Acadèmia CdM

Acadèmia CdM
Terpsichore y las musas de Aonia

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Info

Carmina Sánchez, Soprano
Simona Gatto, Mezzo-soprano
José Javier Sáez Ruiz, Tenor
Antonio Chiniros, Barítone

Laia Blasco, Flutes
Olga Rodón, Flutes
Marina Cabello, Viola da gamba
Pablo Romero, Viola da gamba
Violeta Casado, Renaissance guitar
Inés del Río, Archlute
Alberto Espinosa, Percussion

Carles Magraner, Musical Director
Robert Cases, Assistant Director
Toni Aparisi, Stage Director

With the suggestive title of “Terpsichore, Musarum Aoniarum,” Michael Praetorius published over 300 instrumental dances in 1612. In his introduction, Praetorius credits himself with arranging the music but not composing the melodies. The reference to the muse of dance, Terpsichore, and Aonia inspires the program of this edition of the Acadèmia CdM (Aonia being a district of ancient Boeotia, a region in Greece that contains the mountains of Helicon and Cithaeron, and is therefore dedicated to the Muses, whom Ovid calls Aonides – in Greek mythology, the inspiring goddesses of music, divinities who presided over different types of poetry, as well as the arts and sciences).

With the flourishing of arts and sciences in the European Renaissance, dance increased in sophistication and social importance throughout the 15th and 16th centuries. The earliest surviving manuals and detailed instructions were written in Italy between 1450 and 1460. These documents, along with others from France, England, and other European countries, provide insight into the essence of this social activity, which was highly valued during the Renaissance. An educated person, a courtly gentleman, was expected to have basic knowledge of dance, often taught by professional masters.

Program