Roma Lusitana – Lisbona Romana
Roman Sonata Style in Portugal
Pedro Lopes Nogueira, José António Carlos de Seixas,
Pietro Paolo Capellini, Domenico Scarlatti
LUDOVICE ENSEMBLE (Portugal)
Luca Giardini – violin
Diana Vinagre – cello
Josep Maria Martí – baroque guitar
Fernando Miguel Jalôto – harpsichord, organ, artistic director
Wednesday 31. 7. 2013, 8.00 pm
Břevnov Monastery, Markétská 1, Prague 6
Supported by the Embassy of Portugal in Prague.
All roads indeed lead to Rome – but from Rome too! St. Adalbert, for example, hurries from Roman Aventino back to the Czech Lands in order to establish the venue of tonight’s performance. Or over there, at Domenico Scarlatti on his way from Rome to Lisbon where his life-changing encounter with the young local musician José António Carlos de Seixas would take place. On 31 July, the teacher and his talented, devoted pupil met up again. The encounter was accompanied by the brilliant Ludovice ensemble from Portugal, and surrounded by other Italian and Portuguese authors: Pietro Paolo Capellini, Carlo Ambrogio Lonati, and Pedro Lopes Nogueira…
Pietro Paolo Capellini (fl. 2nd half of the 17th century)
Sonata a violino e basso
Pedro Lopes Nogueira (fl. 1720)
4 pezzi per violino e basso
José António Carlos de Seixas (1704–1742)
Sonata a violoncello e basso, Ap.19.1
Sonata per cembalo, Ap. 19.7
Michele Mascitti (1664–1760)
Sonata a violino e basso, Op. I No. 1
Carl’Ambrogio Lonati (1645 – cca 1710)
Sonata a violino e basso
José António Carlos de Seixas
& Anonym / Anonymous (1st half of the 18th century)
3 pezzi per violino e basso
Domenico Scarlatti (1685–1757)
2 Sonate per cembalo, K.4, K.8
Sonata IV: Allegro & Sonata VIII: Allegro
Sonata a violino e basso, K.88
Summer Festivities of Early Music 2013
Hudební rozhledy 10/2013, Lukáš Vytlačil
To listen to his [Luca Giardini] play was a real pleasure. The excellent technical surety was combined with great musical sensitivity. The concert was thus characterized by brilliant passages, but also a fine and velvetz violin play.
All the tones, especially in the slow movement, were united in a perfect flow of sound and Vinagre had her instrument perfectly under control.
The brilliant play of Josep Maria Martí on the baroque guitar gave the relevant composition dynamism which made a very relaxing impression.
All the musicians were fully concentrated on the music and their performance was pleasing acoustically and aesthetically as well.