Matteo Gemolo - traversiere (copy of J.W. Oberlender XVIII sec. made by Martin Wenner)

Henriëtte Wirth - harpsichord

Enrico Pigozzi - sound engineer

Jessica Harrison - ceramic sculpture, Edinburgh 2014

Adagio - Franz Benda - Sonata in E minor for traverso and continuo

Europa Ritrovata

Matteo Gemolo, Justyna Novakovic - traverso
Patrizio Germone, Marie Toriu - violins
Raffaele Nicoletti - alto
Valentin Tournet - gamba
Mathias Ferre - double base
Henriette Wirth - harpsichord

Enrico Pigozzi - sound engineer

D. Sarro - Sinfonia da "Didone Abbandonata"

Barococorico, Suite for Baroque Orchestra, commissioned in 2015 from Albert Behar, by Europa Ritrovata.

"Barococorico came out of my love of baroque ornamentation. Although the austere repetitions of minimalist music have a place in my heart, I’ve always found something magical about the trills and frills of Bach, Rameau, etc. My big question to Matteo Gemolo before I started composing the piece was, “Is ornamentation just decoration, or does it serve a deeper musical purpose?” He answered yes–mordents and trills are the adjectives of Baroque grammar, completely inseparable from the rest of the notes they describe.
I began to wonder if it was possible to create a piece completely out of ornaments. It would be a bit like baking a cake made entirely of frosting. I began my research with Bach’s table of ornaments (below). The main motive of the piece is “Doppelt-Cadence und Mordant” which has a beautiful symmetry and contains both a trill and a mordent. I had a blast writing the pièce and I hope you find all of the little quirky things I hid in the score." Albert Behar

A. Behar, Barococorico - III. Allegro

H. M. Linde - Anspielungen for traverso solo 

(World premiere recording)

Matteo Gemolo - traverso (Palanca, M. Wenner)
Enrico Pigozzi - sound and editing

Hans-Martin Linde (1930), German flautist (playing both recorder and traverso) and composer, wrote some of the best known contemporary masterpieces for recorder: Trio (1960) for recorder, flute (modern) and harpsichord is inspired by the Trio Sonata in C by Johann Joachim Quantz; Music for a bird (1968), recorder solo, originally thought to be for a Japanese mime actor, requires some extended techniques such as harmonics, flatterzunge, glissandos, finger vibrato, voice and many alternatives trills; Amarilli, mia bella (1970) takes its flair from the variations of the namesake aria by Caccini, written by Johann Jacob van Eyck; Märchen (1973) for one recorder player (soprano, alto, tenor and bass recorder).
In 1988 Linde composed his first work for traverso, Anspielungen, dedicated to the German flautist Konrad Hüntler (1947). The double meaning of the German root word “Anspielen”, when referred to a musical instrument can be translated into English as either “try out” or “allude to”. While the first meaning refers to the use of extended techniques on the traverso, the second stands for the dense conglomerate of music quotations taken from the standard traverso literature and reworked and modified throughout the different movements of Anspielungen, including Sonata in e minor BWV 1034, Fifth Brandenburg Concert BWV 1050 and Partita for solo flute BWV 1013 by Johann Sebastian Bach, Sonata in a minor for solo flute H562 by Carl Philipp Emanuel Bach and the Flute Concerto in G Major K313 by Wolfgang Amadeus Mozart.

H. M. Linde - Anspielungen for traverso solo

Commissioned from Joachim Brackx, by Europa Ritrovata
(World premiere recording)

EUROPA RITROVATA
Laurance Servaes - soprano
Matteo Gemolo - traverso
Claire-Sarah Fouché - violone

Enrico Pigozzi - sound and editing

J. Brackx - Imagination Does Not Exist, for voice, traverso and violone

Matteo Gemolo - traverso (Palanca, M. Wenner)
Enrico Pigozzi - sound and editing

Hans-Martin Linde (1930), German flautist (playing both recorder and traverso) and composer, wrote some of the best known contemporary masterpieces for recorder: Trio (1960) for recorder, flute (modern) and harpsichord is inspired by the Trio Sonata in C by Johann Joachim Quantz; Music for a bird (1968), recorder solo, originally thought to be for a Japanese mime actor, requires some extended techniques such as harmonics, flatterzunge, glissandos, finger vibrato, voice and many alternatives trills; Amarilli, mia bella (1970) takes its flair from the variations of the namesake aria by Caccini, written by Johann Jacob van Eyck; Märchen (1973) for one recorder player (soprano, alto, tenor and bass recorder).
In 1988 Linde composed his first work for traverso, Anspielungen, dedicated to the German flautist Konrad Hüntler (1947). The double meaning of the German root word “Anspielen”, when referred to a musical instrument can be translated into English as either “try out” or “allude to”. While the first meaning refers to the use of extended techniques on the traverso, the second stands for the dense conglomerate of music quotations taken from the standard traverso literature and reworked and modified throughout the different movements of Anspielungen, including Sonata in e minor BWV 1034, Fifth Brandenburg Concert BWV 1050 and Partita for solo flute BWV 1013 by Johann Sebastian Bach, Sonata in a minor for solo flute H562 by Carl Philipp Emanuel Bach and the Flute Concerto in G Major K313 by Wolfgang Amadeus Mozart.

H. M. Linde - Anspielungen for traverso solo (1988)

Arrière! (M. Ravel; L'enfant et les sortilèges; Le Feu)

You should come close to me tonight wayfarer
For I will be celebrating you.

Your beauty still causes me madness,
Keeps the neighbours complaining
When I start shouting in the middle of the night
Because I can’t bear all this joy.

I will be giving birth to suns.
I will be holding forests upside down
Gently shaking soft animals from trees and burrows
Into my lap.

What you conceive as imagination
Does not exist for me.

Whatever you can do in a dream
Or on your mind-canvas
My hands can pull - alive - from my coat pocket.

But let’s not talk about my divine world.
For what I most want to know
Tonight is:

All about
You.

Joachim Brackx:
"I wrote a piece for voice, traverso and violone on a beautiful text by Hāfez, a 14th century Persian mystic, with the intriguing title "Imagination Does Not Exist". The première was on March 7th during Museum Night Fever in Brussels"

Imagination Does Not Exist (Joachim Brackx)

EUROPA RITROVATA is an international collective that breathes new life into 18th century music. Collaborating with contemporary composers, choreographers, and filmmakers, the ensemble seeks to create a new repertoire for period instruments. Founded in 2013, the Brussels-based ensemble has performed at Coudenberg Palace, The Belgian Museum of Freemasonry, and the Jacquemart-André Museum in Paris. Their site-specific, interactive baroque soirées have been described as “spectacular” (Brussels Museum Council) and “unusual” (Le Vif). Their debut album TRILL will feature new commissioned works and remixes by Joachim Brackx, Albert Behar, and Enrico Pigozzi, juxtaposed with music from baroque-era composers.
The roster of Europa Ritrovata features some of the top young Baroque musicians from around the world who have performed at venues including Utrecht Oude Muziek Festival, Concertgebouw Brugge, Bozar in Brussels, De Singel in Antwerp, Venetian Centre for Baroque Music, New Year Festival Gstaad, Grandezza & Meraviglie Modena, Euro Classica Online Festival, Festival de Sablé etc. The musicians also perform in other baroque orchestras such as Collegium Vocale, Scherzi Musicali, Vox Luminis, Les Muffatti, Gli Incogniti, Pygmalion, Silete Venti!, Ensemble Odyssee, Euterpe Baroque Consort and many others. The musicians completed their studies with important teachers including Barthold and Wieland Kuijken, Philippe Pierlot, Frank Theuns, Bart Coen, Peter de Clercq and Frederick Haas. Europa Ritovata intends to bring their reimagined Baroque music to open-minded audiences in Europe and abroad.

Matteo Gemolo, artistic director
www.europaritrovata.com
Contact us: europaritrovata@gmail.com
matteogemolo@gmail.com

A. Behar, Barococorico - III. Allegro

Europa Ritrovata

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