La Calandria Ensemble

La Calandria Ensemble
La Calandria Ensemble

Tuesday  3. 9. 2019   20:00

Franciscan Monastery in Piran


Italian baroque


Giorgio Pinai, traverso flute
Tommaso Luison, baroque violin
Mattia Cipolli, baroque cello
Willem Peerik, harpsichord



  • Giuseppe Tartini (1692-1770): Sonata N 7 in D Major for flute, violin and b.c.
  • Nicolas Chédeville (1705-1782): Sonata N 6 in g minor op. 13 “Il pastor fido” (published as A. Vivaldi)
  • Domenico Gabrielli (1651 ali/o 1659-1690): Sonata for cello solo and b.c. in G Major
  • George Frideric Händel (1685-1759): Sonata N 1 in b minor for flute, violin and b.c.
  • Giuseppe Tartini (1692-1770): Sonata N 1 B.D13 in D Major for violin and b.c. op. 2
  • Giuseppe Tartini (1692-1770): Sonata N 9 in D Major for flute, violin and b.c.


La Calandria

“You will today behold a new comedy entitled Calandria: performed in prose not in verse; modern, not antiquated, in vernacular, not Latin. The name Calandria comes from Calandro, whose person you will find so foolish, you will hardly believe Nature could ever have created such a fool. But, if you have seen or heard the actions of many of his ilk, you will not marvel at the foolish beliefs and actions of Calandro.”

It was in Urbino, on February 6 1513, Carnival night, in the throne room of the Ducal Palace, in the presence of duke Francesco Maria I della Rovere, that Bernardo Dovizi da Bibbienna’s La Calandria was first performed. His friend Baldassar Castillone prepared the production, painter and architect Girolamo Genga the scenography. La Calandria is considered the prototype renaissance play and is one of the first examples of a musical theatrical piece, where the music and dance intermezzos did not have just the role of joining together the dialogued parts but could be part of the overall discourse.

The variety of its musicians allows La Calandria to take on the challenge of performing early music from the middle ages to the baroque, using exclusively period instruments or replicas of these, to perfectly recreate the sounds of each musical repertoire. Notwithstanding, La Calandria, in its choice of programmes, their interpretation and the realization of its projects, recognizes the mark borne by its name: Not antiquated, but modern.

 “And here comes the Argument. Prepare to grasp it well, opening well your ears!”