OUVERTURE OF THE CUCINELLI THEATRE – – I corali di Bettona
08 JANUARY 2021
The stars of the closed-door concert recorded this past October 8th at the San Bartolomeo Church in Solomeo – and which can now be enjoyed on the Theatre’s website (www.teatrocucinelli.it) in the MUSICA ON LINE section – were Andreina Zatti (Contralto) and Carlo Forlivesi (organ) who, together, will guide us in the “rediscovery of the precious Chorales of Bettona (Umbria, 15th century), hymns and antiphons, in the very first modern-day performance after centuries of oblivion”.
This is the link: http://www.teatrocucinelli.it/it/2021/01/ouverture-teatro-cucinelli/
The program of this concert — The Chorales of Bettona — is based on the recent discovery, by Maestro Carlo Forlivesi and other illustrious academics, of several melodies from the late Umbrian Middle Ages, which had been forgotten for centuries. The music presented is structured on various relational, historical, geographical, and spiritual levels, always with a focus on the Chorale extracts. Thus the music of Saint Hildegard is spiritually associated with that dedicated to Saint Francis. The music of the Codex Faenza is historically and conceptually related to that of the Chorales. The juxtaposition among different versions of the Hymn to Saint John “Ut queant laxis” helps us compare the music present in the Chorales of Bettona with others that differ in both notation and composition technique, for example, in the case of this concerto, in the beautiful and elaborate three-part polyphonic version of Monte Cassino. Topping the concert is a wonderful and unusual Antiphon to Saint Crispoldus, a 1st-century martyr and patron saint of Bettona, and a Credo IV, in which the use of alternatim (alternating sung and played sections) appears with rare precision in the Chorale book.