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Home Accademia d'Arcadia Projects and programs Artemisia Project
Artemisia Project

 

09 et manchi piet fondazione arcadiaanagoor

“Et manchi pietà” – Anagoor & Accademia d’Arcadia

Dedicated website www.artemisiaproject.com

This project sprung from a multimedia, multidisciplinary video art/live music project based on the works of Artemisia Gentileschi (Roma 1593 – Napoli ca. 1656) aimed at exploring a few peculiarities of the music and painting of the Italian Early Baroque period, highlighting the specific creative aspects and their emotional impact.

Daughter of Orazio Gentileschi (one of the first Italian Caravagesque painters), and until a few decades ago remembered due to the rape trial against one of her father’s assistants, Agostino Tassi, who raped her before she turned 18, Artemisia had to wait more than 300 years for her talent as a painter be fully recognized.
The expressive force and the stature of the artistic figure of Artemisia has often been distorted and interpreted in a feminist, psychoanalytic or other light, focused on the mere fact of the brutal tabloid scandal. The high quality of Artemisia’s artistic production was first re-evaluated by Longhi, followed by numerous studies and exhibitions from 1991 on. The exhibition (perhaps the most complete to date) held in Milan at the Palazzo Reale from 22 September 2011 to 29 January 2012 fully restored the Roman artist’s dignity: the idea for this project came from visiting the exhibit.

The video

Evoking the emblematic figure of Artemisia Gentileschi using images, whose extremely powerful and independent iconographic production is linked to the collective imagination so tumultuously to the scenes of a tempestuous and violent life, using images is a challenge. Conceiving of a visual apparatus that enters into dialogue with baroque music without becoming a dominant medium is another challenge. Anagoor in close artistic collaboration with the Accademia d’Arcadia met these challenges and designed a great vision which he performs in concert. Fifteen large paintings, fifteen stations of life, intermingle with pieces by Monteverdi, Merula, Strozzi, Castello, Landi, Rossi, Falconieri, Fontana, Trabaci, Marini, translating the mood of melancholy or violence or exuberance, inextricably linking them to the themes of the paintings by Gentileschi and to an artistic gesture full of the power of anger whose echo lingers like a ghost after centuries.
While celebrating the importance of Artemisia’s painting, freed from the scandal and the artistic influence of her father, Anagoor chooses, as usual in his work, to not separate art from life, to not constrain the artistic act into aseptic compartments.
He prefers to follow the dominant note that ties the composition choices, the themes and the colors together: that evident thunderclap that even without being linked to a traumatic event, talks about human pain and pervades the artistic gesture.  And he gives life to a labyrinth of images that reveal, in their intricacy, the power of a flower that blooms after grief, coercion and blood.

The music

An excellent lutenist and music lover, Artemisia Gentileschi entertained correspondence with famous musicians of her time. The musical layout follows the story of Artemisia during her stays in major Italian cities (Rome, Florence, Venice and Naples) and features pieces by composers active in these cities during the same period. The most representative composers and songs were selected, designed to illustrate as completely as possible the esthetic and emotional experiences evoked by the narration of the video installation.
The first three decades of the century, gradually freeing itself from the late Renaissance esthetic, created a whole new language.  It therefore represents one of the most important periods in music, a period when Italian music breaks the old rules of classical esthetics and invented new forms. (The birth of monody and opera, the use of open forms, the development of instrumental music, the theory of affects, the attention to recited text, drama, the development of a new harmonic language, the opening of the first public theaters: all manifestations of a musical world plunged into a vortex of esthetic changes and profound language, which, although deriving in large part from the development and practices of the previous period, it marked in many ways the beginning of the modern era, also due to the belief that music had the power to "move the affections" and arouse emotions).
The baroque esthetic of the early seventeenth century is a reflection on the very negation of the rules and certainties, their asymmetry, contradiction, amazement, surprise: music and art shape the infinite and the search for it through the principle of wonder, the abundant use of metaphor and symbol, the illusion of dreams and the prospect of the universal metamorphosis of reality. Often this music features the bizarre and the "extravagant", alternating contrasts and dissonances in free forms that seem to reject symmetry. It is an art that simultaneously impresses, intimidates, moves, enthralls and impassions.
Music in constant tension, which in some cases is also transgressive and intensely excessive: aspects that inextricably bind it to the esthetic themes developed in the paintings of Artemisia.

Accademia d’Arcadia - Anagoor

Première

September, 22 2012, 5 p.m.
Auditorium Gruppo 24 Ore, Milan
Festival  MITO Settembre Musica
Concert broadcasted in live streaming

Performers

Silvia Frigato, soprano
Accademia d’Arcadia
Davide Monti, Fabio Ravasi, violins
Guido De Vecchi, viola
Claudia Pasetto, viola da gamba
Daniele Bovo, cello
Federico Bagnasco, violone
Lorenzo Lio, flutes
Pietro Modesti, cornett
Marta Graziolino, Baroque harp
Ugo Nastrucci, Leopoldo Saracino, theorbo, Baroque guitar
Filippo Ravizza, harpsichord
Alessandra Rossi Lürig, harpsichord and conductor

Music choice and arrangement: Alessandra Rossi Lürig

Video Project

by Anagoor
Concept: Simone Derai, Marco Menegoni, Moreno Callegari
With: Anna Bragagnolo e Eliza Oanca
Camera and d editing: Simone Derai, Marco Menegoni, Moreno Callegari
Costumes: Serena Bussolaro, Simone Derai
Script: Simone Derai
Direction: Simone Derai

Chapters

PROLOGUE
Lorenzo ALLEGRI (1567 – 1648)
Primo ballo della Notte d’Amore, Sinfonia (Il Primo Libro delle Musiche, Venezia, Angelo Gardano, 1618)

I.    MUSEUM
Claudio MONTEVERDI (1567 – 1643)
Prologo Atto I - Sinfonia Atto II - Sinfonia Atto III  (L’Orfeo, Venezia, Ricciardo Amadino, 1608)

II.    FIRE
Claudio MONTEVERDI
Se i languidi miei sguardi (Lettera amorosa a voce sola in genere rappresentativo) (Madrigali guerrieri e amorosi Libro VII, Venezia, Bartolomeo Magni, 1619)

III.    FATHER
Giovanni Maria TRABACI (1575 – 1647)
Consonanze stravaganti (Il secondo libro de ricercate & altri varij capricci, Napoli, Giacomo Carlino, 1615)

IV.    MOTHER
Tarquinio MERULA (1594 – 1665)
Hor ch’è tempo di dormire (Canzonetta spirituale sopra la Nanna) (Curtio precipitato et altri capricii, Venezia, Bartolomeo Magni, 1638)

V.    CASINO DELLE MUSE
Giovanni Battista FONTANA (ca. 1571 – ca. 1630)
Sonata Settima a doi violini (Sonate a 1. 2. 3. , Venezia, Bartolomeo Magni, 1641)

VI.    BATH
Andrea FALCONIERI (ca. 1585 – 1656)
Folias echa para mi Señora Doña Tarolilla de Carallenos (Il Primo Libro di Canzone, Sinfonie, Fantasie […], Napoli, Pietro Paolini e Gioseppe Ricci, 1650)

VII.    FALL DARK
Luigi ROSSI (ca. 1597 – 1653)
Mio ben (Orfeo, 1647)

VIII.    SIBYL’S VICE
Barbara STROZZI (1619 – 1677)
Lagrime mie (Diporti di Euterpe ovvero Cantate e ariette a voce sola, op. 7, Venezia, Bartolomeo Magni, 1659)

IX.    VENUS
Claudio MONTEVERDI
Sinfonia Atto III – Ritornello atto III – Prologo Atto I (L’Orfeo, Venezia, Ricciardo Amadino, 1608)
Luigi ROSSI
Finale Atto II (Orfeo, 1647)

X.    BLACK CHAMBER
Barbara STROZZI
Udite amanti - L’Eraclito amoroso (Cantate, arie e duetti Op. 2, Venezia, Angelo Gardano, 1651)

XI.    JUDITH
Stefano LANDI (1587 – 1639)
Alla guerra (Quinto libro delle arie, Venezia, Bartolomeo Magni, 1637)

XII.    DANAË
Dario CASTELLO (1590 – 1658)
Sonata X (Sonate concertate in stil moderno, Libro II, Venezia, Bartolomeo Magni, 1644)

XIII.    LA STANZA DI ARTEMISIA
Johann Hieronymus KAPSBERGER (Venezia, circa 1580 – Roma, 1651)
Toccata Arpeggiata (1604 c.a.)
Claudio MONTEVERDI
Sì dolce è ’l tormento (C. Milanuzzi: Quarto scherzo delle ariose vaghezze, Venezia, Alessandro Vincenti, 1624)

EPILOGUE
Claudio MONTEVERDI
Moresca (L’Orfeo, Venezia, Ricciardo Amadino, 1608)


ET MANCHI PIETÀ  is a Fondazione d’Arcadia / Anagoor production 2012
In collaboration with Festival MiTo, Gruppo 24 Ore, Centrale Fies
With the support of the APAP – ADVANCE PERFORMING ARTS PROJECT / Culture Programme 2007—2013 and of SC - Culture of change - University of Zagreb - Student centre Zagreb.
Anagoor is part of the Fies Factory