Calendar of Music Events

Ganassi’s treatise Fontegara (1535), widely recognized as the most extensive collection of embellishment formulas from the Renaissance, notably lacks actual musical compositions. This absence presents two significant challenges for modern performers: first, we cannot definitively identify the specific repertoire to which Ganassi may have applied his diminutions; second, the absence of embellished pieces by Ganassi himself leaves us without concrete models to guide our own ornamentation of new works. However, a close examination of his published works offers valuable insights in both areas.
 

Presenting a musical portrait of Sylvestro Ganassi necessarily involves an effort to revive the vast array of ornamental formulas, or diminutions, found in Fontegara. This program explores that possibility, aiming to showcase the richness and creativity inherent in Ganassi’s diminution examples. Moreover, it highlights not just the recorder but also the keyboard and harp, which are often viewed today as mere accompanists, with their roles typically restricted to performing the original polyphonic lines.
 

The repertoire, originally vocal, is not readily available for performance in this context. It requires thorough research, selection, transcription, editing, and embellishment—both for the recorder and the other instruments—before it can be practiced and rehearsed. Furthermore, the performer needs to possess what Ganassi calls “intelligence regarding the art of diminution” to achieve artistic success; otherwise, as Ganassi warns, “you would be exhausting yourself in vain.” This presents a true challenge for the modern player.