Programme

Giovanni Paolo Cima (1570-1622)

Sonata per violino e violone

Dario Castello (1602-1631)

Sonata ottava à 2. Soprano e fagotto, overo viola

Giovanni Battista Fontana (1589-1630)

Sonata terza per violino

Marco Uccellini (1603-1680)

Sonata terza a violino solo, Op.7

Dario Castello

Sonata seconda a soprano solo

Giovanni Battista Fontana 

Sonata sesta a violino solo

Girolamo Giovanni Kapsberger (1580-1651)

Kapsberger. Libro Quarto d’Intavolatura di Chitarrone

Marco Uccellini 

Sonata over Toccata Quinta a violino solo detta la Laura Rilucente, Op.4.


Dario Castello 

Sonata prima a soprano solo

Marco Uccellini 

Sonata Seconda a violino solo detta La Luciminia contenta, Op.4.

Giovanni Legrenzi (1626-1690)

Sonata “La Foscari” à due. Violino e violone

Giovanni Battista Fontana 

Sonata duodecima a violino e fagotto

Performers

Baroque violin & Artistic direction: Leonor de Lera

Viola da gamba: Teodoro Baù

Theorbo: Nacho Laguna

Programme Notes

The 17th century marks an era of many changes in music history; the former century had been monopolised by polyphonic music, which would later be replaced by a more soloistic style with the arrival of the 17th century. This new style of composition was labelled ‘stile moderno’ (modern style) in contrast to the above mentioned polyphonic style belonging to the 16th century, the ‘stile antico’ (old style). Thus, ‘In stil moderno’ was the term being used in Italy at the beginning of the 17th century to designate all musical compositions written in this innovative style of composition, setting them apart from those belonging to the former century.

The ‘stile moderno’ was characterised by an emphasis on the solo voice, the polarity of the melody and the bass line, the relative freedom of dissonance treatment, an interest in expressive harmony and the use of written ornamentation, something that had been previously left up to the performer.

This programme offers a selection of instrumental pieces of the Seicento Italiano written for one or two “solo” parts (violin and viola da gamba) accompanied by a basso continuo (theorbo). In these pieces, one can appreciate the virtuosity that was required of the players as well as the new aesthetic concepts that were emerging and being developed at the time.

Biographies

Leonor de Lera: Baroque violin & Artistic direction

Passionate and devoted to the Italian repertoire of the early Baroque and the art of diminution, Leonor de Lera has often been referred to as one of the “top specialists in the field of early seventeenth century music and one of the most important violinists on the national scene”.

Leonor studied at the Guildhall School of Music and Drama in London, where she had the privilege of studying under the late Mr. Yfrah Neaman. It was during this time that she developed a keen interest in early music, which led her to specialise in baroque violin, studying with Ms. Rachel Podger. After earning her Bachelor of Music diploma she was awarded a scholarship to continue her studies as a Postgraduate at the Royal Academy of Music. She then continued her studies with the renowned violinist Enrico Onofri, further refining her skills and expanding her knowledge as a baroque player.

Throughout her career, she has had the opportunity to work with some of the most notable orchestras and ensembles in Europe.

Leonor founded L'Estro d’Orfeo, in 2015, with whom she has achieved significant recognition. Her long-time commitment and dedication to this kind of repertoire has made L’Estro d’Orfeo a reference ensemble in the repertoire of this era. Their latest album “L’Arte di diminuire” has been awarded the French accolade “La Clef ResMusica” and nominated for the Preis der deutschen Schallplattenkritik 2020 in the Early Music category, as well as for Best Baroque Instrumental album in the International Classical Music Awards 2021.

L'Estro d’Orfeo: Ensemble 

Founded by Leonor de Lera in 2015, L’Estro d’Orfeo has been labelled by the critics as an “ensemble of exceptional quality”. They specialise in instrumental music of the late 16th and the 17th centuries, making use of period instruments and with a historically informed approach in line with the aesthetics of the time. 

Their purpose is to put forward the instrumental music that marked the beginning of a new era and a new concept in music: instrumental virtuosity. The great value and importance that instruments started gaining in the first half of the 17th century, is that key moment in music history that marked the beginning of evolution for instrumental music. 

L’Estro d’Orfeo have performed in many festivals around Europe, including Germany, Italy, Luxembourg, Portugal, Romania and Spain.