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THE AMOROUS AFFECTIONS IS A MUSICAL INITIATIVE THAT WILL ANIMATE THE ROOMS OF THE GALLERIA BORGHESE


THE AMOROUS AFFECTIONS IS A MUSICAL INITIATIVE THAT WILL ANIMATE THE ROOMS OF THE GALLERIA BORGHESE

THE AMOROUS AFFECTIONS is a musical initiative that will animate the rooms of the Galleria Borghese. Every first Saturday of the month at 11 a.m. and 12 noon, specialists in historical instruments, international artists, young musicians from Italian and foreign conservatories and academies, each time in a different room, offer visitors an immersive experience of Baroque and 18thcentury culture.

THE AMOROUS AFFECTIONS is a musical initiative that will animate the rooms of the Galleria Borghese. Every first Saturday of the month at 11 a.m. and 12 noon, specialists in historical instruments, international artists, young musicians from Italian and foreign conservatories and academies, each time in a different room, offer visitors an immersive experience of Baroque and 18thcentury culture.

The concerts, divided into two sets lasting approximately 30 minutes, focus on music and its relationship to the works on display. The Amorous Affections is part of a broader research project: “I Borghese e la Musica” (The Borghese and Music), aimed at investigating and delineating the Borghese family’s relations with music and musicians, particularly in the 17th and 18th centuries.

Saturday, December 3rd – Room IX – 11a.m and 12 noon

 

IUXTA CRUCEM

So we are “at the cross,” Iuxta Crucem, which in this masterpiece by Raphael we glimpse as the distant setting of the tragic death of Christ the redeeming instrument of humanity, but we immediately shift our gaze to a detail, small, poetic but fundamental: a dandelion flower, a “dandelion” that points us to the signature of the “divine painter” on the left, at the bottom of the painting and which we want to use as a guide for listening to the concert. Again a signature leads us to the piece chosen as the opening of this concert: FINIS, LAUS DEO, “finished giving thanks to God,” penned by Pergolesi, the young talent who had enchanted Naples and transformed the music of the 1700s, dying at only twenty-six years of age at the end of his masterpiece STABAT MATER. Two young artists, then, united by their age, 26-year-old Pergolesi and 25 the young Raphael of DEPOSIZIONE BAGLIONI, and by the power capable of diverting the course of art.

Pergolesi’s Stabat replaces that of Alessandro Scarlatti, until then an undisputed master, now considered even archaic in the face of the new “affects” that Pergolesi’s music offers listeners.
Raphael’s Deposition transforms the moment of Christ’s burial from a work of contemplation, as had been the custom up to that time, to a narrative capable of presenting the characters in their total humanity moved by the affections. The waving hair of Magdalene receiving that lifeless and so beloved hand of Christ, Mary’s spasm to the point of fainting, or St. John’s “Incrocicchiate le mani, china la testa con una maniera da commuovere qual è più duro animo a pietà” so described by Vasari, immediately give us the essence of this masterpiece.

The artistic maturity of the Venetian Antonio Lotti, considered one of the most remarkable artistic individualities of that era, seals the first part dedicated to the cross with a page from his Requiem.

The concert proceeds from this moment of intense sorrow, by the grace of that very little “breath” symbol of rebirth, with the 21-year-old Mendelssohn’s “MOTTETTO DOMINICA III POST PASCHA” composed in 1830 in that Rome which fascinated the young Romantics on their “GRAN TOUR” for the nuns of the convent of Trinità dei Monti and who, the composer wrote, -Sang with the sweetest and clearest voices in the world-. The motet unfolds in three episodes that lead us from meditation on Christ’s saving death to the two women’s dismayed search for the burial place that preserves his body, ending, after the angel’s peremptory announcement “SURREXIT CRISTUS SPES MEA,” with a liberating ALLELUJA of great polyphony.

The path of the concert leads us to conclude, almost a perfect circle, with an exhortation to eternal praise, as the text of the second motet “LAUDATE PUERI” states.
Carried along by that initial breath of life from the little dandelion, “DA PACEM DOMINE IN DIEBUS NOSTRIS” is a relaxed, simple and serene invocation of the romantic Gounod. It gives peace in these our days, a peace then that accompanies this earthly life of ours in the affections.
The Amorous Affections initiative is free of charge, included in the regular museum admission ticket.

To purchase the ticket, reservation is required by calling 0039 06 32810 or by clicking on BUY

Download the program for Saturday, December 3rd here

 

 

 




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