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To the beauty, for the culture.
Inspired by Eos, the rosy-fingered goddess, the Aurora ensemble was founded in 1986 by Enrico Gatti and other musicians keen on the study and performance of the Italian musical heritage.
In a time when ancient music sonority is getting a very nervous and rhythmical physiognomy, the Aurora Ensemble has based its sound emission research on the most peculiar characteristic of the XVII and XVIII century aesthetics: the imitation of nature and consequently of human voice, in its dynamics, pronunciations and articulations.
On this base the correct use of original instruments according to repertoire is not conceived as an aim, but as a precious mean in order to recover the Italian tradition, characterized by nobility and refinement that can be obtained only through a perfect balance between rigorous preparation and interpretative fancy.
→ Enrico Gatti | Ensemble Aurora
Listening to the Sonata in A minor for solo violin BWV 1003 performed on the harpsichord or to the Trio in G minor for organ BWV 584 in a chamber music version could give the impression of being at a concert of music by Bach based - according to a fashion still alive and appreciated - on the modern concept of transcription.
We are instead in front of less known author's variants, which allow us to redesign structures - nowadays crystallized by the repertoire tradition - obeying to reasons ranging from contingency, due to the frequent mobility of the musicians’ staff, to the constant desire to experiment and refine, already witnessed the first biographer Johann Nikolaus Forkel (1801).
In short everything ends to turn around the extraordinary personality of Bach's language and its intact effectiveness in the various changes of ‘habit’, which, for example - far from being mere exercises in style - allowed a church genre to suddenly become gallant or forced unfortunate singers to sing as if they were instruments.
According to this inspiring idea, Enrico Gatti and Rinaldo Alessandrini play switch roles in a program dedicated to mutuality, where original works (for example the rare Fugue in G minor for violin and harpsichord BWV 1026, long considered spurious and only recently revalued) are combined to readings made in that spirit as the Partita for solo flute BWV 1013, presented in a striking violin reinterpretation.
→ www.enrico-gatti.com|Crossdressing Bach
Compositions for 1,2,3 and 4 violins and basso continuo of the Neapolitan school between the seventeenth and eighteenth centuries.
A program, released on CD by Arcana, of incredible musical and cultural value that brings to light unexplored treasures of Neapolitan musical art.
→ www.enrico-gatti.com|The Fiery Genius
We often talk about Italian music of the XVII century, but in fact it is really not possible to generalize: at the time Italy wasn’t even a whole country but a mixture of states and cultures. Music also represents a kaleidoscope of styles and colors not at all homogeneous, just as we can find in the contrasting pictorial styles and in the use of light of artists such as Caravaggio (1571-1610) and Guido Reni (1575-1642).
Music by Dario Castello, Giovanni Battista Fontana, Francesco Rognoni, Bartolomeo de Selma y Salaverde, Giuseppe Scarani, Antonio Bertali & others.
→ www.enrico-gatti.com
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