2. Mordenti and acciaccature in keyboard basso continuo: sources and performance practice | Concert & Public Defense PhD María Gonzalez

Mordenti and acciaccature in keyboard basso continuo: sources and performance practice | Concert & Public Defense PhD María Gonzalez

María Gonzalez
Research activities
Data
,
13:00
Location
Amuz, Kammenstraat 81, Antwerp
Price
Free entrance
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Concert and Public defense PhD in the Arts

How did basso continuo sound in seventeenth- and eighteenth-century Italy? This research explores suonar pieno, a rich style of playing in which expressive dissonances - mordenti and acciaccature - played a distinctive role. Drawing on historical sources, María Gonzalez examines their forms, functions and performance practice. The concert brings these findings to life through Italian vocal and instrumental music by Cesti, Corelli, Albinoni, and Alessandro and Domenico Scarlatti, among others. Two works by Cesti and Caprioli receive their first modern performances, reconstructed especially for the occasion from historical manuscripts.

Supervisors: Kristin Van den Buys & Mattias Lundberg

Programme

13:00 – 14:00: Concert

14:30 – 16:30: Public defense

Musicians

María Gonzalez, keyboard / basso continuo
Hélène Walter, soprano
Anaïs Chen, Eva Saladin, baroque violin 
Daniel Rosin, baroque cello

Music

Giovanni Battista Bassani (c. 1650–1716) ~ from Balletti, correnti, gighe e sarabande, Op. 1 (Bologna, 1677): Balletto Nono

  1. Largo
  2. Corrente (Largo)
  3. Gigha
  4. Sarabanda (Presto)

Antonio Cesti (1623–1669) ~ Cantata La rosa dogliosa, MS V-CVbav Chigi Q IV 11 (before 1669)*

Arcangelo Corelli (1653–1713) ~ from 12 Sonate a tre, Op. 2, No. 12 (Bologna, 1685), Ciaccona

  1. Largo
  2. Allegro

Carlo Caprioli (ca. 1615–ca. 1695) ~ Aria Lungi da te mia vita, MS I-Nc A 31 (late seventeenth century)

Alessandro Scarlatti (1660–1725) ~ Cantata Poi che riseppe Orfeo (c. 1690–1700)

Tomaso Albinoni (1671–1751) ~ Trattenimenti Armonici, Op. 6, No. 1

  1. Grave Adagio
  2. Larghetto
  3. Adagio
  4. Allegro

Domenico Scarlatti (1685–1757) ~ Cantata Piangete, occhi dolenti (after 1729)
 

*  First modern performance. Transcribed from the original manuscript by Maria González

Manuscript sources
V-CVbav: Città del Vaticano, Biblioteca Apostolica Vaticana
I-Nc: Napoli, Biblioteca del Conservatorio di Musica San Pietro a Majella

María González

Maria González studied at ESMUC with Béatrice Martin and at the Schola Cantorum Basiliensis with Jesper Christensen. She has collaborated with leading musicians and ensembles across Europe and beyond, such as Sergio Azzolini, Masaaki Suzuki, James Gaffigan, Il Gardellino, Camerata Bern, Luzerner Sinfonieorchester, and Ensemble Vocal de Lausanne. Co-founder of Ensemble Daimonion, she won the Premio Bonporti in 2011. González has worked as a répétiteur at the Schola Cantorum Basiliensis and has taught at the Conservatorio Superior de Música de Sevilla and the Koninklijk Conservatorium Brussel, where she has taught basso continuo since 2017.

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