CARNEGIE HALL PRESENTS

Performance Saturday, April 25, 2015 | 7:30 PM

I Fagiolini

Insalata I Fagiolini

Weill Recital Hall
With a program title that translates to mean “The Little Beans,” vocal ensemble I Fagiolini presents a meal fit for a king, seasoned with the group’s signature blend of vocal mastery, theatricality, and flawless technique. The program of madrigals, chansons, and ensaladas—songs with mixtures of languages and rhythms, written as entertainments for the Valencian court—had The Guardian raving, “Bean salads rarely come as good as this … For all the humor, the program worked beautifully because of the deadly serious musicianship that is I Fagiolini’s gold standard.”

Part of Salon Encores.

Performers

  • I Fagiolini
    Robert Hollingworth, Director

Program

    Amuse-bouche
    SENFL "Das Gläut zu Speyer"

    Entrée
    JANEQUIN "Or vien ca, vien, m'amye"
  • SANDRIN "Puisque vivre en servitude"
  • PHINOT "Plorez, mes yeulx"
  • LE JEUNE "Un gentil amoureux"
  • JANEQUIN "Le chant des oiseaux"

  • Tapas y ensalada
    ANON. "Claros y frescos rios"
  • VÁSQUEZ "'Serrana dónde dormistes"
  • FLECHA "Teresica hermana"
  • FLECHA "El fuego"

  • Primo piatto
    LASSUS "S’io esca vivo"
  • RORE "Mia benigna fortuna"
  • STRIGGIO "D’ogni gratia e d’amor"
  • WERT "Ascendente Jesu in naviculam"

  • Sorbet
    CROCE "Il gioco dell'Occa"

    Carne
    MONTEVERDI "Sfogava con le stelle"
  • MONTEVERDI "Volgea l’anima mia soavemente"
  • MONTEVERDI "Longe da te, cor mio"
  • MONTEVERDI "Anima mia, perdona"

  • Encore:
  • SENFL "Das Gläut zu Speyer"

Event Duration

The printed program will last approximately two hours, including one 20-minute intermission.

Bios

  • I Fagiolini


    Grounded in the classics of Renaissance and 20th-century vocal repertoire, I Fagiolini is renowned for its innovative staged productions of vocal music from the Renaissance to the present day. Awarded the Royal Philharmonic Society's prestigious Ensemble Prize in 2005, I Fagiolini has staged Handel with masks, Purcell with puppets, madrigal comedies with more masks, and in 2004, premiered The Full Monteverdi, a dramatized account of the composer's Fourth Book of Madrigals by John La Bouchardière, which has since been turned into a highly successful film and shown all over the world. In 2006, I Fagiolini toured with Simunye, its 1990s South African collaboration, and in 2009 launched Tallis in Wonderland, a new way of hearing polyphony by utilizing both live and recorded vocals and lighting.

    In 2011, I Fagiolini celebrated its 25th anniversary with the hugely successful release of a world premiere recording of Striggio's Mass in 40 Parts on Decca. 1612 Italian Vespers followed in 2012, premiering multi-choir music by Viadana and a reconstructed version of Gabrieli's Magnificat. That same year, the ensemble pursued another unlikely collaboration with Australian contemporary circus company Circa in the show How Like An Angel.

    In April 2014, I Fagiolini made its debut in the new Sam Wanamaker Playhouse with The Boat from Venice to Padua. In May 2015, I Fagiolini premieres its latest music theater project Betrayal: A Polyphonic Crime Drama at the Barbican. This year also sees the group perform Schütz's St. John Passion at King's College, in Aldeburgh, and on tour in Australia for Musica Viva.


    I Fagiolini has recorded 19 CDs and three DVDs, in addition to giving live performances around the world, from the BBC Proms and Lincoln Center Festival in New York to the Far East and Africa. The group is delighted to serve as ensemble-in-residence at the University of York.


    Robert Hollingworth


    Robert Hollingworth specializes in Renaissance and contemporary repertoire (notably Monteverdi), and in creating groundbreaking projects that present music to audiences in innovative ways. In 1986, he founded I Fagiolini, with whom he has presented signature projects that include Simunye, The Full Monteverdi, and Tallis in Wonderland, as well as How Like An Angel with Australian contemporary circus group Circa. He serves as music director for I Fagiolini's next major music-theater project, Betrayal: A Polyphonic Crime Drama , which premieres at the Barbican in May 2015. He has also directed Accentus, NDR Chor, Nederlands Kamerkoor, Wrocław Philharmonic Choir, Sinfonieorchester Wuppertal, The English Concert, and the Academy of Ancient Music.

    Mr. Hollingworth writes and presents for BBC Radio 3 (CD Review, The Early Music Show, The Choir, and Discovering Music). In 2010, he delivered the Lufthansa Lecture entitled "Monteverdi the Modern Man" and spoke at the REMA (Réseau Européen de Musique Ancienne) conference. Mr. Hollingworth has worked on a number of films, including Quills. In 2011, his world-premiere recording of Striggio's previously lost Mass in 40 Parts was released on Decca with an all-star UK lineup, remaining at the top of the specialist classical chart for nearly four months and winning the 2011 Gramophone Early Music Award and a Diapason d'or de l'année. His latest recording, 1612 Italian Vespers, was released on Decca Classics in June 2012 and was chosen as a Gramophone CD of the Month. He recently arranged the music for the album Shakespeare: The Sonnets and has appeared extensively on BBC television and radio discussing the disc.

    Mr. Hollingworth is a regular guest conductor at the Dartington International Summer School and gives master classes and residencies throughout Europe. He ran a conducting master class and lecture for the American Choral Directors Association at its 2012 conference and has just set up a new master's degree in solo-voice ensemble music at the University of York.

    More Info

Audio

Monteverdi's "Vago augelletto"
I Fagiolini | Robert Hollingworth, Director
Metronome Recordings Ltd

At a Glance

Tonight’s concert is a brief dip into a number of different secular European genres, only some of which are officially “madrigals,” the others being songs (canciones, lieder, chansons), a carnival masque, and a “salad.” But these labels are less telling than the original purpose of such pieces—whether they were for professional performance at court or for some festal occasion, or sold commercially through the new printing presses for private performance by a new generation of amateurs. The first half is a compilation of both, while the second half of the concert (with exceptions of songs by Orlando de Lassus and Cipriano de Rore) fit into the “official performance” category.
Program Notes

Watch


An Introduction to Before Bach

Before Bach
This performance is part of Before Bach, and Early Music Vocal.

Part of