l'arpeggiata - los pájaros perdidos

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CARNEGIE HALL PRESENTS

Performance Wednesday, March 14, 2012 | 7:30 PM

L'ArpeggiataLos pájaros perdidos

Zankel Hall

With a host of guests—including vocalist Lucilla Galeazzi,

soprano Raquel Andueza, and clarinetist Gianluigi Trovesi —

L’Arpeggiata performs improvisations and music from the Baroque,

alongside the traditional South American folk music featured in their latest

album Los pajaros perdidos.

Performers• L'Arpeggiata

Christina Pluhar, Artistic Director and Theorbo

• Gianluigi Trovesi, Clarinet

• Lucilla Galeazzi, Vocalist

•

Luciana Mancini, Vocalist• Vincenzo Capezzuto, Vocalist

• Raquel Andueza, Soprano

Program• LUCILLA GALEAZZI "Ah, vita bella!"

Improvisation: Follia

• LUCILLA GALEAZZI "Voglio una casa"

• TRAD. "Pizzicarella mia"

• TRAD. "Stu criatu"

• TRAD. "La carpinese"

• ANON. "Montilla"

• ANON. "Pajarillo verde"

• TRAD. "Duerme negrito"

• RAMÍREZ / LUNA "Alfonsina y el mar"

• PIAZZOLLA "Los pájaros perdidos"

• TRAD. "Polo margariteño"

• WALSH "Como la cigarra"

• RIVERA "La cocoroba"

• PLAZA "El curruchá"

• ANON. "Caballo viejo y Alma Llanera"

• ANON. "Recuerdos de Ypacarai y Isla Sacá "

Improvisation: TurlurùImprovisation: KapsbergerImprovisation: Ciaccona • TRAD. "Lu passariellu"

Encores:

• ANON. "Montilla"

• VELÁSQUEZ "Besame mucho"



L'Arpeggiata

Christina Pluhar, Artistic Director and TheorboMargit Übellacker, PsalteryMarcello Vitale, Chitarra Battente and Baroque GuitarDoron Sherwin, CornettoEero Palviainen, LuteHaru Kitamika, HarpsichordDavid Mayoral, PercussionBoris Schmidt, Bass

Lincoln Almada, Arpa LlaneraMario Hurtado, CuatroAnna Dego, Teatrodanza

Founded in 2000 by Artistic Director Christina Pluhar, L'Arpeggiata ensemble is comprised of some of today's best soloistsand collaborates with exceptional singers from the Baroque music world. Its aim is to revive lesser-known repertoire fromthis era, with a special focus on music from the beginning of the 17th century. The ensemble's performances are largely

based on instrumental improvisations.

Since its founding, L'Arpeggiata has received outstanding reviews for its albums and performances. Its albums LaVillanella, Homo fugit velut umbra, La Tarantella, Teatro d'amore, All'Improvviso,Rappresentatione di Anima et di Corpo,and Los Impossibles have earned a string of accolades and awards, among them Diapason Découverte, and ECHO Klassikand Edison Classical Music awards. The CD Via Crucis, recorded with the Barbara Furtuna vocal ensemble, came out inMarch 2010. L'Arpeggiata's Monteverdi CD Vespro della Beate Vergine was released in February 2011.

L'Arpeggiata has participated in many festivals, such as in Lufthansa Festival of Baroque Music in London, Oude Muziekin Utrecht, Printemps des arts de Nantes, Festival de l'Abbaye de Saint-Michel en Thiérache, Festival Baroque de Sablé,Bruges Festival Musica Antiqua, Philharmonie Köln, Schwetzinger Festspiele, Musikfestspiele Potsdam Sanssouci,Händel-Festspiele Halle, Ludwigsburger Schlossfestspiele, Ruhrtriennale, Istanbul International Music Festival, and HongKong Arts Festival.

Christina Pluhar

After studying guitar in her home city of Graz, Austria, Christina Pluhar specialized in lute with Toyohiko Sato at theRoyal Conservatory of The Hague. She earned a diploma from the Schola Cantorum Basiliensis, where she studied withHopkinson Smith. She then studied with Mara Galassi at the Scuola Civica di Milano. In 1992, Ms. Pluhar won first prize

in the International Old Music Competition of Malmö with the La Fenice ensemble.

Ms. Pluhar lives in Paris, where she performs as a soloist and continuo player in festivals with reputable ensembles such asLa Fenice, Concerto Soave, Accordone, Elyma, Les Musiciens du Louvre, Ricercar, Akademia, La Grande Écurie et laChambre du Roy, and Concerto Köln. She has also performed in ensembles directed by René Jacobs, Ivor Bolton, andAlessandro de Marchi. Her repertoire includes solo and continuo works from the 16th to 18th centuries for Renaissancelute, Baroque guitar, theorbo, and Baroque harp.

Since 1993, Ms. Pluhar has been giving master classes at the University of Graz. She has also been conducting Baroqueharp classes at the Royal Conservatoire of The Hague since 1999.

In 2000, Ms. Pluhar founded L'Arpeggiata. For 12 years, the ensemble has been recording CDs and performing throughoutEurope. Both a conductor and musician on stage, she also programs, plans, and completes extensive research in order to

produce L'Arpeggiata's concerts and recordings. In 2010, she celebrated the 10th birthday of the ensemble with severalconcerts in France and throughout Europe.

Gianluigi Trovesi

Born in 1944 in Northern Italy, Gianluigi Trovesi earned a diploma in clarinet performance in 1966. He quickly establishedhimself as an outstanding soloist and is considered the leading exponent of Italian jazz today. He has taught clarinet andsaxophone at the conservatories of Milan, Stockholm, and Brescia. He continues to teach privately and joined the teachingstaff of the Siena National Jazz Seminars. Over the years, Mr. Trovesi has been awarded many prizes, including the RAIRadio Uno Jazz Prize in 1983. In 1978, he won the RAI TV National Competition for saxophone and clarinet, and wasawarded the Critics' National Prize for his first LP, Baghet .



Mr. Trovesi performs practically every genre of music, from dance-band music to classical and jazz. He has worked with awide variety of important musicians like Anthony Braxton, John Carter, Steve Lacy, Albert Mangelsdorff, MishaMengelberg, Evan Parker, Michel Portal, Louis Sclavis, and Kenny Wheeler. From 1979 to 1993, he was the first altosaxophone in Milan's RAI TV Big Band. From 1977 to 1982, Mr. Trovesi was a member of the Giorgio Gaslini Quintet. In1977, he also started his own trio to explore the crossover between Italian folk music and jazz improvisation. From 1984 to1992, he toured his own solo project Les boîtes à musique, a live performance using pre-recorded tapes and electronic

processing.

Mr. Trovesi is the leader of his octet and is established as a composer capable of creating music that infuses jazz with

reminiscences of European classical music and various ethnic traditions. Since its foundation in 1991, the octet hasappeared in many major cities and festivals in Europe and Canada. Its recordings- From G to G (1992) and Les Hommes

Armés (1996)-received highest critical praise. Mr. Trovesi's current activities include his new nonet, his duo with GianniCoscia called Radici, and a trio with Riccardo Tesi and Patrick Vaillant.

Lucilla Galeazzi

Hailing from the Umbria region in Italy, Lucilla Galeazzi presents a classic voice-controlled, refined, and full of spirit. In1977, she joined Giovanna Marini's vocal quartet, with whom she collaborated until 1994 on numerous concerts andrecordings. In 1982, she created her own show called Un sogno cosi, which was dedicated to Italian songs from the 1960s.She has performed several pieces by Italian composer Roberto de Simone, including "Stabat mater" for Opera

Naples; Carmina Vivvisea and Processo emartirio du Giovanni d'arco for Opera della Primaziale Pisana; and Requiem per

Pier Paolo Pasolini for the Teatro di San Carlo. She founded her group Il Trillo in 1987 with Ambrogio Sparagna andCarlo Rizzo.

Ms. Galeazzi's wide-ranging repertoire also encompasses contemporary music and jazz. She has performed with suchmusicians as jazz trombonist G. Schiaffi, bassist Paolo Damiani, guitarist Claude Barthélemy, tuba player Michel Godard,cellist Vincent Courtois, and the Arfi jazz collective in Lyon. In 1991, she performed as a soloist with the European JazzOrchestra in Strasbourg.

Ms. Galeazzi has released the recordings Cuore di terra (1994) and Lunario (2001). She also gives master classes in Franceand Italy.

Luciana Mancini

Luciana Mancini graduated from the Royal Conservatory of The Hague, where she studied with Rita Dams, Jill Feldman,Michael Chance, Peter Kooij, and Diane Forlano, concentrating on early-music repertoire.

As a member of the Chœur de Chambre de Namur, she participated in various ensemble projects and appeared in 2007 asSilvia the messenger in Monteverdi's Orfeo at Teatro La Fenice. She has also toured with the ensemble in Bilbao andWarsaw, and performed in the Vantaa Baroque festival and Festival Baroque de Pontoise.

Ms. Mancini collaborated previously with L'Arpeggiata in Emilio de' Cavalieri's opera-oratorio Rappresentatione di anima

et di corpo, and Monteverdi's Vespro della Beata Vergine 1610 in Poissy and Metz.

A recording of Handel's Aci, Galatea e Polifemo was released in February 2008 in which she interpreted the role of Galateaunder the direction of Marco Vitale. During the 2009-2010 season, she performed the role of Amastre inHandel's Xerxes with the Lautten Compagney ensemble.

In September 2011, Ms. Mancini made her debut at the Opéra-Comique in Paris with the baroque ensemble Le Poème

Harmonique.

Vincenzo Capezzuto

Besides being an international dancer, Vincenzo Capezzuto is also a singer. He has worked both as a dancer and a singerwith Guido Morini, Marco Beasley, and the Accordone ensemble in the production of The Temptation of the Evil at theMozarteum during the Salzburg Festival. He performs with L'Arpeggiata and is featured on the ensemble's Via

Crucis recording. He also is heard on the famous recording Ti amo anche se non so chi sei with prestigious Italian singersFranco Battiato, Lucio Dalla, Massimo Ranieri, Gianni Morandi, and Roberto Ferri. In November 2010, he was invited bythe European Union Baroque Orchestra to sing and dance traditional and Baroque songs on a European tour.



With Italian stage director Claudio Borgianni, Mr. Capezzuto created Soqquadro Italiano, which is a music ensemble, adance company, and a theater company. With Soqquadro Italiano, he performed at the prestigious Biennale di Venezia.

Raquel Andueza

Born in Pamplona, Spain, soprano Raquel Andueza began her musical studies at the age of six in the Niños Cantores de Navarra's choir. She studied violin and later singing at Pamplona's Conservatorio Superior de Música Pablo Sarasate.Granted a scholarship from the government of Navarre and the Town Hall of London, she extended her training at theGuildhall School of Music and Drama in London, where she was awarded a bachelor's degree in music with honors and the

School Singing Prize in 2000. In 2000, she also met Richard Levitt, who has been her teacher to date.Ms. Andueza regularly collaborates with several ensembles, including L'Arpeggiata, El Concierto Español, ConductusEnsemble, Orquesta Barroca de Sevilla, Al Ayre Español, La Tempestad, La Real Cámara, Hippocampus, Private Musicke,Gli Incogniti, Orquesta y Coro de la Comunidad de Madrid, B'Rock, More Hispano, and Armoniosi Concerti. She became amember of La Colombina vocal quartet in 2003; that same year, she and theorbo player Jesús Fernández Baena formed aduet that specializes in Italian music of the 17th century. Since 2004, she has performed with the group Orphénica Lyraunder the direction of José Miguel Moreno.

Ms. Andueza has performed as a soloist at the main festivals and venues of Europe. She has worked with conductorsWilliam Christie, Fabio Biondi, Emilio Moreno, Jacques Ogg, Monica Huggett, Eduardo López-Banzo, Richard Egarr,Andoni Sierra, Ernest Martínez Izquierdo, Ottavio Dantone, Christian Curnyn, Pablo Heras-Casado, Sir Colin Davis, andJordi Casas.

She regularly gives master classes at Teatro Real in Madrid and Aula de Música de la Universidad de Burgos.

Ms. Andueza has made recordings for French, Belgium, German, Swiss, and Spanish radios, as well as for the GlossaMusic, Verso, Zig-Zag Territoires, Accentus, and K617 record labels.

At a Glance

If one examines the numerous types of plucked instruments found in South America today, it is immediately obvious thatthey differ very little from their European Baroque equivalents.

Before the Spanish colonization of South America, there were no plucked instruments in the indigenous culture. The SouthAmerican arpa llanera, cuatro, bandolin, charango, jarana, and requinto as we know them today are direct descendants ofinstruments introduced from Spain, among them the lute, Baroque guitar, and Renaissance harp. The instruments used in

South America today and their playing techniques have developed locally over the centuries and adapted to the indigenoussongs, dances, and rhythms, but their ultimate ancestry remains unmistakable.

If we now turn our attention to the origins and harmonic structure of South American dances and songs, it may generally bestated that their melodies and harmonies are close to Baroque models. There are also rhythmic features from Europe, suchas the Baroque hemiola (when there are two measures in triple meter that are redistributed to sound like three measures induple meter) and elements of flamenco music. Almost all the musical forms in South America have developed a

polyrhythmic dimension that can be traced back to hybridizations of three cultures: Indian, Spanish, and African. Danceand song, originally considered a unit, only crystallized into separate art forms in the 20th century. From the harmonic

point of view, Argentina has deviated the furthest from Baroque models, although traditional rhythmic patterns may still beobserved in modern Argentinian musical forms.

l'arpeggiata - los pájaros perdidos

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