Haydn's Symphonies and Italian Renaissance
The leader of the Chamber Orchestra of Europe, Lorenza Borrani loves the element of play in music. Lightly, as if amusing herself, she is able to reveal even the best hidden secrets and surprises of the musical score. Her aesthetics have been inspired by the Austrian conductor Nikolaus Harnoncourt and his quest for authentic sound; she too has discovered a passion for historically-informed performance and continues to enthusiastically practice it in her dual roles of chamber musician and leader. The works of Italian avant-garde and electro-acoustic music pioneer Bruno Maderna show a similar devotion. Both his Music of Gaiety, transcribed from Fitzwilliam Virginal Book, and the Odhecaton, based on the polyphonic masterpieces of the Renaissance, are brilliant declarations of the ancient music's triumph over dusty archival shelves. The language of triumph is shared by the symphonies of the Austrian maestro Joseph Haydn, written before his journeys to the foggy shores of Albion, and invites to relinquish oneself to wonder, discovery and playfulness.
Lorenza Borrani, soloist (violin) and leader
Bruno Maderna Music of Gaiety for violin, oboe and string orchestra, transcriptions from Fitzwilliam Virginal Book
Joseph Haydn Symphony No. 56 in C major, Hob. I/56
Bruno Maderna Odhecaton (arranged from Ottaviano Petrucci's polyphonic anthology Harmonice Musices Odhecaton)*
Joseph Haydn Symphony No. 90 in C major, Hob. I/90