Sunday, 11 October, 6.00 p.m.
Church of Nossa Senhora da Luz
Monday, 12 October, 9.30, p.m.
Hospice of Bom Jesus
Ludovice Ensemble:
Lilia Slavny (baroque violin), Diana Vinagre (baroque cello), Fernando Miguel Jalôto (organ and artistic director)
In the Library of the University of Coimbra is preserved a noteworthy archive of musical 18th-century manuscripts and prints, formerly belonging to the Monastery of the Holy Cross at Coimbra, an important religious institution with an important role in the history of Portuguese music in the 16th and 17th centuries. The 18th century was also especially significant on account of the existence of important sources of the works of Carlos de Seixas (1704-1742) – the greatest Portuguese baroque composers of instrumental music – and of the great Alessandro Scarlatti (1660-1725), famous above all for his operas and oratorios: there survive various original works by both of them with no correspondence in other known sources. In this collection there is also preserved the only original source of German baroque keyboard music in Portugal. Brought together by the organist of the Monastery, Brother Jerónimo da Encarnação (ca.1705-1780), the collection includes above all a remarkable series of instrumental chamber music – in the main for violin and continuo – dating from the first half of the 18th century. The most significant sources are manuscripts containing sonatas by Arcangelo Corelli (1653-1713) – the most famous and influential violinist of his time, active principally in Rome, but teacher of a legion of different and hugely talented disciples: Michelle Mascitti (1664-1760) – pupil of Corelli and active mainly in Paris, where he “introduced” the Italian style; Tommaso Albinoni (1671-1750) – active in Venice but known all over Europe, from Vienna to Amsterdam, and including Munich and London, and greatly appreciated by Bach; Carl'Ambrogio Lonati (1745-ca.1710) – active in various courts of Northern Italy as a singer, violinist and empresario, but also in Rome and Vienna; and Pietro Paolo Capellini (born in the second half of the 17th century) – known to have been active only in Rome. The collection also includes original printed editions of works by two other famous pupils of Corelli: Francesco Saverio Geminiani (1687-1762) – active mainly in London; and Giuseppe Valentini (1681-1753) – composer, poet and painter active in Rome; and, finally, compositions by Francesco Maria Veracini (1690-1768) – a great virtuoso born in Florence, active in Venice, London and Dresden. This collection, unique in Portugal, bears witness to the important renovation of the chamber music repertoire known and used in the country in the first half of the 18th century and the subsequent development of instrumental practice. It also proves the integration of Portugal in the complex and extensive network of the circulation of repertoire that allowed the rapid diffusion of innovative aesthetic models, as well as the complex musical relations between Portugal and the main European musical centres such as Rome, Naples, London, Amsterdam, Paris and even Vienna and Dresden. The monks of Holy Cross were, indeed, aware of the best music for violin being written in Europe, revealing a cosmopolitan and up-to-date cultural and aesthetic world. This programme therefore offers not only a precise and careful vision of the daily musical practice of the monks of the Monastery of Coimbra, but at the same time invites the audience to come on a journey through 18th-century Europe in the steps of virtuosic and talented musicians, in the main originally from Italy, but who found work in the most varied courts of Europe, inebriating the highest civil and ecclesiastical powers with the cantabile of their melodies, the inventiveness of their ornamentation, the passionate daring of their harmonies and the acrobatics of their technical feats. Today, more than 300 years later, the Ludovice Ensemble has the pleasure and pride to bring to the public of Madeira these masterpieces from the past, but which remain up-to-date and alive through the feelings and emotions that they continue to provoke.
Fernando Miguel Jalôto
Pietro Paolo Capellini (séc. XVII)
Sonata a violino e basso (P-Cug MM 63)
Adagio
Allegro
Adagio
Allegro
Tomaso Albinoni (1671-1751)
Sonata Op. VI no 6 (P-Cug MM 63)
Grave Adagio
Allegro
Adagio
Allegro
Anónimo (Alemanha, séc. XVII)
Fuga e Ária com 6 variações (P-Cug MM 63)
Michele Mascitti (1664-1760)
Sonate a violino solo col violone o cimbalo, Op. 1 nº 1 (P-Cug MM 62 / 1704)
Adagio
Allegro
Allegro
Adagio
Allegro assai
Carl'Ambrogio Lonati (1645-c.1710)
Sonata a violino e basso (P-Cug MM 63)
Adagio
Presto
Adagio
Presto
Vivace
Adagio
Allegro
Carlos Seixas (1704-1742)
e Anónimos (Portugal/Itália, séc. XVIII)
4 obras para violino e baixo (P-Cug MM 57 & MM 63)
Sonata
[Allegro]
[Sonata: Adagio - Allegro]
Menuet
Alessandro Scarlatti (1660-1725)
3 obras para tecla (P-Cug MM 60)
Arcangelo Corelli (1653-17613)
Sonata Op. V no 5 (P-Cug MM 63)
Adagio
Allegro
Adagio
Allegro
Allegro
Participants
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The Ludovice Ensemble is an early music group founded by Fernando Miguel Jalôto and Joana Amorim in order to perform the chamber vocal and instrumental repertoire of the 17th and 18th centuries in historically informed performances, using early instruments. In Portugal it has performed in a wide range of festivals and concert halls, in Lisbon, Oporto, Braga, Évora, Leiria, Alcobaça, Mafra, Óbidos, Loulé, Viana do Castelo and Gaia and elsewhere. Particularly significant were concerts given in the Large Auditorium of the Gulbenkian Foundation and in a number of “Musica Days” at the CCB. Abroad, the Ludovice Ensemble has performed in some of the best-known early music festivals, such as Utrecht (Netherlands), Antwerp (Belgium), La Chaise-Dieu (France), Prague (Czech Republic), San Lorenzo del Escorial, Vitoria, Lugo, Daroca, Peñíscola and Jaca (Spain). As an ambassador for Portuguese early music, the group has given the first modern performances of works by Portuguese composers or composers active in Portugal such as Almeida, Avondano, Tedeschi, Giorgi, Perez and Astorga. In 2011 the ensemble represented Portugal in the ENEM (European Network of Early Music) showcase at the invitation of the Casa da Música and in 2012 issued its first CD on the Ramée-Outhere label, which was warmly received by the public and by the foreign press, and nominated for the ICMA Awards 2013. The Ludovice Ensemble has recorded live for RDP-Antena 2 as well as for the French television channel MEZZO. |
Ludovice EnsembleFernando Miguel Jalôto
Fernando Miguel Jalôto studied harpsichord and early music at the Royal Conservatory of The Hague (Netherlands) with Jacques Ogg. He attended masterclasses with Gustav Leonhardt, Olivier Baumont, Ilton Wjuniski, Laurence Cummings and Ketil Haugsand. He studied baroque organ, fortepiano and clavichord and was awarded a scholarship by the National Centre of Culture. He was a member of the Académie Baroque Européenne de Ambronay. He holds a masters degree in music from the University of Aveiro and is completing his doctoral studies in historical musicology at the Universidade Nova, Lisbon. He is co-founder and artistic director of the Ludovice Ensemble, with which he has already given more than 40 concerts, and recordes for the Ramée-Outhere label. He collaborates with the Baroque Orchestra of the Casa da Música in Oporto, the Gulbenkian Orchestra and Choir (Lisbon) and with international groups such as Capilla Flamenca and Oltremontano (Belgium); La Galanía and La Colombina (Spain). He was a member of the Divino Sospiro Baroque Orchestra, with whom he performed in a number of concerts in Portugal and abroad. He has performed in ma ny festivals and concerts in Portugal, Spain, France, Belgium, Holland, the United Kingdom, the Czech Republic, Austria, Poland, Bulgaria and Japan. He has performed under the direction of Ton Koopman, Roy Goodman, Christina Pluhar, Christophe Rousset, Fabio Biondi, Laurence Cummings, Antonio Florio, Harry Christophers, Andrew Parrott, Rinaldo Alessandrini, Chiara Banchini, Enrico Onofri, Alfredo Bernardini, Christophe Coin, Wim Becu, Erik van Nevel, Paul McCreesh, Riccardo Minasi and Marco Mencoboni, amongst others.
Notes about the Organ
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This instrument is a positive organ installed in the choir gallery. It was made by the builder Filipe da Cunha, who constructed it in 1760 in Lisbon, according to the inscription on the interior of the lower windchest. Although there have been minor repair works, the instrument has largely retained its original character and was restored in 2005-6 by the master organ-builder Dinarte Machado who restored it to its original pitch and temperament, as well as the original system for supplying wind. Manual (C, D, E, F, G, A-d’’’)
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Church of Nossa Senhora da Luz (Ponta do Sol)|
This small positive organ was built in 1781 by Leandro José da Cunha (b. 1743, d. after 1805), who was from Lisbon and was one of the three members identified as belonging to this family of organ builders. Leandro was the son of the builder João da Cunha (b. 1712, d.1762), also from Lisbon, who built the organ of the Church of Nossa Senhora da Luz, at Ponta do Sol. It is an example of a type of instrument typical of Portuguese organs in the first half of the 18th century. The fact that the instrument did not originally possess a basic 8’ (12-palm) stop – like many other positives of the period – but only 4’ (6-palm), seems to indicate a musical practice that relied on reinforcement in the lower register through the use of another instrument. Manual (C, D, E, F, G, A-d’’’)
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