Amélie Chemin, viola da gamba
Maria Ferré, renaissance lute and guitar
Catalina Vicens, percussion and positive organ
MUSIC & WOMEN
IDOLIZED & DEMONIZED
Instrumental music from 16th and early 17th century Italy and England
Works by Tromboncino, Cara, Dalza, van Eyck, Hume…
For the ancient Greeks, the term mousikē (or the “art of the Muses”) referred to the arts of music, dance and poetry. The Renaissance adopted this classic conception and translated its muses into its subject. Women, as part of the mythology or of contemporary society, were portrayed as the most diverse characters: the beloved one and the traitor, the nymph and the witch, the mistress and the unsatisfied, the peasant and the goddess...
During the Renaissance, the woman was not only the muse of inspiration – as was the unreachable woman often found in medieval poetry - but she also became an active part of the arts. Great examples of this are the „masques“, dances cultivated in England and Italy (as mascherate) in the 16th and 17th centuries as a genre of social entertainment. These masked dances were a combination of music, poetry and dance based in mythology and allegories, and served as symbols to portray contemporary personages. Characters like witches, nymphs, mistresses and goddesses interacted in these musical plays and gave noble women of the court the opportunity to be on stage. At that time, female actors were not allowed in plays but found a way to participate through the art of dance, a genre where women were socially accepted.
With music from Italy, Ensemble La Traditora idolizes the woman with words of beauty and longing tears in solemn dances and the refined frottole of Tromboncino and Cara. With music from the Elizabethan England the listener is taken into the world of mythology where nymphs, satyrs, witches and mistresses dance to charming melodies. To finish, the woman is brought to back to earth in her different states of vanity.
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