{"id":19599,"date":"2023-04-11T14:28:39","date_gmt":"2023-04-11T12:28:39","guid":{"rendered":"https:\/\/collegium1704.com\/?p=19599"},"modified":"2023-04-11T14:37:06","modified_gmt":"2023-04-11T12:37:06","slug":"even-sadness-carries-hope-the-march-concert-at-the-rudolfinum-offered-contemplation-and-a-connection-with-god","status":"publish","type":"post","link":"https:\/\/collegium1704.com\/en\/even-sadness-carries-hope-the-march-concert-at-the-rudolfinum-offered-contemplation-and-a-connection-with-god\/","title":{"rendered":"Even Sadness Carries Hope. The March Concert at the Rudolfinum Offered Contemplation and a Connection with God"},"content":{"rendered":"\n<p><strong>The concert programme named &#8220;Pianto napoletano&#8221; (Naples Weeping) at the Rudolfinum on 7 March 2023 presented the vocal-instrumental works of the Baroque masters of Naples: Alessandro Scarlatti, Tommaso Traetta, and Francesco Durante.<\/strong><\/p>\n\n\n\n<p><em>\u2018It can be said of Italian music in general, and southern Italian music in particular, that even with tragic themes, sadness is manifested in a slightly different way from that rekindled by works, for example, of the 19th century: That kind of heavy, gloomy sadness rarely appears in it. How many beautiful, sweet and touching melodies does Pergolesi&#8217;s Stabat Mater offer! This, I think, is inherent in the Italian soul in general: Even a sad message is filled with a certain hope. After all, the text of the ordinarium at the very beginning of Durante&#8217;s Requiem consists of the prayer \u201cLet eternal light shine upon them\u201d. Neapolitan composers were able to translate the hope in this light into their characteristic musical language with exceptional beauty,\u2019 <\/em>explains the conductor and artistic director of the Collegium 1704, V\u00e1clav Luks.<\/p>\n\n\n\n<p><strong>Alessandro Scarlatti<\/strong> (1660\u20131725) was the first great composer to be associated with the Neapolitan musical style. Scarlatti&#8217;s <strong>Miserere in C Minor<\/strong> for five voices, strings and basso continuo is <strong>a refined example of a rendition of a psalm text in a concertante style<\/strong>. The penitential Psalm 51 was often musicalized and sung not only during so-called <strong>\u2018Dark Hours\u2019 of the Holy Week<\/strong>, but also on <strong>a number of other occasions, especially during Lent<\/strong>.<\/p>\n\n\n\n<p>One of the most famous and influential sacred musical works of Neapolitan origin is Giovanni Battista Pergolesi&#8217;s Stabat Mater. <strong>Tommaso Traetta<\/strong> (1727\u20131779), too<strong>, uses a solo soprano and alto in his later musicalization of the same text. However, he adds to them a four-voice choir<\/strong>, to which he entrusts important parts of the entire composition. The composer divides the extensive text of the famous mediaeval poem into independently rendered enclosed pieces. His <strong>mastery resides in the richness with which he internally differentiates the individual parts<\/strong>. From his Neapolitan teachers Nicola Porpora and Francesco Durante, Traetta acquired <strong>a sense of natural conception of vocal parts<\/strong>. These always retain their desired <strong>cantability<\/strong>, even during challenging coloratura lines.<\/p>\n\n\n\n<p>The second half of the evening entitled \u2018Pianto napoletano\u2019 gave way to another kind of expressive mourning music: a mass for the dead. Among the countless authors that contributed to&nbsp;this genre over the 18th century, <strong>Francesco Durante occupies an important place<\/strong><strong>.<\/strong> The audience at the Dvo\u0159\u00e1k Hall of the Rudolfinum had the pleasure to hear the <strong>Requiem a due cori<\/strong> \u2013 the most sweeping. It is the most extensive not only in its length, but also because of the performing apparatus required for its performance. This, <strong>in<\/strong> <strong>addition to strings and horns, includes eight singing voices grouped into two choirs<\/strong>. The great popularity of Durante&#8217;s requiem is evidenced by the existence of over <strong>forty surviving copies<\/strong> of the composition, which at the time were not printed, but reproduced by hand.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The concert programme named &#8220;Pianto napoletano&#8221; (Naples Weeping) at the Rudolfinum on 7 March 2023 presented the vocal-instrumental works of the Baroque masters of Naples: Alessandro Scarlatti, Tommaso Traetta, and [&hellip;]<\/p>\n<p><a href=\"https:\/\/collegium1704.com\/en\/even-sadness-carries-hope-the-march-concert-at-the-rudolfinum-offered-contemplation-and-a-connection-with-god\/\" class=\"more-link style1-button\">Read More<\/a><\/p>","protected":false},"author":10,"featured_media":18981,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[48],"tags":[],"class_list":["post-19599","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Even Sadness Carries Hope. 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