A group of women and a man playing a violin are gathered in a lush, green landscape with trees in the background.

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This programme borrows its title from the 1615 print Parnassus Musicus Ferdinand&aelig;us. This collection of motets for one to five voices by many of the most renowned Italian composers of the time, was dedicated to Archduke Ferdinand II, who four years later would become the Holy Roman Emperor. It perfect exemplifies the taste of this monarch, shared by his successors, for the works of Italian musicians, whom they recruited from other European courts, as well as directly from major Italian centers of music like Venice, Verona and Mantua. Indeed, when Ferdinand II acceded to the imperial throne in 1619 and moved his court from Graz to Vienna, he brought with him most of his musicians, including Giovanni Priuli, the Venetian leader of his court chapel. Priuli&rsquo;s deputy Giovanni Valentini, who had been poached away from the royal court of Poland in 1614 succeeded him as imperial Hofkapellmeister after his death in 1626. Unlike his father, Ferdinand III maintained the court chapel&rsquo;s leadership upon his ascension to the throne, as did his son Leopold I, and the court chapel remained in the hands of Italian musicians under their reign. In 1649, Valentini was succeeded by Antonio Bertali, a violinist originally from Verona but already employed at the Viennese court since 1624, who then held the chapel leadership for 20 years. He in turn was succeeeded in 1669 by Giovanni Felice Sances, a renowned Roman-born singer who had worked at San Marco in Venice under Monteverdi until becoming employed at the imperial court shortly before Ferdinand III&rsquo;s ascension. Although the vice-Kapellmeister Johann Heinrich Schmelzer gradually took on more and more responsibilities due to the poor health of the aging Sances, it is only upon the latter&rsquo;s death in 1679, after sixty years and four consecutive Italian Hofkapellmeister, that the chapel was finally officially led by an Austrian-born musician. Schmelzer died only months later, however, and the position was once more held by Italian musicians for a further 35 years.

Hi <span contenteditable="false" data-custom-variable="{{firstname}}" fr-original-class="fr-deletable styled-tag-chip" fr-original-style="" style="color: rgb(42, 42, 196); overflow-wrap: anywhere; user-select: none; background-color: rgb(248, 248, 255); border: 1px solid rgb(191, 191, 255); border-radius: 4px; margin: 0px; padding: 1px 8px; font-size: 11px; display: inline-block; box-sizing: inherit;">First name, Thank you for registering for our event and supporting our cause. Your registration greatly helps our mission. 🚀 If you would like to contribute further, contact us to become a volunteer, or talk to your friends about our cause! Le Consort laurentienconsortlaurentien@gmail.com

This programme borrows its title from the 1615 print Parnassus Musicus Ferdinandæus. This collection of motets for one to five voices by many of the most renowned Italian composers of the time, was dedicated to Archduke Ferdinand II, who four years later would become the Holy Roman Emperor. It perfect exemplifies the taste of this monarch, shared by his successors, for the works of Italian musicians, whom they recruited from other European courts, as well as directly from major Italian centers of music like Venice, Verona and Mantua. Indeed, when Ferdinand II acceded to the imperial throne in 1619 and moved his court from Graz to Vienna, he brought with him most of his musicians, including Giovanni Priuli, the Venetian leader of his court chapel. Priuli’s deputy Giovanni Valentini, who had been poached away from the royal court of Poland in 1614 succeeded him as imperial Hofkapellmeister after his death in 1626. Unlike his father, Ferdinand III maintained the court chapel’s leadership upon his ascension to the throne, as did his son Leopold I, and the court chapel remained in the hands of Italian musicians under their reign. In 1649, Valentini was succeeded by Antonio Bertali, a violinist originally from Verona but already employed at the Viennese court since 1624, who then held the chapel leadership for 20 years. He in turn was succeeeded in 1669 by Giovanni Felice Sances, a renowned Roman-born singer who had worked at San Marco in Venice under Monteverdi until becoming employed at the imperial court shortly before Ferdinand III’s ascension. Although the vice-Kapellmeister Johann Heinrich Schmelzer gradually took on more and more responsibilities due to the poor health of the aging Sances, it is only upon the latter’s death in 1679, after sixty years and four consecutive Italian Hofkapellmeister, that the chapel was finally officially led by an Austrian-born musician. Schmelzer died only months later, however, and the position was once more held by Italian musicians for a further 35 years.

Parnassus Musicus

Ce programme tire son titre de la collection Parnassus Musicus Ferdinand&aelig;us. Ce recueil publi&eacute; en 1615 rassemble des motets pour une &agrave; cinq voix de nombreux compositeurs italiens parmi les plus renomm&eacute;s de l&rsquo;&eacute;poque, et est d&eacute;di&eacute; &agrave; l&rsquo;archiduc Ferdinand II, qui deviendrait quatre ans plus tard empereur du Saint-Empire romain germanique. En soit, il illustre parfaitement le go&ucirc;t de ce monarque, partag&eacute; par ses successeurs, pour l&rsquo;&oelig;uvre de musiciens italiens, recrut&eacute;s dans d&rsquo;autres cours europ&eacute;ennes et directement dans les grands centres musicaux italiens tels que Venise, V&eacute;rone et Mantoue. En effet, lorsque Ferdinand II acc&egrave;de au tr&ocirc;ne imp&eacute;rial en 1619 et transf&egrave;re sa cour de Graz &agrave; Vienne, il emm&egrave;ne avec lui la plupart de ses musiciens, dont Giovanni Priuli, le chef v&eacute;nitien de la chapelle de sa cour. L&rsquo;adjoint de Priuli, Giovanni Valentini, recrut&eacute; depuis la cour royale de Pologne d&egrave;s 1614, lui succ&egrave;de comme Hofkapellmeister imp&eacute;rial apr&egrave;s sa mort en 1626. Contrairement &agrave; son p&egrave;re, Ferdinand III maintient la direction de la chapelle de la cour lors de son accession au tr&ocirc;ne, tout comme son fils L&eacute;opold Ier, et la chapelle demeure entre les mains de musiciens italiens sous leurs r&egrave;gnes. En 1649 succ&egrave;de &agrave; Valenti le violiniste Antonio Bertali, originaire de V&eacute;rone mais d&eacute;j&agrave; au service de la cour de Vienne depuis 1624, qui occupe ensuite cette fonction pendant vingt ans. Il est &agrave; son tour remplac&eacute; en 1669 par Giovanni Felice Sances, chanteur renomm&eacute; d&rsquo;origine romaine, qui avait travaill&eacute; &agrave; San Marco &agrave; Venise sous la direction de Monteverdi avant d&rsquo;&ecirc;tre engag&eacute; &agrave; la cour imp&eacute;riale peu avant l&rsquo;accession au tr&ocirc;ne de Ferdinand III. Bien que le vice-Kapellmeister Johann Heinrich Schmelzer assume progressivement davantage de responsabilit&eacute;s en raison de la sant&eacute; fragile d&rsquo;un Sances vieillissant, ce n&rsquo;est qu&rsquo;&agrave; la mort de ce dernier en 1679, apr&egrave;s soixante ans et quatre Hofkapellmeister italiens successifs, que la chapelle est enfin officiellement dirig&eacute;e par un musicien d&rsquo;origine autrichienne. Schmelzer meurt toutefois seulement quelques mois plus tard, et le poste est de nouveau occup&eacute; par des musiciens italiens pendant 35 ans.

Bonjour <span contenteditable="false" data-custom-variable="{{firstname}}" fr-original-class="fr-deletable styled-tag-chip" fr-original-style="" style="color: rgb(42, 42, 196); overflow-wrap: anywhere; user-select: none; background-color: rgb(248, 248, 255); border: 1px solid rgb(191, 191, 255); border-radius: 4px; margin: 0px; padding: 1px 8px; font-size: 11px; display: inline-block; box-sizing: inherit;">Pr&eacute;nom, Merci de vous &ecirc;tre inscrit &agrave; notre &eacute;v&eacute;nement et de soutenir notre cause. Votre inscription aide grandement notre mission. 🚀 Si vous souhaitez contribuer davantage, contactez-nous pour devenir b&eacute;n&eacute;vole, ou parlez de notre cause &agrave; vos amis! Le Consort laurentienconsortlaurentien@gmail.com

Ce programme tire son titre de la collection Parnassus Musicus Ferdinandæus. Ce recueil publié en 1615 rassemble des motets pour une à cinq voix de nombreux compositeurs italiens parmi les plus renommés de l’époque, et est dédié à l’archiduc Ferdinand II, qui deviendrait quatre ans plus tard empereur du Saint-Empire romain germanique. En soit, il illustre parfaitement le goût de ce monarque, partagé par ses successeurs, pour l’œuvre de musiciens italiens, recrutés dans d’autres cours européennes et directement dans les grands centres musicaux italiens tels que Venise, Vérone et Mantoue. En effet, lorsque Ferdinand II accède au trône impérial en 1619 et transfère sa cour de Graz à Vienne, il emmène avec lui la plupart de ses musiciens, dont Giovanni Priuli, le chef vénitien de la chapelle de sa cour. L’adjoint de Priuli, Giovanni Valentini, recruté depuis la cour royale de Pologne dès 1614, lui succède comme Hofkapellmeister impérial après sa mort en 1626. Contrairement à son père, Ferdinand III maintient la direction de la chapelle de la cour lors de son accession au trône, tout comme son fils Léopold Ier, et la chapelle demeure entre les mains de musiciens italiens sous leurs règnes. En 1649 succède à Valenti le violiniste Antonio Bertali, originaire de Vérone mais déjà au service de la cour de Vienne depuis 1624, qui occupe ensuite cette fonction pendant vingt ans. Il est à son tour remplacé en 1669 par Giovanni Felice Sances, chanteur renommé d’origine romaine, qui avait travaillé à San Marco à Venise sous la direction de Monteverdi avant d’être engagé à la cour impériale peu avant l’accession au trône de Ferdinand III. Bien que le vice-Kapellmeister Johann Heinrich Schmelzer assume progressivement davantage de responsabilités en raison de la santé fragile d’un Sances vieillissant, ce n’est qu’à la mort de ce dernier en 1679, après soixante ans et quatre Hofkapellmeister italiens successifs, que la chapelle est enfin officiellement dirigée par un musicien d’origine autrichienne. Schmelzer meurt toutefois seulement quelques mois plus tard, et le poste est de nouveau occupé par des musiciens italiens pendant 35 ans.

FR