Octonaires de la vanité du monde

Paschal de l’Estocart et Claude Lejeune

The Octonaires are a collection of spiritual poems written by Antoine de Chandieu. Participating in the Protestant spirituality, they were masterfully set to music in the late Renaissance by Claude Le Jeune and his lesser known contemporary composer, Paschal de l'Estocart. They both used a sophisticated polyphony, already steeped in the expressiveness of humanism, which would lend prestige to monody again at the beginning of the XVIIth century.


Exercise of styles

Love, death, nature, night, silence, jealousy, joy, drunkenness, faith, affection, absence ... Poets of all times have sung these timeless themes, that are so essentially human.

Words, melodies and harmonies may differ from one century to another, but the emotion remains the same, whether it is expressed in French, Italian, Spanish, English or German, whether it is accompanied by a theorbo or a romantic guitar, whether it is sung or played.

Clélia and Marco Horvat had thus fun imagining a program where songwriters converse, respond and echo each other more than a century apart...


Concerto Madrigalesco di Ercole Bernabei

A great musician rediscovered

A native of Caprarola, Bernabei had first been a student of Orazio Benevoli, one of the most highly regarded music masters, before entering Saint-Louis des Français in 1653 as an organist, then becoming the chapel master there from 1667 to 1672. In 1672, he was named Chapel Master of the Capella Giulia at the Papal Court. He left his functions at the Vatican at the end of two years to go to the court of the Elector Ferdinando Maria of Bavaria in Munich, where he succeeded Johann Kaspar Kerll and remained until his death in 1687. The Concerto madrigalesco a tre voci diverse, dedicated to Flavio Orsini, the Duke of Bracciano, constitutes one of his most original works.


Delirium of Lyres

A Quartet of Two

« At that time, there came to Locres two Lydians, very knowledgeable in music, principally the type that moves the heart to tenderness, languor and love. Great friends, they had intelligence and integrity, both playing the lyre so admirably that no one had heard it played better since Orpheus, whether they played together or separately. But what was so marvellous was that they performed so well together that the same instrument in the hands of an excellent master with a very good ear couldn't be better in tune  than their two lyres. »

Madeleine de Scudéry, « La Clélie »


Recital by Lucile Richardot

The Journey of Anne de la Barre at the Septentrion

The repertoire of the most famous French singer of the 17th century

By reason of her uncommon life and the literature that she inspired, Anne Chabanceau de La Barre (1628-1688) was certainly the most famous singer of the XVIIth century. Born in an illustrious family of musicians (Joseph Chambanceau de La Barre was her brother), she was one of the first women to be part of the musique de la Chambre of King Louis XIV, her fame crossing the border and spreading in Europe as far as distant Scandinavian courts.


The Four Savors of Love

Style Exercises in Four Languages

As in Les Exercices de Style, the famous book by Raymond Queneau, style is everything! Our story – that of the classic love triangle, handled in the vaudeville genre and in the setting of a cabaret where the public is comfortably seated at a table in front of a glass – will be recounted four times in a row, in four different languages: French first, then Spanish, English and Italian. Each time, the characters, their tones, their languages, and their music will conform to the country evoked. Four countries, four cultures; four tastes. We will explore the differences between France (sugary), Spain (salty), England (bitter) and Italy (acidic). Each time, we will serve a small aperitif, its savor evoking a country, giving an occasion to take a gustatory trip in musical Baroque space and time that the audience will appreciate, not only with their eyes and ears, but also with their palates..

Concert mis en espace

The Music Salon

Baroque "a la carte"

Far from the beaten paths of historic recreation, "The Music Salon" was born of the desire to liberate artists and spectators from the purified ritual of the concert where, separated as much by the proscenium as by a series of conventions going back to the 18thand 19thcenturies, we are no longer in a position to share the emotions conveyed by music conceived to be transmitted from one person to another. Faenza invented a concert “a la carte” in the proper sense of the term; with the help of a deck of tarot cards, the public is invited to compose a program that the artists will discover at the same time. 11 cards drawn by chance from a total of 22, the Major Arcana, including “The Lovers,” “The Hanged Man,” “Strength,” “The Fool”...  will transport the audience in a voyage across time and space, from surprise to surprise, in the course of an evening which will truly be unique.

concert mis en espace

The Burlesque Adventures of Mister Dassoucy

or The Lyre Rediscovered

«Have you read Dassoucy? I ask you this, oh candidates for the poetic baccalaureate! Three centuries have done little for his glory and yet who can deny that his prose is among the most beautiful of this French language of which we are proud? But no one, after all, made me responsible for educating you...»

Louis Aragon, Les Poètes, 1960

concert mis-en-espace

The Carnival, 1675

From the most successful comedy-ballets of Molière, chosen by Lully himself...

On October 17, 1675, Lully had a ballet-mascarade entitled Le Carnaval given at the Court, then at Palais-Royal. Based on texts written by Molière, Benserade and Quinault, it was composed of nine ballets (entrées), each taken from previous highly successful works: Le Bourgeois Gentilhomme, Les Noces de Village, Monsieur de Pourceaugnac, Le Ballet de Flore, and La Pastorale Comique.


Madrigals and Sonatas by Giovanni Zamboni Romano

Little is known about Giovanni Zamboni (called "the Roman") except that he was recognized in the first half of the 18th century as a virtuoso of plucked- string instruments such as the lute, the mandolin, the theorbo, the mandore and the harpsichord. In Italy, he was one of the last to write for the lute; his twelve sonatas published in Lucca in 1718 compose the final book of pieces printed in tablature for this instrument.

Follow us

Région Grand Est DRAC


Translations by Sally Gordon Mark

Design by pierO'n Mu Graphistes · Web by KWC · © 2017 Faenza