The consert "The labyrinth of passions"
with the Ensemble La Camera delle Lacrime (FR)
led by the musical director Bruno Bonhoure
Friday July 31.at 7:00 pm in Flesberg stave church
Music at the time of Hieronymous Bosch The Escorial songbooks
With a selection of songs from the two Escorial songbooks as a starting point, The labyrinth of passions will bring to life the quality and diversity of music from the middle of the 15th century. The ensemble La Camera delle Lacrime will use music to recount the slow and complex transition which led Europe from the Middle Ages towards the Renaissance.
The Escorial songbooks are both compilations of secular songs. One was collated and written in Flanders sometime around or before 1440 and the other in Italy about 30 years later. They are both now preserved in the library of the Royal Monastery of San Lorenzo del Escorial, near Madrid, hence their name.
The themes addressed, from everyday life to amorous passion and spiritual suffering, demonstrate the transitions being experienced by European society at the end of the 15th century. The town imposes its tastes on the aristocratic landlords of the countryside, Northern polyphonists appropriate simple minstrels' melodies. Fashions are in the process of changing; the courtly culture is losing its identity bit by bit.
Through the variety of melodies found in the codices, the Escorial songbooks document the strange and labyrinthine paths taken by the musical notation of the mid 15th century, making a connection between the know-how of the great masters of the Middle Ages and prefguring certain aspects of the Renaissance.
These codices take up the detailed and rich aesthetic developed by the troubadours in the South of France two hundred years earlier and experiment with new forms, playing with sonic, rhythmic and contrapuntal techniques that will reappear and fourish later through the 16th century.
Foto: Mick Jayet
The songbooks also bear witness to the profusion of widely circulated music in Europe; songs by the greatest composers of the era appear here including Guillaume Dufay and Gilles Binchois.
It's above all the play of different voices together, the way in which poetry and music combine to amuse which gives the Escorial codices their particular favour. Some songs have a virtuoso vocal line which is skilfully constructed to counterpoint a popular tune. Some songs have several different texts sung at the same time. Their interest lies in the amusement of telling a story with layers of meaning that may or may not be hidden from the audience.
There is a‘visionary and modern’dimension to these polyphonic pieces which we also find in the paintings of the contemporary Hieronymous Bosch (1453–1516). Music becomes a sensual and encapsulating experience as it constructs itself out of the expanding and interlacing vocal lines, overlaid on one another. A parallel can be found inThe garden of delights, where many little ordinary separate scenes are juxtaposed to create the global visual effect.
Hieronymous Bosch and other Flemish painters of his time invent a new way of painting, engaging and inventive, at the borders of the real with the imaginary.
In these worlds of hybrids, where popular superstition and Christian faith mix, where the marvellous and the monstrous mingle, the ensemble La Camera delle Lacrime leads the audience on a labyrinthine journey of initiation.
Tickets: Tickets for sale on the web - follow this link
We recommend advance-purchase of tickets on the web, but tickets are also for sale by the entrance from 6:00 pm.
Adults: 300 / students: 250. ( students by showing studentdocumentation) / children under 16 years: free.