Lux et Sonus
Benatti

Carlo Benatti, organ

Anonymous (17th century)

Toccata for organ in G minor

Canzona

A. de Cabezón (1510–1566)

Un Gay Bergeir (from Obras de musica)

B. Pasquini (1637–1710)

Six Variations (Per Francia)

C. Benatti (1963)

Improvisation, Fantasia super “Pacem in terris”

G. Cavazzoni (1525–1577)

I le bel e bon (from Intavolatura cioè recercari, canzoni, himni, magnificat… libro primo)

M. Cavazzoni (1490–1560)

Plus ne regres (from Recerchari, motetti, canzoni…)

P. Attaignant (1494–1552)

Branle gay (de Poitou)

Pavane and Gaillarde (Bel fiore)

A. Mayone (1570–1627)

Ricercar Septimodecimo

Toccata terza

30’ | Admission with ticket offered by Oficina OCM and Gruppo Tea

PLEASE NOTE: Tickets may only be reserved and collected at the Trame Sonore Festival Box Office

Lux et Sonus: light and sound. The Basilica of Santa Barbara, with its generous acoustics and its musical history linked to the Gonzaga court, is the ideal setting for a programme spanning two centuries of organ music; guiding this journey is Carlo Benatti, an organist and composer from Mantua with long-standing experience, who also signs one of the works featured in the programme.

The concert begins with the anonymity of the Italian Seventeenth Century and moves through Cabezón — the great blind Spanish composer who wrote music of astonishing modernity in the heart of the Renaissance — before arriving at Pasquini, the Cavazzonis father and son, Attaignant, and Mayone, each carrying a distinct tradition and musical voice. In between, Benatti allows himself an improvisation and a Fantasia on Pacem in Terris: a title that, in the present historical moment, sounds anything but rhetorical.

A programme that also becomes a lesson in the history of keyboard music, experienced from within.

Text curated by Federica Mastantuono