Wratislavia Cantans
Fioretti musicali
4:00 PM
NFM, Red Hall

Compositions from Musica boscareccia by Johann Hermann Schein (Leipzig 1621, Strasbourg 1628) and Ghirlanda di fioretti musicali (Rome 1591):

Johann Hermann Schein O Coridon, laß dein Schalmei; Der edle Schäfer Coridon; Frau Nachtigall mit süßem Schall
Felice Anerio Mentre il mio miser core
Ruggiero Giovannelli Si vaga e la mia fiamma
Giovanni Battista Locatello Donna gentil
Giovanni Maria Nanino Tutta gentile e bella
Johann Hermann Schein Amor, das blinde Göttelein; Mitrillo mein, dein Delia
Giovanni Battista Zucchelli Ohime crudele Amore
Giovanni Pierluigi da Palestrina Ahi, che quest’ occhi miei
Jacobus Peetrinus Ardenti miei sospiri e dolori
Arcangelo Crivelli Io me n’avedo Amore
Johann Hermann Schein O Filli, wärt ihr mein; O Filli, schön und subtil; Filli, du schöne Schäferin

In partnership with:



Marcin Szelest – chest organ, artistic direction
Participants of the 47th Oratorio and Cantata Music Interpretation Course

60 min
NFM, Red Hall
plac Wolności 1, 50-071 Wrocław
from 30 to 70 zł

One of the traditions of Wratislavia Cantans are concerts by musicians taking part in the Oratorio and Cantata Music Interpretation Course. During this year’s festival, we will be able to listen to the participants of its 47th edition. Accompanied by Marcin Szelest, an expert on early music, they will present music from the early Baroque anthologies Ghirlanda di fioretti musicali and Musica boscareccia by Johann Hermann Schein.

Ghirlanda di fioretti musicali was printed from 1589 in the Roman workshop of Simone Verovia from Brabant. He published his anthologies in the form of part books with vocal parts printed side by side with transcriptions of pieces for keyboard instruments or lute in the form of tablatures (so-called intabulations). Ghirlanda di fioretti musicali contains twenty-five canzonettas of fifteen leading composers active in the Eternal City at the end of the 16th century. These are secular, three-part vocal pieces with a light character. As they are much simpler than madrigals, they could sometimes be sung by skilled amateurs, and the presence of tablatures in Verovia’s publication implies that they were performed with instrumental accompaniment. During the concert we will hear eight such works written by various authors.

The collection Musica boscareccia by Johann Hermann Schein, who a hundred years before Johann Sebastian Bach was the cantor of the church of St Thomas in Leipzig, was published in three similarly styled parts in 1621, 1626 and 1628. During the concert, music from the first and third will be presented. When composing his works, Schein modelled them on the Italian villanells, which were related to canzonettas – popular songs originating from Neapolitan traditions, often with rural themes. The German composer, writing the texts of his works himself, referred to this convention, drawing on plots taken from the pastoral dramas of Torquato Tasso and the tragicomedy Il Pastor fido by Giovanni Battista Guarini. Knowing these works, we can easily recognize such characters as Filli, Mirtillo, Amarilli, Silvio or Coridon in Schein’s villanellas.

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