|Monteverdi||O primavera, gioventù dell’anno|
|Le jeune||Revoici venir du printemps|
|Britten||Lenten is come|
|Janequin||Le chant des oiseaux (semi-staged)|
|Schutz||Die Himmel erzählen|
|Howells||The summer is coming|
|Janequin||La Chasse (semi-staged)|
|De wert||Ascendente Jesu in naviculam|
|Poulenc||Un soir de neige|
|Hughes||Sun, New Moon and Women Shouting|
‘I Fagiolini’s consort and solo singing are exemplary.’ Gramophone
‘This is serious musicianship that never takes itself too seriously – the Holy Grail of concert-going’ The Spectator
As the focus on climate change grows, I Fagiolini sings of nature and the passing of the year in a programme inspired by Pieter Brueghel the Younger’s The Seasons.
From Monteverdi’s springtime of love to Howells’ masterpiece The Summer is Coming, Brahms greets autumnal old age while Poulenc’s metaphorical winter is the France of World War II. With a foot-tapping ode to creation by Schütz as well as 1970s French jazz (Chanson d’Automne), I Fagiolini weaves a rich aural tapestry spanning six centuries.
Framing each of the seasons is an a cappella masterwork. De Wert’s ‘seasick motet’ is an unsettling depiction of Christ calming the storm on the Sea of Galilee, whilst Leighton’s setting of Gerald Manley Hopkins’ The world is charged is a choral classic. Renaissance naughty boy Clément Janequin’s two theatrical soundscapes, Song of the birds and The Hunt, complete the quartet and are semi-staged by I Fagiolini in a perfect counterpoint to Brueghel’s images.
The year comes full circle with Ed Hughes’ vivid account of Inuit women lifting their new-born babies to catch the sun’s first rays after the long winter.
Brueghel and I Fagiolini invite you to pull up an armchair (or dog-drawn sleigh), while they gather in the musical harvest. Art through the prism of Music.