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

Alessandro Ciccolini, baroque violinist, has worked for several years as first violin with “La Cappella della Pietà dei Turchini” of Naples, currently continuing the collaboration with the master A. Florio covering the role of shoulder in the ensemble “i Turchini” performing in the main concert halls and festivals around the world. He also collaborated with the most famous early music ensembles including “Concerto Soave” of Marseille, “Il Complesso Barocco ”directed by A. Curtis.
He supervised the revision of the “Assalonne Punito” oratory by P. A. Ziani, composing instrumental parts lost; this version was performed in 1997 in Naples, in 1998 in Piacenza and in Berlin by the ensemble “Il Complesso Barocco” under the direction of m. A. Curtis. The same American master commissioned the reconstruction in 2005 recently rediscovered by A. Vivaldi: “Motezuma”. This reconstruction was engraved in 2006 for Deutsche Grammophon and was published in 2010 for the publishing house Baerenreiter.
The festival of the two worlds of Spoleto, staged in July 2006 his reconstruction of the work of A. Vivaldi “Ercole sul Termodonte” under the direction of m. A. Curtis. He rebuilt the comic parts of the work “Ottavia returned to the throne” by Domenico Scarlatti represented, under the direction of A. Florio, at the Victoria Eugenia theater in S. Sebastian during the “Quincena musical 2007”.
From 2010 to 2013 he conducted the orchestra “Orfeo Futuro” performing the Magnificat di J.S.Bach and his compositions such as: a Laudate Dominum for soprano, chorus and orchestra; a Salve Regina, for soprano and strings; a cantata for soprano and instruments, “Ero e Leandro “, also performed in the XV Estense Music Festival” Grandezze e Meraviglie “by Modena and later in the “Anima Mea” festival in Molfetta; and a “Wednesday Lesson Santo ”for soprano, alto and strings. The French record company Naive recorded in 2013 for the Vivaldi Edition his reconstruction of the work of A. Vivaldi “Cato in Utica” under the direction of the master A. Curtis; subsequently published by the American publishing house Boosey & Hawkes.
In 2017 he directed the first performance of his soprano “Stabat Mater” in Lodi alto and orchestra for the association “La Lira d’Orfeo” and one of his was performed Salve Regina for three sopranos and orchestra at the Palau de la Musica in Valencia from “Capella de Ministrers” directed by Carles Magraner.
He has recorded for: Accent, Harmonia Mundi, Opus 111, Stradivarius, Tactus, ORF, BBC, RAI 1 and RAI 3. For the Symphonia record company, he recorded two CDs containing compositions in first execution in modern times: “The first book of violin sonatas of Mr. Aldebrando Subissati sonosissimo Famosissimo, Fossombrone 1675 “released in 1997 and” Concerti from church to four stromenti op II, Casalmaggiore 1729 ”of the composer Andrea Zani, released in 1998. For the record company Brilliant Classics, in 2011, he recorded a CD containing the Fourth Sonatas by T. Albinoni and in 2016 a CD containing the first recording in modern times, the sonatas are the fourth opera by Pietro Degli Antoni. He is professor of Baroque Violin at the “A. Boito ”of Parma.

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 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

Dr. Elam Rotem is a harpsichordist, composer, and singer. He is the founder and director of Profeti della Quinta. He specialized in historical performance practice at the Schola Cantorum in Basel, and graduated with a master’s degree in continuo playing and another in improvisation and composition. In 2014, Rotem established the award winning resources website Early Music Sources ( In 2016, he finished his PhD thesis with distinction (“Early Basso Continuo Practice: Implicit Evidence in the Music of Emilio de’ Cavalieri“), within a new collaborative program between the Schola Cantorum in Basel and the University of Würzburg, Germany.
Musical drama in three acts, composed in the spirit of the early operas.
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



– Emilio de’ Cavalieri, Lamentations and responsories for the holy week

Biblioteca Vallicelliana MS 0 31, Facsimile and critical edition by Elam Rotem, Quellenkataloge zur Musikgeschichte, Band 62 (Wilhelmshaven: Florian Noetzel, 2014). Now also available for free on IMSLP.
– 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.