Programme

Leonor de Lera

Descendi in hortum meum di Palestrina passeggiato

Biaggio Marini (1594-1663)

Romanesca per violino solo e basso se piace

Francesco Rognoni (1570-1626)

Vestiva i colli. Modo difficile per suonar alla bastarda

Leonor de Lera

Diminuzioni sopra il “Lamento d’Apollo” di Cavalli

Salomone Rossi (c. 1570-1630)

Sonata quinta sopra un’Aria francese

Nacho Laguna

Canarios

Leonor de Lera

Pulchra es amica mea di Palestrina

Leonor de Lera

Diminuzioni sopra “Usurpator tiranno” di G. Felice Sances

Marco Uccellini (1603-1680)

Aria quinta sopra La Bergamasca

Girolamo Dalla Casa (15??-1601)

Petite fleur coincte

Tarquinio Merula (1595-1665)

Chiacona à 3 col Basso

Leonor de Lera

Tarantella del Gargano diminuita

Marco Uccellini (1603-1680)

Aria quarta sopra la “Ciaccona” à 3 Op.3

Performers

Baroque Violin & Artistic Direction: Leonor de Lera

Viola da Gamba: Teodoro Baù

Theorbo: Nacho Laguna

Programme Notes

Diminutions, the art of extemporary embellishment or melodic variation, were an essential part of performance practice of the Renaissance and early Baroque periods. The basis of diminutions (also called passaggi), is the fragmentation of a long note or series of long notes into many shorter and faster ones that move around the original melody.

The number of treatises that were devoted to the teaching of this subject is a clear indication of the importance of diminutions at that time. These treatises contained pages and pages of alternate ways to subdivide long notes and ornament all of the most common intervals and cadences in various note values, which performers were expected to practice diligently to be able to apply them to any piece of music, eventually creating their own formulas and even freely improvise them. Ultimately, diminutions were to be applied in performance as a form of virtuosic improvisation and to make a piece of music more ‘beautiful’.

This programme explores the widespread practice of diminutions by presenting published examples of diminutions on well-known motets, by master composers; diminutions on popular melodies or dance forms of the time and finally, diminutions composed by the performer as artist.

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.