{"id":4666,"date":"2024-02-02T17:24:13","date_gmt":"2024-02-02T16:24:13","guid":{"rendered":"https:\/\/acma.ch\/new\/wordpress\/?page_id=4666"},"modified":"2024-09-13T07:01:57","modified_gmt":"2024-09-13T06:01:57","slug":"festival-2024","status":"publish","type":"page","link":"https:\/\/acma.ch\/new\/wordpress\/festival-2024\/","title":{"rendered":"Festival 2024"},"content":{"rendered":"[et_pb_section fb_built=\u00a0\u00bb1″ admin_label=\u00a0\u00bbsection\u00a0\u00bb _builder_version=\u00a0\u00bb4.17.6″ background_enable_color=\u00a0\u00bboff\u00a0\u00bb background_enable_image=\u00a0\u00bboff\u00a0\u00bb parallax=\u00a0\u00bbon\u00a0\u00bb background_blend=\u00a0\u00bblighten\u00a0\u00bb custom_padding=\u00a0\u00bb0px|0px|0px|0px\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_row column_structure=\u00a0\u00bb1_4,1_2,1_4″ admin_label=\u00a0\u00bbLT20 titre capture\u00a0\u00bb _builder_version=\u00a0\u00bb4.17.6″ background_color=\u00a0\u00bbRGBA(255,255,255,0)\u00a0\u00bb background_image=\u00a0\u00bbhttp:\/\/acma.ch\/new\/wordpress\/wp-content\/uploads\/2024\/08\/FondsBleuVert.png\u00a0\u00bb background_size=\u00a0\u00bbinitial\u00a0\u00bb background_position=\u00a0\u00bbtop_left\u00a0\u00bb background_repeat=\u00a0\u00bbrepeat\u00a0\u00bb width=\u00a0\u00bb100%\u00a0\u00bb max_width=\u00a0\u00bb2560px\u00a0\u00bb custom_margin=\u00a0\u00bb||||false|false\u00a0\u00bb custom_margin_tablet=\u00a0\u00bb\u00a0\u00bb custom_margin_phone=\u00a0\u00bb\u00a0\u00bb custom_margin_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb custom_padding=\u00a0\u00bb0px|0px|25px|0px|false|false\u00a0\u00bb hover_transition_duration=\u00a0\u00bb0ms\u00a0\u00bb hover_transition_speed_curve=\u00a0\u00bbease-in-out\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_column type=\u00a0\u00bb1_4″ _builder_version=\u00a0\u00bb4.16″ custom_padding=\u00a0\u00bb|||\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb custom_padding__hover=\u00a0\u00bb|||\u00a0\u00bb][et_pb_image src=\u00a0\u00bbhttp:\/\/acma.ch\/new\/wordpress\/wp-content\/uploads\/2024\/08\/LogoACMAnegatif.png\u00a0\u00bb title_text=\u00a0\u00bbLogoACMAnegatif\u00a0\u00bb _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb width=\u00a0\u00bb80%\u00a0\u00bb custom_margin=\u00a0\u00bb25px||25px|20px|true|false\u00a0\u00bb custom_margin_tablet=\u00a0\u00bb\u00a0\u00bb custom_margin_phone=\u00a0\u00bb|20px|||true|false\u00a0\u00bb custom_margin_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb custom_padding=\u00a0\u00bb|||0px||\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][\/et_pb_image][\/et_pb_column][et_pb_column type=\u00a0\u00bb1_2″ _builder_version=\u00a0\u00bb4.16″ custom_padding=\u00a0\u00bb|||\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb custom_padding__hover=\u00a0\u00bb|||\u00a0\u00bb][et_pb_text _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_margin=\u00a0\u00bb30px||15px||false|false\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb]

Th\u00e9\u00e2tre Les salons, Gen\u00e8ve<\/span><\/strong><\/span><\/p>\n

Du 1er au 3 novembre 2024<\/span>
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Vendredi 1er novembre 2024 | 20h<\/strong><\/span><\/strong><\/h4>\n

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Accademia degli Stravaganti – Anne Marie Dragosits
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Io amo, io ardo, io moro – <\/span>music by Giovanni Girolamo Kapsperger <\/span><\/em><\/strong><\/span><\/span><\/em><\/strong><\/h4>\n

18h30 | Conf\u00e9rence d’avant-concert<\/span> <\/strong><\/em><\/strong><\/p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00a0\u00bb1_4″ _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_padding=\u00a0\u00bb15px||||false|false\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_button button_url=\u00a0\u00bbhttps:\/\/acma.ch\/new\/wordpress\/billetterie-acma\/\u00a0\u00bb button_text=\u00a0\u00bbR\u00e9server\u00a0\u00bb button_alignment=\u00a0\u00bbright\u00a0\u00bb _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_button=\u00a0\u00bbon\u00a0\u00bb button_text_color=\u00a0\u00bb#ffffff\u00a0\u00bb button_bg_color=\u00a0\u00bb#006f92″ button_border_width=\u00a0\u00bb0px\u00a0\u00bb button_border_radius=\u00a0\u00bb11px\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][\/et_pb_button][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″ _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_toggle title=\u00a0\u00bbEn savoir plus\u00a0\u00bb open_toggle_text_color=\u00a0\u00bb#006f92″ open_toggle_background_color=\u00a0\u00bbrgba(255,255,255,0.17)\u00a0\u00bb closed_toggle_background_color=\u00a0\u00bbrgba(255,255,255,0.17)\u00a0\u00bb icon_color=\u00a0\u00bb#006f92″ toggle_icon=\u00a0\u00bb||fa||900″ use_icon_font_size=\u00a0\u00bbon\u00a0\u00bb open_icon_color=\u00a0\u00bb#0b32e0″ open_toggle_icon=\u00a0\u00bb||fa||900″ _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb title_text_color=\u00a0\u00bb#006f92″ title_font=\u00a0\u00bb|600|||||||\u00a0\u00bb title_text_align=\u00a0\u00bbleft\u00a0\u00bb text_orientation=\u00a0\u00bbleft\u00a0\u00bb custom_margin=\u00a0\u00bb||5px||false|false\u00a0\u00bb custom_padding=\u00a0\u00bb|||10px|false|false\u00a0\u00bb border_radii=\u00a0\u00bboff|6px|6px|6px|6px\u00a0\u00bb border_width_all=\u00a0\u00bb0px\u00a0\u00bb border_color_all=\u00a0\u00bb#000000″ border_color_bottom=\u00a0\u00bb#0b32e0″ global_colors_info=\u00a0\u00bb{}\u00a0\u00bb]

Ulrike Hofbauer<\/strong> Soprano
Niels Pfeffer <\/strong>Th\u00e9orbe
Anne Marie Dragosits <\/strong>Clavecin
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Oeuvres vocales et instrumentales Giovanni Girolamo Kapsperger et Girolamo Frescobaldi.<\/strong><\/em><\/p>\n

Giovanni Girolamo Kapsperger (1759-1651) a v\u00e9cu \u00e0 Venise, Augsbourg, Naples et Rome. Il s’est li\u00e9 d’amiti\u00e9 avec des po\u00e8tes, des intellectuels et des m\u00e9c\u00e8nes : au sommet de sa carri\u00e8re, ses compositions radicalement modernes constituaient une partie importante du programme culturel monumental du pape Urbano VIII Barberini et de sa famille. Le programme de ce concert montre la polyvalence de Kapsperger dans les styles et les genres, vocaux et instrumentaux, en pr\u00e9sentant ses villanelles semblables \u00e0 des chansons et ses monodies hautement virtuoses et ornement\u00e9es – c\u00e9l\u00e9brant l’amor profano aussi bien que l’amor sacro, comme cela \u00e9tait courant \u00e0 Rome au XVIIe si\u00e8cle. Les toccatas instrumentales, les danses et les variations, souvent jou\u00e9es par le th\u00e9orbe et le clavecin s’accompagnant l’un l’autre, \u00e9voquent une soir\u00e9e de 1613, lorsque Kapsperger et Frescobaldi ont donn\u00e9 un concert en duo pour un prince-\u00e9v\u00eaque allemand \u00e0 Rome.<\/p>\n

Le concert sera pr\u00e9c\u00e9d\u00e9, \u00e0 18h30, d’une conf\u00e9rence sur la vie et l’oeuvre de Giovanni Girolamo Kapsperger donn\u00e9e par Anne-Marie Dragosits. Elle nous transmettra de nombreuses informations biographiques in\u00e9dites, r\u00e9sultats de ses derni\u00e8res recherches, en avant-premi\u00e8re de la version anglaise de sa monographie du compositeur (en allemand, LIM 2022), qui para\u00eetra en 2025.\u00a0<\/strong><\/p>[\/et_pb_toggle][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00a0\u00bb3_4,1_4″ make_equal=\u00a0\u00bbon\u00a0\u00bb _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_margin=\u00a0\u00bb||0px||false|false\u00a0\u00bb custom_padding=\u00a0\u00bb25px||0px||false|false\u00a0\u00bb border_color_all=\u00a0\u00bb#0b32e0″ border_width_top=\u00a0\u00bb3px\u00a0\u00bb border_style_top=\u00a0\u00bbdashed\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_column type=\u00a0\u00bb3_4″ _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_text _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_margin=\u00a0\u00bb||5px||false|false\u00a0\u00bb custom_padding=\u00a0\u00bb||0px|5px|false|false\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb]

Samedi 2 novembre 2024 | 14h-17h<\/strong><\/h4>\n

Masterclass de Nigel North
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Entr\u00e9e libre
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\u00a04 \u00e9tudiant.exs seront s\u00e9lectionn\u00e9.exs pour participer \u00e0 cette masterclass. <\/strong><\/p>\n

Luthiste britannique \u00e0 la renomm\u00e9e internationale, Nigel North est professeur de luth \u00e0 l\u2019Early Music Institute de l\u2019Universit\u00e9 de l\u2019Indiana \u00e0 Bloomington depuis 1999. Il a \u00e9galement occup\u00e9 des fonctions \u00e0 la Guildhall School of Music and Drama de Londres (1976-1996), \u00e0 la Hochschule der K\u00fcnste de Berlin (1993-1999) et au Conservatoire royal de La Haye (2006-2009).
Inspir\u00e9 d\u00e8s l\u2019\u00e2ge de sept ans par The Shadows, un groupe pop instrumental du d\u00e9but des ann\u00e9es 1960, Nigel North a \u00e9tudi\u00e9 le violon et la guitare classique et trouv\u00e9 sa voie dans le luth \u00e0 15 ans. Essentiellement autodidacte de cet instrument, il en joue et l\u2019enseigne depuis pr\u00e8s de 50 ans.
En 2002, Julian Bream relate : \u00ab Je me souviens d\u2019un r\u00e9cital remarquable, que j\u2019aurais aim\u00e9 avoir la capacit\u00e9 de donner : c\u2019\u00e9tait un des r\u00e9citals Bach de Nigel North, et j\u2019ai \u00e9t\u00e9 renvers\u00e9 par sa ma\u00eetrise et sa musicalit\u00e9. Une v\u00e9ritable exp\u00e9rience musicale, qui n\u2019est pas toujours au rendez-vous avec les guitaristes et
les luthistes et qui est plut\u00f4t rare, en g\u00e9n\u00e9ral. \u00bb
Nigel North a notamment enregistr\u00e9 le coffret de quatre CD Bach on the Lute (Linn Records), quatre disques consacr\u00e9s \u00e0 la musique pour luth de John Dowland (Naxos), et amorc\u00e9 une nouvelle s\u00e9rie d\u2019enregistrements de la musique de Sylvius Weiss (BGS) et de Francesco da Milano (BGS).<\/strong>\u00a0<\/p>\n

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Samedi 2 novembre | 20h
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Pablo Zapico & Daniel Zapico
<\/strong><\/h3>\n

The Filippo dalla Casa Collection
<\/span><\/em><\/strong><\/h4>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00a0\u00bb1_4″ _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_padding=\u00a0\u00bb15px||||false|false\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_button button_url=\u00a0\u00bbhttps:\/\/acma.ch\/new\/wordpress\/billetterie-acma\/\u00a0\u00bb button_text=\u00a0\u00bbR\u00e9server\u00a0\u00bb button_alignment=\u00a0\u00bbright\u00a0\u00bb _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_button=\u00a0\u00bbon\u00a0\u00bb button_text_color=\u00a0\u00bb#ffffff\u00a0\u00bb button_bg_color=\u00a0\u00bb#006f92″ button_border_width=\u00a0\u00bb0px\u00a0\u00bb button_border_radius=\u00a0\u00bb11px\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][\/et_pb_button][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″ _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_toggle title=\u00a0\u00bbEn savoir plus\u00a0\u00bb open_toggle_text_color=\u00a0\u00bb#0b32e0″ open_toggle_background_color=\u00a0\u00bbrgba(255,255,255,0.17)\u00a0\u00bb closed_toggle_background_color=\u00a0\u00bbrgba(255,255,255,0.17)\u00a0\u00bb icon_color=\u00a0\u00bb#0b32e0″ toggle_icon=\u00a0\u00bb||fa||900″ use_icon_font_size=\u00a0\u00bbon\u00a0\u00bb open_icon_color=\u00a0\u00bb#0b32e0″ open_toggle_icon=\u00a0\u00bb||fa||900″ _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb title_text_color=\u00a0\u00bb#0b32e0″ title_font=\u00a0\u00bb|600|||||||\u00a0\u00bb title_text_align=\u00a0\u00bbleft\u00a0\u00bb text_orientation=\u00a0\u00bbleft\u00a0\u00bb custom_margin=\u00a0\u00bb||5px||false|false\u00a0\u00bb custom_padding=\u00a0\u00bb|||10px|false|false\u00a0\u00bb border_radii=\u00a0\u00bboff|6px|6px|6px|6px\u00a0\u00bb border_width_all=\u00a0\u00bb0px\u00a0\u00bb border_color_all=\u00a0\u00bb#000000″ border_color_bottom=\u00a0\u00bb#0b32e0″ global_colors_info=\u00a0\u00bb{}\u00a0\u00bb]

Pablo Zapico <\/strong>archiluth
Daniel Zapico <\/strong>th\u00e9orbe<\/p>\n

<\/strong><\/p>\n

Filippo Dalla Casa [1737 – apr\u00e8s 1811] \u00e9tait un peintre professionnel et un joueur d’archiluth amateur. En 1811, probablement \u00e0 l’\u00e2ge de 74 ans, il a fait don de sa collection de Suonate di Celebri Auttori per l’Arcileuto Francese, de son propre instrument et d’un autoportrait dat\u00e9 de 1759 au Liceo Filarmonico, aujourd’hui le Conservatorio Statale di Musica ‘G. B. Martini’ \u00e0 Bologne.
\u00c0 l’exception de la Sinfonia, toutes les pi\u00e8ces de ce programme proviennent de son manuscrit en deux volumes, dat\u00e9 de 1759 et 1760 \u00e0 Bologne. Parmi les quelques auteurs connus ou cr\u00e9dit\u00e9s, on trouve des noms de luthistes et surtout de clavecinistes de l’\u00e9poque sur lesquels il est tr\u00e8s difficile de trouver des informations dans les recueils de musique, mais qui devaient \u00eatre des musiciens renomm\u00e9s.<\/p>\n

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Dimanche 3 novembre 2024 | 11h<\/strong><\/h4>\n

La r\u00eaveuse
<\/strong><\/h3>\n

Le concert des oiseaux
<\/span><\/em><\/strong><\/h4>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00a0\u00bb1_4″ _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_padding=\u00a0\u00bb15px||||false|false\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_button button_url=\u00a0\u00bbhttps:\/\/acma.ch\/new\/wordpress\/billetterie-acma\/\u00a0\u00bb button_text=\u00a0\u00bbR\u00e9server\u00a0\u00bb button_alignment=\u00a0\u00bbright\u00a0\u00bb _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_button=\u00a0\u00bbon\u00a0\u00bb button_text_color=\u00a0\u00bb#ffffff\u00a0\u00bb button_bg_color=\u00a0\u00bb#006f92″ button_border_width=\u00a0\u00bb0px\u00a0\u00bb button_border_radius=\u00a0\u00bb11px\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][\/et_pb_button][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″ _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_toggle title=\u00a0\u00bbEn savoir plus\u00a0\u00bb open_toggle_text_color=\u00a0\u00bb#0b32e0″ open_toggle_background_color=\u00a0\u00bbrgba(255,255,255,0.17)\u00a0\u00bb closed_toggle_background_color=\u00a0\u00bbrgba(255,255,255,0.17)\u00a0\u00bb icon_color=\u00a0\u00bb#0b32e0″ toggle_icon=\u00a0\u00bb||fa||900″ use_icon_font_size=\u00a0\u00bbon\u00a0\u00bb open_icon_color=\u00a0\u00bb#0b32e0″ open_toggle_icon=\u00a0\u00bb||fa||900″ _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb title_text_color=\u00a0\u00bb#0b32e0″ title_font=\u00a0\u00bb|600|||||||\u00a0\u00bb title_text_align=\u00a0\u00bbleft\u00a0\u00bb text_orientation=\u00a0\u00bbleft\u00a0\u00bb custom_margin=\u00a0\u00bb||5px||false|false\u00a0\u00bb custom_padding=\u00a0\u00bb|||10px|false|false\u00a0\u00bb hover_enabled=\u00a0\u00bb0″ border_radii=\u00a0\u00bboff|6px|6px|6px|6px\u00a0\u00bb border_width_all=\u00a0\u00bb0px\u00a0\u00bb border_color_all=\u00a0\u00bb#000000″ border_color_bottom=\u00a0\u00bb#0b32e0″ global_colors_info=\u00a0\u00bb{}\u00a0\u00bb sticky_enabled=\u00a0\u00bb0″]
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Ce programme \u00e9voque, \u00e0 travers la fascination des hommes pour les oiseaux, une certaine vision de la musique aux XVIIe et XVIIIe si\u00e8cle, entre science, nature et culture.<\/p>\n

\n

Le chant des oiseaux a toujours inspir\u00e9 les compositeurs depuis la nuit des temps. Les premiers instruments fabriqu\u00e9s par les hommes sont justement des fl\u00fbtes et des appeaux. Mais le chant des oiseaux est\u2013il imitable et sommes-nous capables de rivaliser avec les oiseaux ?<\/p>\n

Florence Bolton<\/strong>, viole de gambe
Benjamin Perrot<\/strong>, th\u00e9orbe
K\u00f4ske Nozaki<\/strong>, fl\u00fbtes \u00e0 bec et flageolets d\u2019oiseaux<\/p>\n

Musique de J. Van Eyck <\/strong>(v.1590-1627), H. Purcell<\/strong> (1659-1695), F. Couperin<\/strong> (1668-1733), C. Saint-Sa\u00ebns<\/strong> (1835-1921), M. Ravel<\/strong> (1875-1937), V. Bouchot<\/strong> (n\u00e9 en 1966)<\/p>\n<\/div>\n

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Dimanche 3 novembre 2024 | 14h
<\/strong><\/h4>\n

Fantasia : Conf\u00e9rence-Atelier <\/strong><\/h3>\n

Bor Zuljan, Jean-Yves Haymoz, M\u00f3nica Pustilnik
<\/strong><\/h3>\n

Projet de recherche de la HEM de Gen\u00e8ve, avec le Label Ricercar et l\u2019ACMA<\/span><\/em><\/strong><\/h4>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00a0\u00bb1_4″ _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_padding=\u00a0\u00bb15px||||false|false\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_button button_url=\u00a0\u00bbhttps:\/\/acma.ch\/new\/wordpress\/billetterie-acma\/\u00a0\u00bb button_text=\u00a0\u00bbR\u00e9server\u00a0\u00bb button_alignment=\u00a0\u00bbright\u00a0\u00bb _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_button=\u00a0\u00bbon\u00a0\u00bb button_text_color=\u00a0\u00bb#ffffff\u00a0\u00bb button_bg_color=\u00a0\u00bb#006f92″ button_border_width=\u00a0\u00bb0px\u00a0\u00bb button_border_radius=\u00a0\u00bb11px\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][\/et_pb_button][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″ _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_toggle title=\u00a0\u00bbEn savoir plus\u00a0\u00bb open_toggle_text_color=\u00a0\u00bb#0b32e0″ open_toggle_background_color=\u00a0\u00bbrgba(255,255,255,0.17)\u00a0\u00bb closed_toggle_background_color=\u00a0\u00bbrgba(255,255,255,0.17)\u00a0\u00bb icon_color=\u00a0\u00bb#0b32e0″ toggle_icon=\u00a0\u00bb||fa||900″ use_icon_font_size=\u00a0\u00bbon\u00a0\u00bb open_icon_color=\u00a0\u00bb#0b32e0″ open_toggle_icon=\u00a0\u00bb||fa||900″ _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb title_text_color=\u00a0\u00bb#0b32e0″ title_font=\u00a0\u00bb|600|||||||\u00a0\u00bb title_text_align=\u00a0\u00bbleft\u00a0\u00bb text_orientation=\u00a0\u00bbleft\u00a0\u00bb custom_margin=\u00a0\u00bb||5px||false|false\u00a0\u00bb custom_padding=\u00a0\u00bb|||10px|false|false\u00a0\u00bb border_radii=\u00a0\u00bboff|6px|6px|6px|6px\u00a0\u00bb border_width_all=\u00a0\u00bb0px\u00a0\u00bb border_color_all=\u00a0\u00bb#000000″ border_color_bottom=\u00a0\u00bb#0b32e0″ global_colors_info=\u00a0\u00bb{}\u00a0\u00bb]

Le projet de recherche \u00ab Fantaisie \u00bb a commenc\u00e9 \u00e0 la HEM de Gen\u00e8ve en 2017 et a vite suscit\u00e9 beaucoup d\u2019int\u00e9r\u00eat dans le monde de la musique ancienne, et du luth en particulier. Centr\u00e9 autour de la fantaisie \u00e0 la renaissance, il a eu pour but de red\u00e9couvrir les techniques d\u2019improvisation contrapuntique oubli\u00e9es, dans le but de les utiliser en concert et dans l’enseignement.\u00a0 Ce projet a \u00e9galement donn\u00e9 lieu \u00e0 la construction de copies d’instruments historiques, touchant des mondes sonores tr\u00e8s diff\u00e9rents de ceux qui nous connaissons.<\/p>\n

En lien avec ce projet,\u00a0 Bor Zuljan et M\u00f3nica Pustilnik ont pr\u00e9vu d\u2019enregistrer un album, qui sera publi\u00e9 en forme de livre-disque par le label mythique
Ricercar (Outhere Music) et co-produit par l\u2019ACMA.<\/p>\n

A l\u2019occasion de la sortie de ce livre-disque, l\u2019ACMA organise une pr\u00e9sentation de ce travail de recherche et de ses r\u00e9sultats, \u00a0en forme de conf\u00e9rence-atelier. <\/strong>\u00a0<\/p>[\/et_pb_toggle][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00a0\u00bb3_4,1_4″ make_equal=\u00a0\u00bbon\u00a0\u00bb _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_margin=\u00a0\u00bb||0px||false|false\u00a0\u00bb custom_padding=\u00a0\u00bb25px||0px||false|false\u00a0\u00bb border_color_all=\u00a0\u00bb#0b32e0″ border_width_top=\u00a0\u00bb3px\u00a0\u00bb border_style_top=\u00a0\u00bbdashed\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_column type=\u00a0\u00bb3_4″ _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_text _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_margin=\u00a0\u00bb||5px||false|false\u00a0\u00bb custom_padding=\u00a0\u00bb||0px|5px|false|false\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb]

Dimanche 3 novembre 2024 | 17h
<\/strong><\/h4>\n

Nigel North
<\/strong><\/h3>\n

R\u00e9cital – Douce m\u00e9moire : Lieder, Chansons, Madrigaux, Danses et motifs 1500 \u2013 1600
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\u00ab\u00a0Dans notre culture musicale actuelle, il existe de nombreuses chansons que presque tout le monde conna\u00eet et peut chanter, quels que soient ses go\u00fbts musicaux, qu’il s’agisse de musique classique, de jazz ou de rock. L’embl\u00e9matique, de mon point de vue, est la chanson \u00ab\u00a0Yesterday\u00a0\u00bb de Paul McCartney\/Beatles. Je me fais un devoir de demander aux nouveaux \u00e9tudiants des classes sup\u00e9rieures s’ils la connaissent. M\u00eame si je suis la seule personne pr\u00e9sente \u00e0 avoir entendu les Beatles en concert, \u00e0 l’\u00e9poque de leur splendeur, tout le monde conna\u00eet \u00ab\u00a0Yesterday\u00a0\u00bb et est capable de la chanter et de l’harmoniser sur-le-champ.
Si nous revenons 400 ou 500 ans en arri\u00e8re, nous trouvons une vaste collection de \u00ab\u00a0chansonnettes\u00a0\u00bb qui \u00e9taient connues \u00e0 de nombreux niveaux de la soci\u00e9t\u00e9 et qui \u00e9taient les v\u00e9ritables \u00ab\u00a0tubes\u00a0\u00bb de l’\u00e9poque. Bienvenue au r\u00e9cital d’aujourd’hui ! Si nous prenons le monde du jazz moderne comme autre parall\u00e8le, nous nous trouvons dans l’\u00e9quivalent du XVIe si\u00e8cle du livre des standards du jazz, autrefois appel\u00e9 le Fake Book, aujourd’hui connu sous le nom de Real Book.\u00a0\u00bb<\/strong><\/p>\n

Le luthiste britannique internationalement reconnu Nigel North nous offre un r\u00e9cital qui nous fait go\u00fbter ces \u00ab\u00a0tubes\u00a0\u00bb de la Renaissance,\u00a0 madrigaux italiens d’Arcadelt, de Rore et d’Orlando di Lasso et chanson franco-flamande. \u00a0<\/p>\n

<\/p>\n

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\u00a0<\/strong><\/h1>\n

Du 3 au 5 mai 2024<\/h1>[\/et_pb_text][et_pb_text _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_margin=\u00a0\u00bb||5px||false|false\u00a0\u00bb custom_padding=\u00a0\u00bb||0px|5px|false|false\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb]

Vendredi 3 mai 2024 | 20h<\/strong><\/h4>\n

La Compagnia del Madrigale – Eduardo Eguez<\/strong><\/h3>\n

O Felici Occhi miei<\/em><\/strong><\/h4>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00a0\u00bb1_4″ _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_padding=\u00a0\u00bb15px||||false|false\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_margin=\u00a0\u00bb||0px||false|false\u00a0\u00bb custom_padding=\u00a0\u00bb0px||25px||false|false\u00a0\u00bb border_color_all=\u00a0\u00bb#000000″ border_style_all=\u00a0\u00bbdashed\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″ _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_toggle title=\u00a0\u00bbEn savoir plus\u00a0\u00bb open_toggle_text_color=\u00a0\u00bb#0b32e0″ open_toggle_background_color=\u00a0\u00bbrgba(255,255,255,0.17)\u00a0\u00bb closed_toggle_background_color=\u00a0\u00bbrgba(255,255,255,0.17)\u00a0\u00bb icon_color=\u00a0\u00bb#0b32e0″ toggle_icon=\u00a0\u00bb||fa||900″ use_icon_font_size=\u00a0\u00bbon\u00a0\u00bb open_icon_color=\u00a0\u00bb#0b32e0″ open_toggle_icon=\u00a0\u00bb||fa||900″ _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb title_text_color=\u00a0\u00bb#0b32e0″ title_font=\u00a0\u00bb|600|||||||\u00a0\u00bb title_text_align=\u00a0\u00bbleft\u00a0\u00bb text_orientation=\u00a0\u00bbleft\u00a0\u00bb custom_margin=\u00a0\u00bb||5px||false|false\u00a0\u00bb custom_padding=\u00a0\u00bb|||10px|false|false\u00a0\u00bb border_radii=\u00a0\u00bboff|6px|6px|6px|6px\u00a0\u00bb border_width_all=\u00a0\u00bb0px\u00a0\u00bb border_color_all=\u00a0\u00bb#000000″ border_color_bottom=\u00a0\u00bb#0b32e0″ global_colors_info=\u00a0\u00bb{}\u00a0\u00bb]

Rossana Bertini<\/strong> soprano
Giuseppe Maletto<\/strong> tenore
Massimo Lombardi<\/strong>\u00a0tenore
Matteo Bellotto<\/strong> basse<\/p>\n

Eduardo Eg\u00fcez\u00a0<\/strong> luth et direction<\/p>\n

<\/p>\n

Oeuvres de Francesco da Milano, Jacques Arcadelt, Alberto da Rippa, Vincenzo Ruffo, Giovanni Paolo Paladino, Pietro Paolo Borrono et Rogier Pathie.<\/p>\n

\"\"<\/p>[\/et_pb_toggle][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00a0\u00bb3_4,1_4″ make_equal=\u00a0\u00bbon\u00a0\u00bb _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_margin=\u00a0\u00bb||0px||false|false\u00a0\u00bb custom_padding=\u00a0\u00bb10px||0px||false|false\u00a0\u00bb border_color_all=\u00a0\u00bbrgba(12,113,195,0.49)\u00a0\u00bb border_color_top=\u00a0\u00bb#000000″ border_style_top=\u00a0\u00bbdashed\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_column type=\u00a0\u00bb3_4″ _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_text _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_margin=\u00a0\u00bb||5px|10px|false|false\u00a0\u00bb custom_padding=\u00a0\u00bb0px||0px||false|false\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb]

Samedi 4 mai 2024\u00a0 | 10h30 – 12h30 et\u00a0 13h30 – 15h30<\/strong><\/h4>\n

Masterclass de Claire Antonini<\/strong><\/h3>\n

Luth Baroque fran\u00e7ais – Entr\u00e9e libre
<\/em><\/strong><\/h4>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00a0\u00bb1_4″ _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_padding=\u00a0\u00bb15px||||false|false\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_margin=\u00a0\u00bb||0px||false|false\u00a0\u00bb custom_padding=\u00a0\u00bb0px||25px||false|false\u00a0\u00bb border_color_all=\u00a0\u00bb#000000″ border_style_all=\u00a0\u00bbdashed\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″ _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_toggle title=\u00a0\u00bbEn savoir plus\u00a0\u00bb open_toggle_text_color=\u00a0\u00bb#0b32e0″ open_toggle_background_color=\u00a0\u00bbrgba(255,255,255,0.17)\u00a0\u00bb closed_toggle_background_color=\u00a0\u00bbrgba(255,255,255,0.17)\u00a0\u00bb icon_color=\u00a0\u00bb#0b32e0″ toggle_icon=\u00a0\u00bb||fa||900″ use_icon_font_size=\u00a0\u00bbon\u00a0\u00bb open_icon_color=\u00a0\u00bb#0b32e0″ open_toggle_icon=\u00a0\u00bb||fa||900″ _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb title_text_color=\u00a0\u00bb#0b32e0″ title_font=\u00a0\u00bb|600|||||||\u00a0\u00bb title_text_align=\u00a0\u00bbleft\u00a0\u00bb text_orientation=\u00a0\u00bbleft\u00a0\u00bb custom_margin=\u00a0\u00bb||5px||false|false\u00a0\u00bb custom_padding=\u00a0\u00bb|||10px|false|false\u00a0\u00bb border_radii=\u00a0\u00bboff|6px|6px|6px|6px\u00a0\u00bb border_width_all=\u00a0\u00bb0px\u00a0\u00bb border_color_all=\u00a0\u00bb#000000″ border_color_bottom=\u00a0\u00bb#0b32e0″ global_colors_info=\u00a0\u00bb{}\u00a0\u00bb]

Luthiste, dipl\u00f4m\u00e9e du Conservatoire Sup\u00e9rieur de Musique de Lyon, Claire Antonini est consid\u00e9r\u00e9e comme l\u2019une des sp\u00e9cialistes de la Musique Fran\u00e7aise pour luth du XVII\u00b0 si\u00e8cle, musique \u00e0 laquelle elle a consacr\u00e9 quatre enregistrements : \u00abLes luthistes fran\u00e7ais au XVII\u00b0 si\u00e8cle \u00bb \u00e9dit\u00e9 par la Soci\u00e9t\u00e9 Fran\u00e7aise de luth, \u00ab Manuscrit Vaudry de Saizenay \u00bb \u00e9dit\u00e9 par AS production et salu\u00e9 par la critique (Choc de Classica et 5 diapasons), \u00ab\u00a0Les accords nouveaux, Pierre Ballard 1638\u00a0\u00bb et \u00ab\u00a0Les accords nouveaux, Pierre Ballard 1631.\u00a0\u00bb En tant que soliste, elle se produit r\u00e9guli\u00e8rement en France et \u00e0 l\u2019\u00e9tranger. Elle m\u00e8ne \u00e9galement une carri\u00e8re de continuiste, accompagnant les plus grands chanteurs et instrumentistes tels que Philippe Jaroussky au sein de l\u2019ensemble Artaserse, mais aussi Monique Zanetti, Isabelle Poulenard, Cyril Auvitis, Anth\u00e9a Pichanick, Claire Le Fili\u00e2tre, Marianne Muller… Elle joue r\u00e9guli\u00e8rement avec diff\u00e9rents orchestres baroques : \u00ab Le Concert d\u2019Astr\u00e9e \u00bb, \u00ab Les Arts Florissants\u00bb, \u00ab Le Concert Spirituel \u00bb, \u00ab La Grande Ecurie et la Chambre du Roy \u00bb.<\/p>\n

Elle a, par ailleurs, \u00e9tudi\u00e9 la musique traditionnelle persane aupr\u00e8s du grand maitre Dariush Tala\u00ef, et se produit r\u00e9guli\u00e8rement au sein d\u2019ensemble de musique persane. Ces comp\u00e9tences en musique ancienne et en musique traditionnelle orientale l\u2019ont amen\u00e9 \u00e0 naviguer vers d\u2019autres univers musicaux entre autre avec Renaud Garcia-Fons, avec qui elle joue r\u00e9guli\u00e8rement et a enregistr\u00e9 un album en duo \u00ab\u00a0Farangi\u00a0\u00bb. Elle a obtenu le Dipl\u00f4me d\u2019Etat de Professeur de Musique Traditionnelle et le Certificat d\u2019Aptitude aux fonctions de Professeur de Musique Ancienne, et m\u00e8ne depuis de nombreuses ann\u00e9es des activit\u00e9s p\u00e9dagogiques dans diff\u00e9rents Conservatoires.<\/p>\n

\"\"<\/p>[\/et_pb_toggle][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00a0\u00bb3_4,1_4″ make_equal=\u00a0\u00bbon\u00a0\u00bb _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_margin=\u00a0\u00bb||0px||false|false\u00a0\u00bb custom_padding=\u00a0\u00bb10px||0px||false|false\u00a0\u00bb border_color_all=\u00a0\u00bbrgba(12,113,195,0.49)\u00a0\u00bb border_color_top=\u00a0\u00bb#000000″ border_style_top=\u00a0\u00bbdashed\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_column type=\u00a0\u00bb3_4″ _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_text _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_margin=\u00a0\u00bb||5px|10px|false|false\u00a0\u00bb custom_padding=\u00a0\u00bb||0px|||\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb]

Samedi 4 mai 2024\u00a0 | 16h
<\/strong><\/h4>\n

Nouvelle g\u00e9n\u00e9ration
<\/strong><\/h3>\n

R\u00e9citals d’\u00e9tudiant\u00b7e\u00b7s en fin d’\u00e9tude – Entr\u00e9e libre
<\/em><\/strong><\/h3>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00a0\u00bb1_4″ _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_padding=\u00a0\u00bb15px||||false|false\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_margin=\u00a0\u00bb||0px||false|false\u00a0\u00bb custom_padding=\u00a0\u00bb0px||25px||false|false\u00a0\u00bb border_color_all=\u00a0\u00bb#000000″ border_style_all=\u00a0\u00bbdashed\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″ _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_toggle title=\u00a0\u00bbEn savoir plus\u00a0\u00bb open_toggle_text_color=\u00a0\u00bb#0b32e0″ open_toggle_background_color=\u00a0\u00bbrgba(255,255,255,0.17)\u00a0\u00bb closed_toggle_background_color=\u00a0\u00bbrgba(255,255,255,0.17)\u00a0\u00bb icon_color=\u00a0\u00bb#0b32e0″ toggle_icon=\u00a0\u00bb||fa||900″ use_icon_font_size=\u00a0\u00bbon\u00a0\u00bb open_icon_color=\u00a0\u00bb#0b32e0″ open_toggle_icon=\u00a0\u00bb||fa||900″ _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb title_text_color=\u00a0\u00bb#0b32e0″ title_font=\u00a0\u00bb|600|||||||\u00a0\u00bb title_text_align=\u00a0\u00bbleft\u00a0\u00bb text_orientation=\u00a0\u00bbleft\u00a0\u00bb custom_margin=\u00a0\u00bb||5px||false|false\u00a0\u00bb custom_padding=\u00a0\u00bb|||10px|false|false\u00a0\u00bb border_radii=\u00a0\u00bboff|6px|6px|6px|6px\u00a0\u00bb border_width_all=\u00a0\u00bb0px\u00a0\u00bb border_color_all=\u00a0\u00bb#000000″ border_color_bottom=\u00a0\u00bb#0b32e0″ global_colors_info=\u00a0\u00bb{}\u00a0\u00bb]

Pour la troisi\u00e8me ann\u00e9e cons\u00e9cutive, l\u2019ACMA invite les \u00e9tudiant.e.s de la Haute Ecole de Musique de Gen\u00e8ve, de la Schola Cantorum de B\u00e2le, des Conservatoires Nationaux Sup\u00e9rieurs de Musique de Paris et Lyon. Trois \u00e9tudiants en fin d\u2019\u00e9tudes de bachelor ou de master sont s\u00e9lectionn\u00e9s sur dossier artistique afin de pr\u00e9senter durant 40 minutes, une partie de leur programme de r\u00e9cital de fin d’\u00e9tude.\u00a0 Programme \u00e0 venir<\/strong><\/p>[\/et_pb_toggle][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00a0\u00bb3_4,1_4″ make_equal=\u00a0\u00bbon\u00a0\u00bb _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_margin=\u00a0\u00bb||0px||false|false\u00a0\u00bb custom_padding=\u00a0\u00bb10px||0px||false|false\u00a0\u00bb border_color_all=\u00a0\u00bbrgba(12,113,195,0.49)\u00a0\u00bb border_color_top=\u00a0\u00bb#000000″ border_style_top=\u00a0\u00bbdashed\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_column type=\u00a0\u00bb3_4″ _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_text _builder_version=\u00a0\u00bb4.17.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_margin=\u00a0\u00bb||5px|10px|false|false\u00a0\u00bb custom_padding=\u00a0\u00bb||0px|||\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb]

Samedi 4 mai 2024 | 20h<\/strong><\/h4>\n

Thomas Dunford et Keyvan Chemirani<\/span>
<\/strong><\/h3>\n

\u00a0Rencontre entre le luth et les percussions orientales
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Thomas Dunford Archiluth<\/strong>
Keyvan Chemirani Percussions<\/strong><\/p>\n

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Les percussions orientales de Keyvan Chemirani rencontrent l’archiluth de Thomas Dunford dans un programme aux sonorit\u00e9s inhabituelles.<\/p>\n

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Oeuvres de John Dowland, Marin Marais et Johann Sebastian Bach<\/p>\n

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Dimanche 5 mai 2024\u00a0 | 11h
<\/strong><\/h4>\n

Les Ramages
<\/strong><\/h3>\n

Parlez-moy donc ! …Musique et litt\u00e9rature dans les salons
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Ensemble Les Ramages<\/strong>
V\u00e9ronique Jamain<\/strong> traverso
Fran\u00e7ois Stride<\/strong> th\u00e9orbe, guitare baroque
Constance Larrieu<\/strong> r\u00e9citante<\/p>\n

Les Ruelles, puis les Salons, tenus par l\u2019aristocratie fran\u00e7aise des XVII\u00e8 et XVIII\u00e8 si\u00e8cles, abritent des divertissements sans cesse renouvel\u00e9s : conversations litt\u00e9raires, critiques ou politiques, lectures, contes, chansons, fables ou portraits, musique instrumentale\u2026<\/p>\n

Cette importante vie mondaine s\u2019\u00e9tend aussi \u00e0 la bourgeoisie, qui a alors un acc\u00e8s plus facile \u00e0 la culture, notamment gr\u00e2ce \u00e0 l\u2019impression d\u2019ouvrages divers. Concernant la musique, de nombreuses m\u00e9thodes destin\u00e9es aux amateurs voient le jour ; les recueils d\u2019airs chant\u00e9s ou arrang\u00e9s, les transcriptions d\u2019op\u00e9ras connus du public font recette. Le go\u00fbt des Fran\u00e7ais pour les spectacles, \u00e0 commencer par le roi Louis XIV lui-m\u00eame, suscite de fructueuses collaborations entre \u00e9crivains, compositeurs et musiciens. Les rivalit\u00e9s ne sont pas absentes de ce paysage artistique, donnant parfois lieu \u00e0 de violentes controverses.
Il est aussi question d\u2019amiti\u00e9s dans ce programme, cheminant \u00e0 travers le \u00ab labyrinthe de la vie \u00bb, comme dans celui que Nicolas Fouquet, proche de La Fontaine, avait imagin\u00e9 pour son ch\u00e2teau de Vaux-le- Vicomte.<\/p>\n

\u0152uvres de J.- B. Lully, J. de La Fontaine, R. de Vis\u00e9e, J. de La Bruy\u00e8re, M. de la Barre, Moli\u00e8re, J. Hotteterre, A. Lainez, J. Dornel<\/p>\n

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Dimanche 5 mai 2024\u00a0 | 16h00
<\/strong><\/h4>\n

Yuli Bayeul
<\/strong><\/h3>\n

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Le tr\u00e9sor d’Orph\u00e9e – Avant-concert Jeune talent
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Yuli Bayeul commence a 5 ans ses \u00e9tudes de luth aupr\u00e8s de Claire Antonini a Chelles, et rentre \u00e0 8 ans au CRR de Paris aupr\u00e8s de Charles \u00c9douard Fantin. Il pu se produire \u00e0 la Chapelle de Versailles, l\u2019Op\u00e9ra de Versailles, le Ph\u00e9nix de Valenciennes entre autres. En parall\u00e8le, il suit tout les ans le stage Marchesato Op\u00e9ra festival a Salluzzo pour travailler avec Eduardo Eguez. En 2021, il obtient son dipl\u00f4me d\u2019\u00e9tude musicale a l\u2019unaminit\u00e9 avec les f\u00e9licitations du jury au CRR. Il est actuellement en deuxi\u00e8me ann\u00e9e au CNSM de Paris dans la classe de Monica Pustilnik.<\/p>\n

Il nous propose ici une s\u00e9lection de pi\u00e8ce du Tr\u00e9sor d’Orph\u00e9e<\/em>, d’Anthoine Francisque. En France, les guerres de religion de la fin du XVIe si\u00e8cle ont fait payer un lourd tribut \u00e0 la musique de luth ; \u00e0 notre connaissance, aucune publication n’a \u00e9t\u00e9 faite au cours de ce si\u00e8cle apr\u00e8s 1571, ann\u00e9e du dernier recueil connu d’Adrian Le Roy. Les publications pour le luth ne reprendront qu’en 1600, avec le Tr\u00e9sor d’Orph\u00e9e d’Anthoine Francisque, publi\u00e9 \u00e0 Paris. Il n’existe apparemment qu’un seul exemplaire de l’ouvrage, conserv\u00e9 \u00e0 la Biblioth\u00e8que nationale de Paris. Imprim\u00e9 avec grand soin par l’\u00e9diteur Ballard (anciennement Le Roy & Ballard), avec les m\u00eames caract\u00e8res que ceux utilis\u00e9s trente ans plus t\u00f4t pour le livre des Airs de cour d’Adrian Le Roy (1571), le recueil contient 71 pi\u00e8ces : deux adaptations de polyphonies vocales, sept compositions libres (fantaisies, pr\u00e9ludes) et 62 danses.<\/p>\n

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Dimanche 5 mai 2024\u00a0 | 17h00
<\/strong><\/h4>\n

Claire Antonini
<\/strong><\/h3>\n

<\/strong><\/p>\n

Le luth et le rossignol
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Au XVII\u00b0 si\u00e8cle, les luthistes fran\u00e7ais sont tr\u00e8s appr\u00e9ci\u00e9s en Europe. Le plus c\u00e9l\u00e8bre d\u2019entre eux : Ennemond Gaultier dit \u00ab Vieux Gaultier \u00bb (dont on trouve de nombreuses pi\u00e8ces dans des manuscrits anglais ou allemands) sera re\u00e7u \u00e0 la cour d\u2019Angleterre. Il conna\u00eetra un tel succ\u00e8s, que le Duc de Buckingham essaiera de l\u2019attacher \u00e0 son service en lui offrant une somme consid\u00e9rable.<\/p>\n

En raison de cet engouement pour le luth fran\u00e7ais, il n\u2019est pas \u00e9tonnant de trouver, parmi la litt\u00e9rature musicale anglaise, des sources importantes concernant celui-ci. C\u2019est le cas du trait\u00e9 de Mary Burwell qui suivant les indications de son ma\u00eetre de luth nous donne de pr\u00e9cieuses informations sur le jeu du luth, la composition, l\u2019interpr\u00e9tation, la transmission, la soci\u00e9t\u00e9 des luthistes en France\u2026 Ce trait\u00e9, parfois emprunt d\u2019une certaine na\u00efvet\u00e9, constitue un pr\u00e9cieux t\u00e9moignage sur les fa\u00e7ons de penser, l\u2019esth\u00e9tique et la sensibilit\u00e9 des milieux musicaux de l\u2019\u00e9poque.<\/p>\n

Ce programme est construit en partie autour des \u0153uvres des luthistes fran\u00e7ais Ennemond et Denis Gaultier. Les textes qui seront lus sont tous extraits du trait\u00e9 de luth de Mary Burwell. Sous l\u2019\u00e9clairage des conseils avis\u00e9s prodigu\u00e9s par ce trait\u00e9, ce concert lecture nous propose un voyage dans le temps au sein de la musique pour luth, de sa po\u00e9sie et de son raffinement.<\/p>\n

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Th\u00e9\u00e2tre Les salons, Gen\u00e8ve Du 1er au 3 novembre 2024 Vendredi 1er novembre 2024 | 20h Accademia degli Stravaganti – Anne Marie Dragosits Io amo, io ardo, io moro – music by Giovanni Girolamo Kapsperger 18h30 | Conf\u00e9rence d’avant-concert Ulrike Hofbauer SopranoNiels Pfeffer Th\u00e9orbeAnne Marie Dragosits Clavecin Oeuvres vocales et instrumentales Giovanni Girolamo Kapsperger et […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":""},"_links":{"self":[{"href":"https:\/\/acma.ch\/new\/wordpress\/wp-json\/wp\/v2\/pages\/4666"}],"collection":[{"href":"https:\/\/acma.ch\/new\/wordpress\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/acma.ch\/new\/wordpress\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/acma.ch\/new\/wordpress\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/acma.ch\/new\/wordpress\/wp-json\/wp\/v2\/comments?post=4666"}],"version-history":[{"count":40,"href":"https:\/\/acma.ch\/new\/wordpress\/wp-json\/wp\/v2\/pages\/4666\/revisions"}],"predecessor-version":[{"id":4833,"href":"https:\/\/acma.ch\/new\/wordpress\/wp-json\/wp\/v2\/pages\/4666\/revisions\/4833"}],"wp:attachment":[{"href":"https:\/\/acma.ch\/new\/wordpress\/wp-json\/wp\/v2\/media?parent=4666"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}