Chamber music in the court of the Vasa’s

In 2015 the music world commemorated the 350th death anniversary of the XVIIth century Italian composer Tarquinio Merula. For this occasion the Vilnius based early music ensemble Canto Fiorito created a program dedicated to this great master, which was first performed at the Palace of the Grand Dukes of Lithuania, the former court of Vasa’s Dynasty, where Merula’s name was placed with special significance. 

In the beginning of the XVII century, the Lithuanian-Polish Commonwealth, ruled by the Vasa’s dynasty, was at the peak of prosperity and attracted numerous music masters to occupy the highest positions in the Lithuanian-Polish musical scene. It is absolutely sure that the most prestigious and influent among these masters was Tarquinio Merula, an Italian composer, organist and violinist that worked as organista di chiesa e di camera for Sigismund III Vasa between 1621-1626. Just after this period, Merula returned to Cremona, to occupy the position of maestro di cappella at its cathedral. Several musicologists and experts of the early baroque era attested that “Merula was a key figure in the early development of several forms which were to mature later in the Baroque era, such as the cantata, the aria, the sonatas da chiesa and da camera, variations on a ground bass, and the sinfonia”.

The program of Vilnius based early music ensemble Canto Fiorito  presents arias and madrigals a voce sola and canzoni a due canti, in which the biggest hits by Merula are also performed.

Programme

Tarquinio Merula (1595-1665):                             

La Treccha

Chi vuol ch’io m'innamori

Cantate Jubilate                                                                                

La Ruggiera

Giovanni Francesco Anerio (1569-1630)               

Tres Pueri

Tarquinio Merula

Canzone                                 

Diomedes Cato (ca.1560 – after 1618)                                   

Canzona Diomedis                 

Tarquinio Merula                          

Gaudeamus Omnes                

Sonata Cromatica

Hor ch’è tempo di dormire 

Ciaccona

Su la cetra amorosa

Folle è ben che si crede  

Formation: 

1 singer, 2 cornetto/recorder players, 1 viola da gamba, 1 organ/harpsichord player