Im Mayen – Lasso zum Mitsingen
Zum Wonnemonat Mai gibt es bereits in der Renaissance unzählige Lieder. Liebesgedichte und lebensfreudige Texte mit einem jahreszeitlichen Bezug wie das berühmte Im Mayen hört man die Hahnen krayen werden auch bei Orlando di Lasso vertont. Im Programm werden diese Stücke durch ein gemischtes Vokalquartett aufgeführt, das sich auf Instrumenten selbst begleitet und bisweilen kunstvolle Vokalverzierungen in die gesungenen Linien einfügt. Der besondere Klang des Lautenduos, das bereits im Septemberkonzert 2020 zu hören war, erfährt ein Comeback mit jüngerem Repertoire aus den späteren Jahrzehnten des 16. Jahrhunderts.
Aber ist auch ein Extrachor dabei, der Musik gemeinsam mit dem Vokalquartett vorbereitet und so im Konzert aktiv dabei ist. Sie können Lassos berühmte Ensemblemusik anhand der originalen Notation aus einer neuen Perspektive kennenlernen: Hier der Link zu den Videotutorials.
Ivo Haun – Gesang, Laute; Leitung
Jessica Jans – Gesang
Giovanna Baviera – Gesang, Gambe
Rui Stähelin – Gesang, Laute
24. April Grünewalds Grossgeige
24th April 2022
Grünewald’s Groẞgeige – The presentation of a new instrument for ReRenaissance
Basel, 1511: Sebastian Virdung published his «Musica getutscht» with descriptions of all kinds of instruments, including the bowed and fretted Groẞgeige.
Basel, 2021: A gift from Hartmut Raguse led to the construction of a Groẞgeige by Jacob Mariani, based on the painting in the Isenheim Altarpiece by Matthias Grünewald. Angels and demons step out of the painting and play music by Agricola, Senfl, and other contemporaries of Grünewald in a programme of music for Kleingeige and Groẞgeige. The string consort developed together with the music around 1500, and was to enjoy increasing popularity in the first decades of the 16th century. The polyphony in sources from this period – the early prints in particular – expressly invites instrumental performance, with the Groẞgeige being specifically emphasized as a suitable ensemble instrument. Marketing certainly played a role in this, with music printers hoping to reach a broader clientele among the players of these instruments. But the pieces work so beautifully with such a homogeneous ensemble, that ReRenaissance will follow contemporary advice and trace Grünewald’s life through the use of an early family of instruments.
Baptiste Romain – Kleingeige; Musical Co-director | Elizabeth Rumsey – Grossgeige; Musical Co-director | Marc Lewon – Lute, Grossgeige | Tabea Schwartz – Recorder, Grossgeige | Jacob Lawrence – Tenor
Video Oren Kirschenbaum (Availabele from 1st of may on Youtube.com/c/rerenaissance)
«La Margarite» – Tänze für eine Prinzessin 27. März 2022
Véronique Daniels – Tanz, Rekonstruktion der Choreographie
Alain Christen – Tanz
Catherine Motuz – Renaissanceposaune
Josué Melendez – Zink
Raffaella Bortolini – Pommer
Ian Harrison – Schalmei, Pommer, Dudelsack; Leitung
Fotos: Luc Quaglia
Impressionen aus dem Konzert (© Luc Quaglia & ReRen)
27th March 2022
La Margarite – Dances for a Princess
Written in gold and silver ink on black parchment, Manuscript 9085 from the Royal Library of Belgium is an absolute treasure in every sense. Its owner Marguerite of Austria was of royal blood, and was an avid music-lover and patron of the arts. Aesthetic considerations aside, this little book is treasured for its contents; under each line of music, the actual dance steps have been recorded with letters. Alta cappella and improvisation specialist Ian Harrison leads a wind ensemble to accompany the dancers, led by Véronique Daniels, and together they provide a sumptuous backdrop for the reconstructed choreographies. Thus the music and dance chosen by a princess can be heard and seen after more than 500 years.
Véronique Daniels – Dance; Reconstruction of the choreographies
Alain Christen – Dance
Catherine Motuz – Trombone
Josué Melendez – Cornetto
Raffaella Bortolini – Pommer
Ian Harrison – Shawm, Pommer, Bagpipes; Musical director
Team ReRenaissance – Marc Lewon
Nearly 50 years after Gutenberg‘s invention of moveable type, music finally had its day: in Venice in 1501, Ottaviano Petrucci presented his first music print, Odhecaton A, and unleashed into the 16th century a wave of innovation in the world of music whose influence continues to this day. For this reason ReRenaissance dedicates one concert every year to the musical treasure trove of Petrucci‘s prints – in chronological order, to ensure the long view over this crucial development. In comparison with the prints before and after it, Canti B is quite modest (only 50 pieces, where Odhecaton A had 100), but it nevertheless contains music by the most important composers of the time (Josquin, Compère, Obrecht, Brumel), collected by a musician at the crossroads of European culture.
Grace Newcombe – Voice, Harp, Clavisimbalum
Tabea Schwartz – Recorders, Viola d’arco
Claire Piganiol – Harp, Portative organ
Marc Lewon – Lute, Gittern, Viola d’arco; Musical director
Grace Newcombe – Gesang, Harfe, Clavisimbalum
Tabea Schwartz – Blockflöten, Viola d’arco
Claire Piganiol – Harfe, Portativ
Marc Lewon – Laute, Quinterne, Viola d’arco; Leitung
Videeoaufzeichnung: Oren Kirschenbaum
Since the inaugural concert in June 2020, ReRenaissance has brought Renaissance music into focus with a concert every month. Each programme is a premiere, and takes place on the last Sunday of the month in the historical centre of the city, in the Basel Historical Museum’s Barfüsserkirche. Introductory video blogs, interviews, a regular column from David Fallows, and a rich selection of background information and research accompany this out-of-the-ordinary music.
Renaissance music is itself experiencing a kind of renaissance here: music that has been handed down in manuscripts and prints will be heard again, on rarely-heard instruments such as the rebec, shawm, clavisimbalum, cornetto or Grossgeige. Each programme has a very specific focus, be it a composer, manuscript, or idea, and the whole is conceived and planned by musicians and musicologists in close cooperation. Then the programmes are brought to life by specialist musicians from the Basel area, who are brought together to form these very specific ensembles.
In 2022, ReRenaissance begins its third season. On one hand, the repertoire reflects the diversity of international styles in the sound of 15th and 16th century music. On the other hand, it is the goal of ReRenaissance to present regional musical treasures in their original context. The connection to Basel is highlighted itwice in 2022: a concert of lute music gives an insight into private musical life in Basel during the Renaissance; and in spring we present the inauguration of a Grossgeige, a type of viola da gamba which was first mentioned in Basel in 1511 and has been specially reconstructed for the concert series. Italian and Spanish motets, French chansons, Polish psalms and much more showcase the internationality of the Renaissance sound world.
One concert will be dedicated once again to the work of Ottaviano Petrucci, the first music printer; there will be another sing-along concert and another dance concert. The existing cooperation with the Paper Museum and the Historical Museum will be augmented in 2022 by cooperation with the Schola Cantorum Basiliensis in January and in November.
Concert series organized by the ReRenaissance association
The association is recognized as a nonprofit organization.
Concept, musical direction, and production:
Tabea Schwartz, Elizabeth Rumsey, Marc Lewon.
Development & Administration: Elisabeth Stähelin, Hannah Bächtold
Board of directors: Dr. Thomas Christ, Dr. Werner Baumann