"Progetto Mediterraneo Terre Uomini Suoni"
05 October 2024/ Italy / Sassari
ENSEMBLE PROMETEUS
Italian Sonatas of the 17th Century and
Spanish Music of the Siglo de Oro
Alberto Sanna violin
Alessandro Puggioni violin
Federica Are violone
Calogero Sportato baroque guitar
Stefano De Micheli harpsichord
Andrea Lubino percussion
Italian Sonatas of the Seventeenth Century and
Spanish Music of the Golden Age
Mediterranean Suggestions
Let us imagine an era without the deafening noise of factories, airplanes, bombings or without the insistent noise of electronic and computer devices. An era in which the human ear can develop all its potential to the maximum degree and become not only a sensational instrument of interaction with the outside world, but also a subtle means to express intimate states of mind in music. Let us then imagine a sea. Blue, green, white. Clear, transparent, crystalline. Indispensable, since at the beginning of the Modern Era it is still the only possibility for men from the North and the South, from the East and the West, to drastically shorten the distances between them; to exchange knowledge and mix customs.
From the contemplation of the landscapes of a wonderful land in the middle of this sea, from its deep silences and its dazzling colors, Prometeus (or rather Pro.Me.Te.U.S.) was born back in 1995, an acronym for Progetto Mediterraneo Terre Uomini Suoni: a proposal for cultural development aimed at geographical areas excluded from the great economic circuit and at those segments of society that are generally not interested in musical events that are not mass.
Past and Present
How can you play the music of the past and, at the same time, live in contact with people, in such a different present? By loving ancient music not only because it is a historical heritage, but also because it is an ethnic heritage and, as such, a value for all communities and for all social classes that, over the centuries, have contributed to
shaping it. This was Prometeus. Search in documents, sources, literature, the arts, and music itself for suggestions and ideas to better understand the most emotional part that history has left us of itself, the sounds, and thus be able to listen to them again. Study of the technical and expressive possibilities of ancient instruments, reconstructing faithful copies and investigating their transparent, sweet and, at the same time, fluctuating sounds. Musical show, where moments of absolute chorality alternated with moments of individuality of the instruments, the most intimate emotion mixed with the whimsy and sensuality of the dances, the audience participated directly in the fun of the players. Improvisation, according to practices that in ancient times were an integral part of the technical baggage of every professional. Of those musicians without a fixed abode, who wandered from one city to another, from a secular court to an ecclesiastical one, from a square to a tavern, and who for this reason, the sources only mention in passing, making it difficult for us to reconstruct their lives and their music.
Italian Sonatas of the 17th Century and
Spanish Music of the Siglo de Oro
Alberto Sanna violin
Alessandro Puggioni violin
Federica Are violone
Calogero Sportato baroque guitar
Stefano De Micheli harpsichord
Andrea Lubino percussion
Italian Sonatas of the Seventeenth Century and
Spanish Music of the Golden Age
Mediterranean Suggestions
Let us imagine an era without the deafening noise of factories, airplanes, bombings or without the insistent noise of electronic and computer devices. An era in which the human ear can develop all its potential to the maximum degree and become not only a sensational instrument of interaction with the outside world, but also a subtle means to express intimate states of mind in music. Let us then imagine a sea. Blue, green, white. Clear, transparent, crystalline. Indispensable, since at the beginning of the Modern Era it is still the only possibility for men from the North and the South, from the East and the West, to drastically shorten the distances between them; to exchange knowledge and mix customs.
From the contemplation of the landscapes of a wonderful land in the middle of this sea, from its deep silences and its dazzling colors, Prometeus (or rather Pro.Me.Te.U.S.) was born back in 1995, an acronym for Progetto Mediterraneo Terre Uomini Suoni: a proposal for cultural development aimed at geographical areas excluded from the great economic circuit and at those segments of society that are generally not interested in musical events that are not mass.
Past and Present
How can you play the music of the past and, at the same time, live in contact with people, in such a different present? By loving ancient music not only because it is a historical heritage, but also because it is an ethnic heritage and, as such, a value for all communities and for all social classes that, over the centuries, have contributed to
shaping it. This was Prometeus. Search in documents, sources, literature, the arts, and music itself for suggestions and ideas to better understand the most emotional part that history has left us of itself, the sounds, and thus be able to listen to them again. Study of the technical and expressive possibilities of ancient instruments, reconstructing faithful copies and investigating their transparent, sweet and, at the same time, fluctuating sounds. Musical show, where moments of absolute chorality alternated with moments of individuality of the instruments, the most intimate emotion mixed with the whimsy and sensuality of the dances, the audience participated directly in the fun of the players. Improvisation, according to practices that in ancient times were an integral part of the technical baggage of every professional. Of those musicians without a fixed abode, who wandered from one city to another, from a secular court to an ecclesiastical one, from a square to a tavern, and who for this reason, the sources only mention in passing, making it difficult for us to reconstruct their lives and their music.
