Caricamento Eventi

Call to Prayer

Chiesa di Santa Caterina da Siena, Napoli
20.00 - 21.00
  • intero: 10 €
  • ridotto (under 30, over 60, soci Fai, Feltrinelli Card, Wine&theCity Card, Artecard, Associati Distretto Culturale Siti Reali, soci Wunderkammer): 7 €


Ghalia Benali, canto

Romina Lischka, viola da gamba

Vincent Noiret, contrabbasso


Programma

I slowly approach  3’30

Le Carillon de Passy – Antoine Forqueray le père (1671 – 1745), Pièces de Viole 3′

Causer to Causes 6’30

Morning Raga Bhairav – Do you remember  8’

Le Moulinet – Marin Marais (1656 – 1728), 3e livre de Pièces de Viole 1711  3′

The Lament of the pigeon – Rondeau moitié pincé et moitié coup d’archet – Marais, 5e livre 5’

Raga Yaman + In Konta Tadri  5’15

Le Badinage – Marais, 4e livre 1717  & Latalumi  5

Last Embrace 4’

Antidode / Teryak 6’

Prelude en sol  Ste Colombe – Dama daiman 10’

Ghalia Benali. Tunisian-Belgian artist started her artistic career in 1992 as a singer, writer, composer, dancer, visual artist, painter, designer & actress. Blending different types of music, connecting different cultures; reviving the old and rooting the new are a natural outcome of mixing the two extremes she lived through. Born in Brussels, raised in south Tunisia. Studied Graphic Design in St. LUC Institute – Brussels. Her music has been noted for its attribution to multiple genres and defining contemporary Arabic music.


Romina Lischka studied viola da gamba with Paolo Pandolfo at the Schola Cantorum Basiliensis (Basel, Switzerland) and was awarded her soloist diploma “with distinction” in 2006. She continued her studies with Philippe Pierlot at the Royal Conservatory in Brussels where she received her Master’s diploma “with distinction” in 2008.

Since graduation, Romina has worked as a free-lance gambist with ensembles such as Collegium Vocale (Philippe Herreweghe), Gli Angeli Genève and Il Gardelino. Her concert activities have brought her to prestigious concert halls and festivals throughout Europe, Russia, Asia, North and South America. In 2012, Romina performed the premier of George Benjamin’s opera Written on Skin at the festival in Aix-en- Provence and has travelled with this production to the Opéra Comique in Paris and the Bolshoi Theater in Moscow. She has also toured with the Mahler Chamber Orchestra throughout Europa (Teatro Real Madrid, Barbican London, etc.) and with the Shanghai Symphony Orchestra in China (Beijing Music Festival, etc.).

In the 2012-13 concert season, Romina was chosen as the early music “ECHO Rising Star” by the BOZAR (Brussels) and Concertgebouw (Amsterdam), which resulted in solo performances at various European concert venues.
Romina can be heard on numerous CDs on the labels Coro, Flora, Ricercar, Christophorus, Musica Ficta, Fuga Libera en Paraty. Her debut CD Pièces de viole de Sietur de Machy received the top 5 star rating by Diapason. The CD En Suite – Marin Marais, Sainte Colombe & Robert de Visée was awarded the Klara prize for “best classical CD of 2015.”

Alongside her activities as a gambist, Romina also studied North Indian classical singing (dhrupad) at the World Music department at the Rotterdam Conservatory (Bachelor, 2010) and in India (Delhi and Pune) with Ustad Fariduddin Dagar en Uday Bhawalkar. Combining all her musical interests, Romina formed the Hathor Consort in 2012 to perform not only Renaissance and Baroque consort music, but also modern works and world music.

www.rominalischka.eu

www.hathor-consort.eu


Call to Prayer

Ghalia Benali, canto

Romina Lischka, viola da gamba

Vincent Noiret, contrabbasso


Call to Prayer

or ADHAN (in arabic):
The root of the word is ʾadhina أَ ِذ َن meaning “to listen, to hear, be informed about”.

Another derivative of this word is ʾudhun (أُذُن), meaning „ear”.

The prophet Muhammad preferred the call of the human voice then the use of bells and horns. The adhan is the Islamic call to worship, recited by the muezzin five times every day at prescribed times of the day. Each phrase of the Adhan is followed by a longer pause and is repeated one or more times according to fixed rules. During the first statement each phrase is short and limited in tonal range with few melismas. Upon repetition the phrases become longer and more ornamented with a tonal range of over an octave.

Dhrupad traces its origins to the recitation of vedic hymns and mantras from almost 2000 years ago. It roots in the sacred Hindu Sanskrit text Natyashastra (200 BCE – 200 CE) and was also sung at temples as an important mean of religious contemplation. Dhrupad’s purpose is ‚Aradhana‘ (worship) and seeks a meditative mood for both singer and listener.

Romina with her western classical music background and knowledge of indian dhrupad, and Ghalia with her classical arabic music background and her opening for all other styles, have a common love for the music of Marin Marais (1656-1728), a french master of the Viola de gamba. Marais, a pupil of the mysterious figure Monsieur de Sainte-Colombe and himself a viol vituoso, composed over 500 pieces for the viol and brought the instrument to fame in the french baroque era. Ghalia and Romina started their musical encounter with his Pièces de Viole.

Through the pleasure of listening to one another and exchanging their musical thoughts from different styles and cultures they evolved a dialogue trying to catch the common spirit of arabic maqams, Indian ragas and Marais’s impressionistic spirit as well as the essence of what is common to all of us.

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