649), Aria a 2 violini n. 18, Rost Codex *** Andrea Falconieri (1585-1656) - Fantasia echa para el muy Reverendo Padre Falla, Il primo libro di canzoni, sinfonie, fantasie Andrea Falconieri (1585-1656) - Alemana detta la Ciriculia, Il primo libro di canzoni, sinfonie, fantasie Andrea Falconieri (1585-1656) - Bayle de los dichos diabolos, Il primo libro di canzoni, sinfonie, fantasie *** Si sona ciaccone… Antonio Bertali (1605-1669) - Sonata 38, Ludwig Partiturbuch Tarquinio Merula (1595-1665) - Ciaccona, Canzoni overo sonate concertate per chiesa e camera, Op.12 ----------------- DI MARMO I SENI E DI DIAMANTE IL CORE Violins of Spanish Italy The programme offers a journey through Italian instrumental music of the 17th century. Naples and Milan were under Spanish rule from the middle of the 16th century, forming part of the immense kingdom that Emperor Charles V divided into families: the political and cultural hegemony of the Spanish officially ended in 1713. Taken from a literary point of view, the music performed is essentially the soundtrack to the famous 19th century Italian novel - I Promessi Sposi - a cornerstone of Italian literature and set in 1630 in Milan. The composer most present in the programme is Andrea Falconieri, of whom only one collection of instrumental works survives, Il primo libro di canzoni, sinfonie, fantasie, capricci, brandi, correnti (1650) in which he mixes Italian and Spanish styles. The motet Vere languores nostros by Tomás Luis de Victoria (1548-1611) is taken from Spanish literature to offer a diminished version in the Italian manner. Another essential Baroque composer is Diego Ortiz, who was Spanish by birth but worked in Naples and published his Tratado de Glosas in Rome. Pietro Andrea Ziani was a Neapolitan by adoption, as he emigrated from Venice, probably because of the disappointment of not having been able to take the place of his master, Francesco Cavalli, as director of the chapel of San Marco. Only a few collections of sonatas have come down to us from him. Deviating slightly from the centre of the programme is the imaginative sonata by Francesco Turini, from Brescia and therefore under Venetian influence, taken from the Primo Libro di Madrigali (1621). We then move to Milan, celebrating the little-known Cesare Negri, nicknamed "il Trombone", who published Nuove Inventioni di Balli (1604), a treatise on dance with tablature music for lute. Giovanni Paolo Cima's Concerti Ecclesiastici (1610) are among the first compositions for religious use composed for basso continuo, and in which there is evidence of a composition written expressly for violin and violone. The programme ends with Agostino Guerrieri, born in Milan but working in Genoa, where he published the Sonate di violino a 1, 2, 3 e 4, Op. 1 and Carlo Ambrogio Lonati, whose trio compositions were never published and are still preserved in the National Library of Turin in Italy. Cesare Negri (1535-1605) - La Catena d'Amore, Nuove Inventioni di Balli Giovanni Paolo Cima (1570-1622) - Sonata a 3, Concerti Ecclesiastici INTONAZIONE Pietro Andrea Ziani (1616-1684) - Sonata II op. 7 Andrea Falconieri (1585-1656) - Bayle de los dichos Diabolos, Il primo libro di canzoni **** Diego Ortiz (1510-1576) - Recercada Primera y Septima, Tratado de Glosas Francesco Turini (1590-1656) - Sonata a doi violini. Secondo tuono, Primo Libro di Madrigali INTONAZIONE Tomás Luis de Victoria (1548-1611) - Vere languores nostros Andrea Falconieri (1585-1656) - Tiple à 3. Alemana detta la Ciriculia, Il primo libro di canzoni **** Andrea Falconieri (1585-1656) - Sinfonia quarta, Il primo libro di canzoni Agostino Guerrieri (1630-1684) - Sonata La Pietra, Sonate di violino Op. 1 Carlo Ambrogio Lonati (1645-1715) – Sonata a 3, en do major ----------------- ARTIFICII MUSICALI&nbsp; In a cultural environment such as that of Italy at the turn of the 16th and 17th centuries, it was good practice for anyone wishing to learn an art to copy from the masters. In this process, the apprentice was pushed to enter a craft, a living art based on a language shared by an entire community. That is, he was driven to learn to speak the same language that all the other artists in his environment spoke. No wonder then that a large part of the creative process involved the use of the same material, a basis established by tradition and community on which the individual artist could express his individuality. The aim of this programme is to investigate this practice of the reuse and recycling of thesame materials by different composers in this period, a practice that was the protagonist ofa significant part of this musical repertoire. We have used historical examples to do this. Salomone Rossi's sonata sopra 'È tanto tempo hormai' and Biagio Marini's sonata sopra 'LaMonica' use the same theme, whose origins are in traditional or folk music, nicknamed 'LaMonica'. Francesco Turini in his sonata 'Il Corisino' offers a personal interpretation of the theme known as 'La Bella Pedrina', while Antonio Bertali and Tarquinio Merula are paired through their variations on the very same Chaconne bass. Alongside the historical examples, we have added another interpretation of the concept of'recycling in music' in the form of composition and arrangement 'in style'. Following acommon practice of the time, 'Vere Languores', a vocal piece by Tomas Luis De Victoria, ishere rendered in an instrumental version through the use of diminutions written by the performers themselves. Cesare Negri's 'Catena d'Amore' is a Renaissance dance originallywritten for the lute, rearranged here for two soprano instruments and basso continuo. Similarly, the variations on the dance known as 'La Ciriculia' by Andrea Falconieri are of the performers' own invention. Once we had established this dialogue between the contemporary and the past spanning four centuries, we went further into the realm of composition 'in style', or neo-baroquecomposition. The sonata on ''Dale Campeón'' by Marco Crosetto is a tribute and homage toBiagio Marini while Crosetto's ''Ballo detto Scutule'' is inspired by the dances of TarquinioMerula. The "Sinfonia grave" by Gianluca Geremia is inspired by the compositional style ofSalomone Rossi's symphonies while the "Bicinium for two sopranos" and the "Bicinia VI andIX" take their cue from the compositions for his voices by Orlando di Lasso. Finally, 'LaParuta e sua Sinfonia' and 'Sonatina a tre' are freely inspired. Cesare Negri: Catena d'amore Marco Crosetto: Ballo detto Scutule Gianluca Geremia: Sinfonia grave Francesco Turini: Il Corisino *** Gianluca Geremia: Bicinia VI-IX Gianluca Geremia: Sonatina a 3 Salomone Rossi/Biagio Marini: sonata sopra "È tanto tempo hormai"/ sonata sopra "LaMonica" *** Tomás Luis de Victoria: Vere Languores Gianluca Geremia: La Paruta e sua Sinfonia Andrea Falconieri: La Ciriculia *** Gianluca Geremia: Bicinium a due soprani Marco Crosetto: sonata sopra "Dale Campeón" Antonio Bertali/Tarquinio Merula: Ciaccona ----------------- SCULPTING THE FABRIC&nbsp; The music in this programme shapes a portrait of colours and atmospheres found in the early 1600s in Italy. It is a music of originality, unpredictability, extravagance, experimentation, and great freedom - qualities held dear by La Vaghezza. We have included several of the most influential composers of the period, while also seeking to highlight repertoire that has not been widely recorded. The musical forms chosen (sonate, balli, etc) aim to provide an overview of the musical landscape of the time. The 1600s saw the musical score become a more complex animal than in the previous century, and yet much of the music’s detail was not written into the score, but rather left to the sensibility of the performer. Great importance was given to the graces, ornaments, improvisations and diminutions that the performer would add. The scores that have been handed down to us through the ages are the skeleton, the bones, to be fleshed out and given blood by the performer as they weave their own into the music. Roger North talked beautifully about this process in his autobiography, maintaining that the sound a musician produces must then be sculpted, carved, by means of graces and ornaments. It is from this idea that we took inspiration for the title of this programme, Sculpting the Fabric. The historical practices of carving the fabric in this musical period, are an invitation for performers to keep reinventing this music, for each utterance of the music to be a creative act. - T. Merula (1595-1665) Ballo detto Eccardo, “Canzoni overo sonate concertate per chiesa e camera” - F. Cavalli (1602-1676) Canzona a 3, “Musiche Sacre” - T. Merula Ballo detto Gennaro, “Canzoni overo sonate concertate per chiesa e camera” *** - C. Monteverdi (1567-1643) Cor mio non mori? E mori (diminutions by Mayah Kadish) - G. B. Fontana (1589-1630) Sonata Settima, “Sonate a 1, 2, 3 per il violin o cornetto, fagotto…o&nbsp; simile altro istromento” *** - B. Marini (1594-1663) La Zorzi - G.B. Vitali (1632-1692) Bergamasca, “Partite sopra diverse sonate” - F. Turini (1589-1656) Sonata a doi violini. Secondo tuono *** - A. Gabrieli (1533-1585) “Giovane donna sott’un verde lauro” (diminutions by Ignacio Ramal) - S. Rossi (1570-1630) Sinfonia Nona, “Sinfonie et gagliarde, Libro primo” - A. Falconieri (1585-1656) Folias echa para mi Senora Dona Tarolilla de Carallenos, “Il primo libro&nbsp; di canzone, sinfonie, fantasie…” &nbsp;© 2023 La Vaghezza &nbsp;  &nbsp;La Vaghezza About Concerts Media Musicians CD &amp; reviews Repertoire &amp; Press Kit Contact Here is our Electronic Press Kit ... http://lavaghezza.com/About Sat, 03 Feb 2018 00:25:15 +0000 La Vaghezza 248784 &nbsp;  &nbsp;La Vaghezza About Concerts Media Musicians CD &amp; reviews Repertoire &amp; Press Kit Contact <img width="3582" height="1003" width_o="3582" height_o="1003" src_o="https://cortex.persona.co/t/original/i/6bc08548c33e808b184354f27be56f905e22059d41288b3544df391db8a617fa/seaside-La-Vaghezza-aldeburgh-Beach-Laima-thin-landscape-.png" data-mid="1286593" border="0" />©Laima Arlauskaite La Vaghezza is a trio sonata ensemble playing music from the 17th and early 18th Centuries, with a special interest in the unpredictability, extravagance, originality and freedom found in 17th Century Italian music. Their musical interpretations are historically informed, but always guided foremost by their common sensibility as an ensemble and their search for ‘La Vaghezza’, an aesthetic concept which describes a beauty impossible to understand or grasp: like smoke, something calling to be touched yet remaining intangible. Since their founding in 2016 they have performed in Europe's most esteemed early music festivals and concert series such as Utrecht Early Music Festival, Bruges MA Festival, Monteverdi Festival Cremona, Gottingen Handel Festspiele, Ambronay Festival, Innsbruck Festival, Buxton Festival, Festival MiTo, Auditorium de Lyon, Cité de la Voix Vezelay, Thessaloniki Baroque Festival, Società Aquilana Barattelli. They were the first group to be awarded all three prizes at the prestigious Handel Gottingen Competition (2018) and were awarded first prize in the Maurizio Pratola International Competition (2016). The members of La Vaghezza are all highly sought after instrumentalists in their own right, working with internationally renowned artists in the world’s most celebrated concert halls. The five musicians take an equal role in directing the group musically, and the two violins play first and second violins interchangeably. La Vaghezza are grateful to have been supported by the EEEmerging young artists scheme since 2017. Their debut album ‘Sculpting the Fabric’ covers the Italian 1600s and was released on Ambronay Editions in March 2021. Sign up to our mailing list: #mc_embed_signup{background:#fff; clear:left; font:14px Helvetica,Arial,sans-serif; width:600px;} /* Add your own Mailchimp form style overrides in your site stylesheet or in this style block. We recommend moving this block and the preceding CSS link to the HEAD of your HTML file. */ * indicates required field Email Address * Name Country © 2023 La Vaghezza&nbsp; &nbsp;  &nbsp;La Vaghezza About Concerts Media Musicians CD &amp; reviews Repertoire &amp; Press Kit Contact ©Laima Arlauskaite La Vaghezza is a... http://lavaghezza.com/CD-reviews Tue, 26 Dec 2017 15:15:28 +0000 La Vaghezza 238508 &nbsp;  &nbsp;La Vaghezza About Concerts Media Musicians CD &amp; reviews&nbsp; Repertoire &amp; Press Kit Contact <img width="1046" height="1000" width_o="1046" height_o="1000" src_o="https://cortex.persona.co/t/original/i/dae4d1f5a5813291814d897178cd9055e452f41468355b3a38acb098fc24a995/COUV_AMY313.jpg" data-mid="1286376" border="0" data-scale="50"/>Our first CD, Sculpting the Fabric, is available to purchase from major retailers including Presto Music, or directly from Ambronay Editions. Available to stream from all the usuals, Spotify, Apple Music, YouTube etc. Reviews for Sculpting the Fabric: ‘vibrant, luminous and moving [...] a miracle’ Revista Ritmo (Mercedes García Molina) ‘virtuosity, precision, expressive subtlety and, above all, obvious enthusiasm’* * * * * Diapason‘blows a liberating gust of fresh air over this repertoire [...] a very beautiful eloquence’* * * * * ResMusica (Cécile Graenzer)‘a fanciful and whimsical execution that vitalizes [...] an unpredictable experience’ * * * * * Disc of the Month - Rivista Musica (Lorenzo Tozzi) ‘Enviable instrumental quality [...] a total freedom in tone [...]&nbsp; unpredictability and extravagance’* * * * * On.Mag (Jean-Pierre Robert) ‘A great, luminous whole [...] Played [...] sensually, racingly, poignantly’* * * * * Klassik (Manuel Stangorra) ‘keeps the listener continuously on the edge of their seat. A great debut album’ * * * * * Rondo (Michael Wersin)‘five individual energies [...] one sensitivity’* * * * * Melómano (Pablo Cantalapiedra) ‘a fanciful, inspired performance that vitalises [...] The rich and refined ornamentation [...] brings out the virtuosity of the young instrumentalists [...] they make the act of listening an unpredictable experience.’ * * * * * Revista Musica (Lorenzo Tozzi) ‘full of affect and effect’ &nbsp; * * * * Pizzicato&nbsp; (Uwe Krusch) ‘clear, radiant and dynamic’ Radiotelevision Suisse (Benoit Perrier ) ‘A communicative energy and an exact science [...]&nbsp; impassioning’Classique c’est cool (Hughes Rameau-Crays) ‘Luminous interpretations’ Revista Scherzo (Eduardo Torrico) ‘Great playfulness’ ... ‘audible joy’ Toccata magazine (Wolgang Reihing) ‘Extraordinary talents and energies’ Enrico Onofri‘From the first notes, the quality of La Vaghezza’s playing was remarkable[…] A tightly woven ensemble that gave an engaged and stirring performance [...] La Vaghezza seduced us with the quality and the élan of their interpretation’ Classicagenda ‘They are unconventional and truly new. I can never quite relax when they play because I am surprised again and again - they question my positions and&nbsp; my securities, and rightly so. These young people are the window into our future and we can only learn from them’ Alessandro De Marchi, conductor and director of the Innsbruck Festival Sign up to our mailing list: #mc_embed_signup{background:#fff; clear:left; font:14px Helvetica,Arial,sans-serif; width:600px;} /* Add your own Mailchimp form style overrides in your site stylesheet or in this style block. We recommend moving this block and the preceding CSS link to the HEAD of your HTML file. */ * indicates required field Email Address * Name Country © 2023 La Vaghezza &nbsp;  &nbsp;La Vaghezza About Concerts Media Musicians CD &amp; reviews&nbsp; Repertoire &amp; Press Kit Contact Our first CD, Sculpting the...