Melleo Harmonia Antigua
Baroque in the feminine
"All the senses are capable of leading us to pleasure"
Compendium musicae, René Descartes (1596 - 1650)
The Baroque is the time of the humours or the affections. In opposition to the Renaissance, in which musical harmony should correspond to celestial harmony, Cartesian rationalism holds that music has as its purpose the production of sensory effects on the human spirit.
What can we say about musical production in the feminine, in a time when men rule, in which women are so often consigned to the cloister of some convent? Do we find in the works bravely signed by women the exploration of the sensitive moods catalogued by Descartes?
With the present programme Melleo Harmonia pays tribute to the female creators of the Baroque, aware of their importance in the history of music, and convinced of the importance of the dissemination of their works, as standards of the multifaceted nature of women.
Elizabeth Jacques de la Guerre (1665–1729)
Sonata n.º 1 em ré menor
Wilhelmina von Bayreuth (1709–1758)
Sonata em lá menor
Isabella Leonarda (1620–1704)
Sonata Duodecima, Op. 16*
Anna Bon di Venezia (1738–1769)
Sonata em fá maior
Anna Amalia von Prussen (1723–1787)
Sonata em si b maior
Allegro ma non troppo
* © António Carrilho
António Carrilho, flutes
Catherine Strynckx, cello
Jenny Silvestre, harpsichord
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BPI/"La Caixa" Foundation and Égide – Associação Portuguesa das Artes are Patrons of the 31st edition of the Alcobaça Music Festival