Saturday, January 18, 2025 at 7:30 pm
Sunday, January 19, 2024 at 2:00 pm
St. Andrew's United Church, Halifax
Featuring Julia Wedman, leader and violin solo
Isabelle Fournier, script and narration
Lucas Harris, guitar and lute
Cristina Prats Costa, projection design
Christian Ludwig Hansen, projection technician
Symphony Nova Scotia
| Antonia Bembo (c. 1640-c. 1720) Overture from L'Ercole Amante |
| Claudio Monteverdi (1567-1643) Suite from L'Orfeo i. Act 1 Ritornello ii. Act II Ritornello iii. Moresca |
| Francesco Cavalli (1602-1676) Act 1 Sinfonia from L'Ercole Amante Sinfonia from the Prologue of Il Giasone |
| Francesco Corbetta (1615-1681) Caprice de Chaconne for solo guitar Lucas Harris, guitar |
| Jean-Baptiste Lully (1632-1687) Chaconne des Maures from Alcidiane Bourée pour les Courtisans from Ballet Les Plaisirs Gigue pour Bacchus from Intermedes de Xerxes |
| Barbara Strozzi (1619-1677) "Mentita" from Op. 6 |
| Arcangelo Corelli (1653-1713) Concerto Grosso in D Major, Op. 6, No. 4 i. Adagio-Allegro ii. Adagio iii. Allegro |
| INTERMISSION: 20 MINUTES |
| Antonia Bembo (c. 1640-c. 1720) Act IV Entrée from L'Ercole Amante Ritornello from L'Ercole Amante |
| Jean-Baptiste Lully (1632-1687) Suite from Armide i. Overture ii Gavotte iii. Canaries iv. Premier Air v. Passacaille |
| Élisabeth Jacquet de la Guerre (1665-1729) Suite from Céphale et Procris i. Marche pour Nerée & les Dieux Maritimss ii. Rondeau iii.Passepieds pour les violons et les hautbois |
| Georg Muffat (1653-1704) Ciaccona from Concerto Grosso No. 12 “Propitia Sydera” |
| Antonia Bembo (c. 1640-c. 1720) Ritournelle for “Soulage mon tourment” from Les Psaumes de David Act V Entrée from L'Ercole Amante Gigue from L'Ercole Amante |
Please note: This program will be approximately two hours in length.
Continuo: Rachel Desoer, cello; Gabe Azzie, bassoon; Marie Bouchard, harpsichord; Lucas Harris, lute and guitar; Hilary Brown, guitar.
Additional players: Matthias McIntire and Alexandra Bates, viola.
From the moment I heard the music of Antonia Bembo, I was struck by her courageous, adventurous, expressive, and unique voice as a composer. Her music is a remarkable mix of the two dominant musical styles in 17th-century Europe. The Italian “singing” style, with its beautiful melodies and dramatic disposition, was championed by Monteverdi in Venice, and then Corelli in Rome. The more subtle “speaking” style of the French, heavily influenced by dance music and the French language, was perfected by Lully at the court of Louis XIV in Versailles.
The tale of Antonia Bembo’s life is no less fascinating than her music. From an early beginning as a child prodigy, to surviving domestic abuse as a young woman, to being discovered and ultimately supported by none other than King Louis XIV himself, Bembo’s talent, creativity, resilience, and sheer power of will is an incredible inspiration. We are thrilled to be able to share her story with you.