Anais Chen baroque violin
Andrea Inghisciano cornet
Simone Vebber organ
Anais Chen, baroque violin, Andrea Inghisciano, cornetto and Simone Vebber, organ, are three specialists in that way of reading music defined by the term 'performance practice'.
What does this expression mean? Simply that the interpreters will try to play the chosen music as close as possible to their original reality, obtaining instruments of the time and reading according to the manner of the time (the seventeenth, eighteenth or sixteenth centuries).
For example: you will not hear melodies with few notes, easy to recall like a Verdi romance, but melodies full of fast, very fast notes and therefore performed with great virtuosity by the interpreters. Improvised notes like jazz musicians do today who in the seventeenth century were referred to with the term 'diminutions' precisely because of their very small time value.
Then you will hear a characteristic instrument, the cornetto, very difficult to play, but capable of keeping up with the violin at all times, the King of instruments.
The croissant is made of wood covered with leather. A sort of two-headed animal, with two heads: with your fingers you play like a flute, with your mouth like a trumpet. Difficult instrument, but wonderfully soft sounding. The organ, on the other hand, due to force majeure, here in the Trento Philharmonic Hall, is an instrument built in the early 1900s.
This is truly a special listening opportunity: just think that in the sixteenth / seventeenth century cornetto players were by far the highest paid musicians; they were treated like today the stars of the cinema or of the sport, fought over for money by Bishops, Cardinals and Princes. They could only be heard in the courts, in the large halls of the Palaces. And we, with this listening, can enter one of the great courts of the splendid Italy of the seventeenth century.
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