Sunday, October 27, 6:00 PM
Church and Convent of Santa Clara
The Baroque in Madeira
Ensemble Bonne Corde
Miguel Jalôto, organ
Diana Vinagre, conducting
António Pereira da Costa (?-c.1770)
Concerto grosso op.1 no. 7 in F major
Preludio: Largo - Allegro
Stream
Adagio - Allegro
Allemanda
(Recovery of the solo cello part by Miguel Jalôto)
Antonio Vivaldi (1678-1741)
Sonata in A minor for cello and continental bass, RV 44
Largo
Allegro poco
Largo
Allegro
Concerto for organ and solo violin in F major, RV542
[Allegro]
[Lento]
Allegro
Concerto in A minor for solo cello, strings and continental bass, RV419
Allegro
Andante
Allegro
António Pereira da Costa
Concerto grosso op.1 n.º 5 in G minor
Preludio: Largo - Allegro
Stream
Grave - Allegro
Minuetto: Allegro
(Recovery of the solo cello part by Miguel Jalôto)
Ensemble Bonne Corde
Sara de Corso, Sue-Ying Koang, Yukié Nakagima, Lilia Slavny, baroque violin
Raquel Massadas, baroque viola
Diana Vinagre, Rebecca Rosen, baroque cello
Miguel Jalôto, organ
Diana Vinagre, conducting
The concert's program takes as its starting point the concerto grossos by António Pereira da Costa (?-c.1770), proposing a journey through the variations of one of the most popular instrumental forms during the Baroque period, the concerto. While in the concerto grosso there are several soloists, other concertos are for only one or two soloists, as is the case with the concertos by Antonio Vivaldi (1678-1741) that are part of the program, one for cello and another for organ and violin. The Venetian composer was one of the most prolific in this form, with the most famous set of concertos on the four seasons. Throughout the program, the organ, of which the program intends to be a celebration, will be present in its various facets, both as a soloist and in its role as an instrument of the continuous bass. In spite of the relevance of his work in the context of Portuguese music, since there are no other known thick concertos by Portuguese composers, Pereira da Costa is still a rather unknown figure, deserving a more consistent biographical study in the future, along with the recovery of his work, to which this concert hopes to be a contribution. It is through the frontispiece of these concertos, published in London by John Simpson, probably between 1740 and 1755, that we get the only reliable biographical data we know about the composer. The concertos were given to João José de Vasconcelos Bettencourt (1703-1766), probably a patron of the composer in Funchal. There is even a possibility that the concertos were published during a trip to London by João José Vasconcelos Bettencourt himself, accompanied by Pereira da Costa. In this period 12 serenades for guitar of his authorship were also published in London. We know for sure that José de Sá Pereira was chapel master of the Sé of Funchal, but it is not clear exactly how long he was in Madeira. He was probably in the service of D. Gaspar Afonso da Costa Brandão (1703-°©-1784), who came to Funchal in 1757. This set of twelve concertos, of which numbers 5 and 7 will be presented, were published as op. 1, having soloistic parts for two violins and cello, tutti parts for two violins, and viola and bass organ accompaniment. The specificity of the continuous bass accompaniment to the organ is a unique detail, since usually the key instrument is not indicated, but only the mention of continuous bass. Unfortunately the solo cello part is missing, and a reconstruction of it was necessary, which in today's performance is by Miguel Jalôto. We hope that this concert can contribute to a greater attention to the concerts and the whole of Pereira da Costa's work, not only for its symbolism in the history of Portuguese music but also for its intrinsic musical value.
Diana Vinagre
Participants
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Ensemble Bonne Corde is an Early Music ensemble dedicated to historically informed interpretation with original instruments, having as its target repertoire the literature for solo cello of the 18th century, both chamber and concert. The group's name comes from Marin Mersenne's 1636 treatise, Harmonie Universelle, and is intended as an allusion to the gut strings used on string instruments until the 20th century. It is also through the use of gut strings that the Ensemble Bonne Corde intends to recover and make known forgotten repertoires in a historically informed perspective, not, however, aiming at a recreation or an archaeological work - we will never know how this music sounded: we only want to understand, as best as possible, the musical codes of the time when it was written. Founded by cellist Diana Vinagre, the Ensemble Bonne Corde continues an ensemble work initiated by young musicians from various parts of the world who have crossed paths in their training and professional careers in such prestigious venues as the Royal Conservatory of The Hague (Netherlands) and the European Union Baroque Orchestra. All the members of the group collaborate regularly with the most important ensembles of Early Music in Europe. Since its foundation, the Ensemble Bonne Corde has performed throughout the country, having already recorded for RDP - Antena 2 and presented modern premières of works by important Portuguese authors of the 18th century. |
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Fernando Miguel Jalôto completed his Bachelor's and Master of Music degrees in Harpsichord at the Department of Ancient Music and Historic Performance Practice of the Royal Conservatory of The Hague (Netherlands), in the class of Jacques Ogg. He has attended masterclasses with Gustav Leonhardt, Olivier Baumont, Ilton Wjuniski and Laurence Cummings. He has also studied Baroque Organ and Clavichord, and was awarded a scholarship from the Centro Nacional de Cultura. He holds a Master's degree in Music from the University of Aveiro and a PhD in Musical Sciences from Universidade Nova de Lisboa with a grant from FCT. He is the founder and artistic director of the Ludovice Ensemble. He is a member of Orquestra Barroca Casa da Música and collaborates with specialized groups such as Oltremontano, La Galanía, Collegium Musicum Madrid and Bonne Corde. He was a member of the Académie Baroque Européenne de Ambronay, the Academia MUSICA de Neerpelt, and the orchestra Divino Sospiro. He has worked under the direction of T. Koopman, Ch. Pluhar, Ch. Rousset, F. Biondi, A. Florio, H. Christophers, A. Parrott, R. Alessandrini, Ch. Banchini, E. Onofri, A. Bernardini, L. Cummings, Ch. Coin, D. Snellings, W. Becu and P. McCreesh, among others. He has recorded for Ramée/Outhere (with the Ludovice Ensemble, nominated for the prestigious ICMA Awards in 2013), Brilliant Classics (Suites for harpsichord by Dieupart), Dynamic (Concerto for harpsichord in G minor by Carlos Seixas), Harmonia Mundi, Glossa Music, Parati, Anima & Corpo and Veterum Musica. |
Miguel Jalôto|
After completing his studies at the National Superior Academy of Orchestra in Lisbon, he joined the Royal Conservatory of The Hague in the Department of Ancient Music and Historic Performance Practices in Jaap ter Linden's baroque cello class. At this institution he completes his Bachelor's degree and then his Master's degree, with distinction. Since dedicating himself to the practice of historical cello, he has collaborated as a free-lancer with various ensembles: the Orchestra of the 18th Century, New Dutch Academy, B'Rock, Orchestra of The Age of Enlightenment, Irish Baroque Orchestra, Holland Baroque Society, Al Ayre Español, Divino Sospiro, Forma Antiqua and the Casa da Música Baroque Orchestra. She plays regularly under the direction of Enrico Onofri, Laurence Cummings, Mark Elder, René Jacobs, Vladimir Jurowsky, Simon Murphy, Bartold Kuijken, Christina Pluhar, Elizabeth Wallfisch, Alfredo Bernardini, Rinaldo Alessandrini, Frans Bruggen, Lars Ulrik Mortensen, Alexis Kossenko, Chiara Banchini. In 2007 she was selected to join the European Union Baroque Orchestra and has performed as soloist on several occasions. She has made several recordings with Divino Sospiro, Sete Lágrimas, Wallfisch Band, European Union Baroque Orchestra, Forma Antiqua. Besides his activity in several European countries, he is the first violoncello of the Orquestra Barroca Divino Sospiro. In 2009 he founded the Ensemble Bonne Corde, which specializes in eighteenth-century repertoire, with the cello as a starting point. |
Diana Vinagre Notes about organ
Church and Convent of Santa Clara (Funchal)
The Church of Santa Clara had acquired a pipe organ in the form of a cabinet with Italian-Iberian characteristics from the 18th century. With the extinction of the Religious Orders and the consequent sale of the congregation's assets, the organ was also put up for public auction, and was bought by Dr. Romano de Santa Clara, who kept it in a dependency of the extinct convent. In 1921, he offered it to the Confraternity of Santa Clara, so that it could again be put to the religious service of that temple. The musicians César R. Nascimento and Guilherme H. Lino were then in charge of its "repair", in October 1923, and they finished it in November of the following year.
In 1996, this instrument, of notable historical value, was then subjected to a thorough intervention in 1996, this time by Dinarte Machado, using criteria based on facts related to the art of organ-making at the time that identifies the instrument. The state in which it was found, considered completely disfigured, required a deep and rigorous study to reach the conclusions that defined the current restoration. In this scope, it was a work coated with great criterion and demand imposed from the beginning by Dinarte Machado.
Manual (C, D, E, F, G, A, Bb-c''')
Principale (c#'-c''')
Ottava (4')
Quintadecima (2')
Decimanone (1 1/3')
Twentieth-wave and Thirtieth-wave
Flute 8'
Flute 4'
Cornetto (c#'-c''')
Sunday, October 27, 6:00 PM Church and Convent of Santa Clara
The Baroque in Madeira Ensemble Bonne Corde Miguel Jalôto, organ Diana Vinagre, conducting
António Pereira da Costa (?-c.1770) Concerto grosso op.1 no. 7 in F major Preludio: Largo - Allegro Stream Adagio - Allegro Allemanda (Recovery of the solo cello part by Miguel Jalôto)
Antonio Vivaldi (1678-1741) Sonata in A minor for cello and continental bass, RV 44 Largo Allegro poco Largo Allegro Concerto for organ and solo violin in F major, RV542 [Allegro] [Lento] Allegro Concerto in A minor for solo cello, strings and continental bass, RV419 Allegro Andante Allegro
António Pereira da Costa Concerto grosso op.1 n.º 5 in G minor Preludio: Largo - Allegro Stream Grave - Allegro Minuetto: Allegro (Recovery of the solo cello part by Miguel Jalôto)
Ensemble Bonne Corde Sara de Corso, Sue-Ying Koang, Yukié Nakagima, Lilia Slavny, baroque violin Raquel Massadas, baroque viola Diana Vinagre, Rebecca Rosen, baroque cello Miguel Jalôto, organ Diana Vinagre, conducting
The concert's program takes as its starting point the concerto grossos by António Pereira da Costa (?-c.1770), proposing a journey through the variations of one of the most popular instrumental forms during the Baroque period, the concerto. While in the concerto grosso there are several soloists, other concertos are for only one or two soloists, as is the case with the concertos by Antonio Vivaldi (1678-1741) that are part of the program, one for cello and another for organ and violin. The Venetian composer was one of the most prolific in this form, with the most famous set of concertos on the four seasons. Throughout the program, the organ, of which the program intends to be a celebration, will be present in its various facets, both as a soloist and in its role as an instrument of the continuous bass. In spite of the relevance of his work in the context of Portuguese music, since there are no other known thick concertos by Portuguese composers, Pereira da Costa is still a rather unknown figure, deserving a more consistent biographical study in the future, along with the recovery of his work, to which this concert hopes to be a contribution. It is through the frontispiece of these concertos, published in London by John Simpson, probably between 1740 and 1755, that we get the only reliable biographical data we know about the composer. The concertos were given to João José de Vasconcelos Bettencourt (1703-1766), probably a patron of the composer in Funchal. There is even a possibility that the concertos were published during a trip to London by João José Vasconcelos Bettencourt himself, accompanied by Pereira da Costa. In this period 12 serenades for guitar of his authorship were also published in London. We know for sure that José de Sá Pereira was chapel master of the Sé of Funchal, but it is not clear exactly how long he was in Madeira. He was probably in the service of D. Gaspar Afonso da Costa Brandão (1703-°©-1784), who came to Funchal in 1757. This set of twelve concertos, of which numbers 5 and 7 will be presented, were published as op. 1, having soloistic parts for two violins and cello, tutti parts for two violins, and viola and bass organ accompaniment. The specificity of the continuous bass accompaniment to the organ is a unique detail, since usually the key instrument is not indicated, but only the mention of continuous bass. Unfortunately the solo cello part is missing, and a reconstruction of it was necessary, which in today's performance is by Miguel Jalôto. We hope that this concert can contribute to a greater attention to the concerts and the whole of Pereira da Costa's work, not only for its symbolism in the history of Portuguese music but also for its intrinsic musical value.
Diana Vinagre
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