Pedro Memelsdorff – President
A music director, medievalist in musicology and recorder player, Pedro Memelsdorff was born in Argentina, graduated from the Schola Cantorum in Basle and the Sweelinck Conservatorium in Amsterdam, and obtained a Ph.D. in Musicology from Utrecht University.
As a musician, he has been a member of Jordi Savall’s Hesperion XX/XXI since 1981 and of a duo with Andreas Staier since 1984. In the late 1980s he played contemporary music with the ensemble Broken Consort Zurich. In 1987 he founded the ensemble Mala Punica, specializing in late medieval polyphony, with which he has performed over four hundred concerts in major early-music venues in Europe and America and published eight CDs that have received over forty international awards.
Memelsdorff and his ensemble Mala Punica have been Artists in Residence at the University of California Davis, at the Amuz in Antwerp, at the Fondation Royaumont in Paris, and Blodgett Distinguished Artists at Harvard University in 2014.
As a musicologist, Memelsdorff regularly publishes in the specialized press. He has authored a monograph on the history and codicology of the Codex Faenza 117 (LIM, Libreria Musicale Italiana, Lucca) and is preparing a further volume on the same MS for Brepols.
Alessandro Ciccolini
www.conservatorio.pr.it/en/docenti/alessandro-ciccolini/
Giorgio Pacchioni
He has held the chair of recorder at the Conservatorio G.B. Martini in Bologna (Italy) from 1977 to 2006, when he retired and moved to Ubatuba (Brazil). Pacchioni is a musicologist specializing in the revival of Baroque composition in the modern era, and has gained a following over the Internet for his Neo-Baroque compositions and fugues.
Giorgio Pacchioni is a champion of the music of Francesco Antonio Vallotti, both as a performer and composer.
He actively collaborated with the musical association “Antiqua” to the transcription of Girolamo Dalla Casa’s Secondo libro de Madrigali a cinque voci con i passaggi (Venice 1590): in fact, he recomposed the whole Tenore partbook, which is missing from the only extant copy of the original print. The CD based on this opus, performed by “Il terzo suono” conducted by G.P.Fagotto, has won the “Speciale raccomandazione della giuria del premio discografico internazionale A.Vivaldi”.
Pacchioni is also a well known ocarina maker.
Works
Works published by Ut Orpheus Edizioni
28 Preludi per Flauto Dolce solo in forma di progressione musicale
8 Preludi (Studi) in forma di progressione melodica dalle «Sonate a Flauto solo» di Paolo Benedetto Bellinzani (Venezia 1720) per Flauto Dolce Contralto
9 Preludi (Studi) in forma di progressione melodica dai «XII Solos» di Francesco Mancini (London 1724) per Flauto Dolce Contralto
Baroquefantasy n. 1 (1996) per Clarinetto e Pianoforte
Baroquefantasy n. 2 (1996) per Viola e Pianoforte
Duo didattici in forma di progressione musicale estrapolati da diversi autori e atti a superare velocemente e con sicurezza le difficoltà della letteratura musicale Rinascimentale e Barocca. Vol. I: per 2 Flauti Dolci S[A]-T (Violino e Violoncello)
Duo didattici in forma di progressione musicale estrapolati da diversi autori e atti a superare velocemente e con sicurezza le difficoltà della letteratura musicale Rinascimentale e Barocca. Vol. II: per 2 Flauti Dolci S-A (Violino e Viola)
Il Canone alla cartella e alla mente senza Tenor. Studio sistematico dell’imitazione canonica attraverso i documenti di L. Zacconi, O. Tigrini e G. B. Martini
Il Canone alla cartella e alla mente sopra un Tenor. Studio sistematico dell’imitazione canonica da 3 a 8 voci sopra un canto fermo attraverso i documenti di L. Zacconi, F. Soriano e R. Rodio
Manuale di Diminuzione elaborato dalle opere di A. Corelli e G. Ph. Telemann per Flauto Dolce Contralto (Violino, Flauto Traverso, Viola da Gamba)
Manuale di Diminuzione elaborato dalle opere di Jacob Van Eyck per Flauto Dolce (Violino, Flauto Traverso, Viola da Gamba)
Passi strumentali in forma di progressione melodica da «Il Dolcimelo» di Aurelio Virgiliano (ca.1600) per Violino o Flauto Dolce in Sol
Passi strumentali in forma di progressione melodica da «Selva de’ varii Passaggi» di Francesco Rognoni (Milano 1620) per Violino o Flauto Dolce in Do e in Sol
Selva di Vari Precetti. La pratica musicale tra i secoli XVI e XVIII nelle fonti dell’epoca
Varie Partite sopra Bassi ostinati per 1, 2, 3 Flauti Dolci e Basso Continuo con una raccolta di Bassi ostinati dei secoli XVII e XVIII
External links
Elam Rotem
Pan Classics, March 2014.
– Quia Amore Langueo
Song of Songs and Dark Biblical Love Tales.
Pan Classics, May 2015.
– The Lamentations of David
YouTube and streaming services, April 2020
Publications
– Emilio de’ Cavalieri, Lamentations and responsories for the holy week
– PhD: “Early Basso Continuo Practice: Implicit Evidence in the Music of Emilio de’ Cavalieri” (University of Würzburg, 2016) [link]
– The Carlo G Manuscript (ca. 1600–1620)
Selected pieces, edition by Elam Rotem. Free online edition on IMSLP (2017).
– “The Carlo G manuscript: New light on early seventeenth century accompaniment and diminutions practices”, in Basler Beiträge zur Historischen Musikpraxis 39, Schwabe verlag 2019. [Link to download].
Romano Vettori
Romano Vettori had a classical education while studying piano, harpsichord and composition. He has a Degree in Musicology and a Doctorate in Musicology and Musical Heritage from Bologna University. He has published essays in musicological journals and in series with an international distribution, and has made numerous transcriptions of sacred and secular music from the XVI-XVII centuries and the XVIII century. His research concentrates on Renaissance and Baroque music history, in particular regarding Trentino and Northern Italy. In parallel with research, he is deeply involved in organization and musical performance, due to his role as Artistic Director of the Academy of Ancient Music of Rovereto (Euregiomusica Project – Bonporti Baroque Orchestra & Choir, Premio Bonporti International Baroque Violin Competition, Premio Ferrari International Fortepiano Competetition). He conducts both in Italy and abroad and has recorded, mainly unpublished works, (Viadana, Cavalli, De Kerle) for Fonè, Stradivarius and Bongiovanni. He is the Archivist of the Philharmonic Academy of Bologna, (founded in 1666) and Professor of Choral Conducting and Choral Repertory at the “C. Monteverdi” Bolzano Conservatory.