Clavecinissimo – canceled – Bucharest Early Music Festival
Clavecinissimo – canceled

Clavecinissimo – canceled

Starts from: November 12, 2016

Start Time 7:00 pm

Muzeul Național de Artă al României, Sala „Auditorium”

Canceled event. please address your requests to office@medievalpraxis.ro

Saturday, 12th November 2016, 19.00, at The National Museum of Art of Romania, „Auditorium” Hall, musicians Csilla Juhász, Melinda Béres and Raluca Enea will play for the restoration of the historical harpsichord Ruckers – Taskin owned by the Peles National Museum.

We play for the French historical harpsichord from Peles Museum and it is going to play again for us!

One of the very few historical instruments of the Romanian heritage is to be brought to life. This instrument was initially built by Andreas Ruckers, in Netherlands, in 1621. Parts of it were taken by Pascal Taskin, the French famous harpsichord maker. He built a new instrument using some of the elements of the Ruckers instrument, in Paris in 1772. The instrument belonged to the French royal family. After few years, the harpsichord was offered as gift to Princess Elisabeth, the future wife of King Carol I of Romania. So, the instrument came in Romania and remained here forever. After many years of playing and several improper repairs, the instrument is now in a very bad condition and needs to be totally restored. And because our intention is to bring to life a French harpsichord, what would be the best music to listen to? We have the pleasure to present ”Rameau, le musicien du Roi”, a French music and Baroque dance performance. Jean-Philippe Rameau (1683-1764) is the composer who brought the Baroque harmonies to sublime heights, creating a matching musical accompaniment in honor of the French royalty’s rise in power, in an era when it had conquered large territories from the New World and founded a powerful empire. He and his rivals, musicians like Antoine Forquerai, Francois Couperin, Marain Marais, as well as his forerunner, the scintillating JeanBaptiste Lully, the passionate Italian musician of Louis XIV, the “Sun King”, were creating for a brilliant court where the supreme good taste was dominant, for a king to whom his subjects used to confer upon the attributes of deities from the ancient Greek pantheone. He was the supreme star, the Sun, Apollo the god of beauty, serenity and light, the civilizer of the primitive, “savage” and newly conquered peoples. So Baroque was the cornucopia overflown in all arts: music, dance, fine arts, architecture, let alone the art of clothing, the art of conversation, or the culinary art. Even the art of love was brought to new heights of seduction and pleasure, so that even Ovid, the ancient poet who authored “Ars amandi” was already “expired”. Courtiers raised their wigs and multiplied the number of ruffles from their jabots and cuffs, and refined their noble manners and especially sharpened their political sense; courtesans improved their mastery of the art of seduction and persuasion, as well as of the art of dressing and makeup, so that the ancient queen Cleopatra would have faded with envy; and all of them refined their intrigues to paroxysm. The royal mistresses, extravagant, beautiful and whimsical women, but also very cultivated and trained, were guards to the complicated knots and signs of grace and disgrace into which court aristocrats used to fall (Madame de Pompadour remains a legendary figure in this respect, for the piquant stories where love affairs melted with France’s international politics). To maintain the Court pomp and the extravagant kings’ cult of personality, the royal fleet brought in the most expensive spicies and perfumes, the most precious silks, velvets and brocades into the Ocean and Mediterranean ports. Splendour and refinement constituted the must-have of those times, starting with the sounds that filled Versailles Palace’s sumptuous rooms to its gardens, where fountains were also singing and filling the air with water sounds, along with fine fragrances. The art of oral interpretation subsequently enriched with new attributes through the voices of those “castrati” (Farinelli) also maintained its reference status. Thus Baroque is the benchmark of refinement in all arts, and Rameau, the musician of two kings, Louis XIV (with a long reign, 72 years) and Louis XV, was the one who raised the Baroque of the French music to its highest summits. Hmmm… was living in those times a good experience? We will never know it for real!… 1789 was the year of the end and all that splendour melted away, and all that aristocratic world that used to bow before the god of “Good Taste” brutally and bloodily ceased to exist under the guillotine of the Great French Revolution. The history of arts continued with the rigorous Illuminism, the royal subjects became citizens of the revolution, and the “Declaration of Human Rights” was added to all these changes. A great leap forward, of course, for the human civilization.

Program

Jean Philippe Rameau (1683 – 1764)
Entrée
Ouverture – Edition intégrale – Les Indes Galantes – Balet, reduit a quatre grands concerts (1735/36) Entrée des quatre Nations dans la Court d’Hébé – Edition intégrale – Les Indes Galantes – Balet, reduit a quatre grands concerts (1735/36)
1st Tableau: A spirits’ world
L’Agaçante – Pièces de Clavecin en Concerts 1741 – Deuxième Concert
L’Indiscrète – Pièces de Clavecin en Concerts 1741 – Quatrième Concert
La Timide – 1er Rondeau – 2e Rondeau – Pièces de Clavecin en Concerts 1741 – Troisième Concert
2nd Tableau: the refinement of the portraits
La Livri – Pièces de Clavecin en Concerts 1741 – Premier concert
La Rameau – Pièces de Clavecin en Concerts 1741 – Quatrième Concert
La Marais – Pièces de Clavecin en Concerts 1741 – Cinquième Concert
La Forqueray – Pièces de Clavecin en Concerts 1741 – Cinquième Concert
3rd Tableau: Les caprices de Louis
Entrée des quatre Nations dans la Court d’Hébé – Edition intégrale – Les Indes Galantes – Balet, reduit a quatre grands concerts (1735/36)
1er Menuet – 2e Menuet – Pièces de Clavecin en Concerts – Deuxième Concert
La Pantomime – Pièces de Clavecin en Concerts – Quatrième Concert 1er Tambourin – 2e Tambourin – 1er Tambourin – Pièces de Clavecin en Concerts – Troisième Concert

Csilla Juhász / Anamaria Juhász – Baroque dance
Melinda Béres / Mircea Ionescu – violins
Raluca Enea – harpsichord

Tickets and passes are available in Eventim network (online or in Germanos, Orange, Vodafone, Domo, Carturesti, Humanitas stores) MyTicket (online or in Diverta stores) and www.kompostor.ro.