About
AVVENTURA BAROCCA
Avventura Barocca – fusion of Baroque and Eastern music
Founded in Basel, Avventura Barocca is an ensemble of 14 young musicians from 10 different countries who specialize in historically informed performance and traditional instruments. While studying in the Schola Cantorum Basiliensis and performing Early Music together, we met each other’s passion for music of different cultures. Being open to other artistic music and striving to find our own original voices, we started playing together and experimenting with different genres. Our view of crossing borders to share a vision of human commitment beyond the national divide, creates a space for creativity and expression, a human and musical adventure.
Watch Maya Amir talk about her vision and personal connection behind founding Avventura Barocca.
OUR MUSICIANS
Maya Amir
Artistic Director & Mezzosoprano
Darina Ablogina
Historical flutes
Carolin Margraf
Italian Triple Harp
Murat Coşkun
Percussion
Beatriz Lopez Paz
Viola da Gamba
Joan Boronat Sanz
Cembalo
Christian Velasco Vázquez
Theorbo & Baroque guitar
Paul Poupinet
Violincello
Mischa Dobruschkin
Viola
Maya Webner-Behrman
Violin
Eric Franco Zárate
Double Bass
James Wylie
Kamancheh
Emre Can Erol
Quanun
Noam Gal
Concertmaster
Eren Can Erol
Oud
OUR REPERTOIRE
In this section, you can find the repertoire of Avventura Barocca.
Les Nations – The World of Baroque Sophistication
Description
Les Nations bridges the countries of the East and the West, the past and the future, vocal music and instrumental music.
The approach of historically informed performance practice helps us to travel through sources and land into the trace of folkloric cultures and instruments that may have served as a source of inspiration for the imaginative sounds of works such as Lully’s “Marche pour la cérémonie des Turcs”, Bach’s Follia-like passages in the Peasant Cantata (BWV 212) or Vivaldi`s In furore iustissimae irae which we arranged especially for this concert. Wandering through the musical landscapes of these cultures, we also welcome European baroque instruments.
All these facets are brought to life in a unique way through the deeply moving original compositions by Aviva Amir whose pieces, written in Hebrew – a language which initially creates a magical atmosphere – raise universal questions and depict personal experiences and quests common to humans and thus connect the world’s nations.
Timing
75 minutes
Musicians
Maya Amir, Mezzosoprano and artistic director
Noam Gal, Concertmaster
James Wylie, Kamancheh
Eren Can Erol, Oud
Emre Can Erol, Quanun
Darina Ablogina, Historical Flutes
Mischa Dobruschkin, Violin
Maya Webne-Behrman, Viola
Beatriz Lopez Paz, Viola da Gamba
Carolin Margraf, Double Harp
Christian Velasco Vázquez, Theorbo and Baroque Guitar
Paul Poupinet, Violincello
Joan Boronat Sanz, Cembalo
Eric Franco Zárate, Double Bass
Murat Coşkun, Yaschar Coşkun, Percussion
Musical program
Barbara Strozzi (1619-1677)
Op. 8, ‘’Che si puo fare” (Mantua, 1664)
François Couperin (1668-1733)
Les Nations: «L’Impériale» (Paris, 1726)
Élisabeth Jacquet de la Guerre (1665-1729)
Sémélé (Paris, 1709)
François Couperin (1668-1733)
Les Nations: «La Françoise», «La Piémontoise» (Paris, 1726)
Jean Baptiste Lully (1632-1687)
Le Bourgeois Gentilhomme (Paris, 1670)
Marche pour la Cérémonie des Turcs
Chaconne des Scaramouches
Antonio Vivaldi (1678-1741)
In furore iustissimae irae, RV 626 (Rome, 1720-1725)
Cemil Bey (1871-1916)
Oyun havasi in Makam Hüseynî: ,,Çeçen Kızı” (Turkey)
Andon Efendi ( ? – 1925)
“Hicâz Mandira” (Türkei)
Henry Purcell (1659-1695)
Come, Ye Sons of Art Away, Z.323: V. “Strike the Viol” (London, 1694)
J. S. Bach (1685-1750)
Schweigt stille, plaudert nicht, Cantata BWV 211 (Leipzig, 1742)
Folia: “Unser trefflicher, lieber Kammerherr”
Aviva Amir
Night on the Waters (Israel, 2015)
“Chambers”
“Aneni” (Oh Lord, Hear Me)
“Maim Haim” (The Fountain of Living Waters)
European Baroque Meets Oriental Traditions
Description
The Mediterranean and Levant regions have historically served as vibrant intersections of diverse cultures, fostering an exquisite fusion of musical styles. In this concert, we delve into the depths of these infl uences, performing a repertoire that represents the rich musical traditions of European Baroque style and Oriental traditions. Embarking on a musical adventure, we traverse the landscapes of Italy, Spain, France, Turkey, Greece, and Israel. Each composition is a gateway to the vibrant tapestry of sounds originating from these regions, off ering a harmonious amalgamation of diverse cultural legacies.
Timing
60 minutes
Musicians
Maya Amir, Mezzosopran and artistic director
Andres Mustonen, Guest Violinist
Darina Ablogina, Historical Flutes
Sara Hasti, Kamancheh
Christian Velasco Vázquez, Theorbo and Baroque Guitar
Beatriz Lopez Paz, Viola da Gamba
Carolin Margraf, Double Harp
Joan Boronat Sanz, Cembalo
Murat Coşkun, Percussion
Musical program
Claudio Monteverdi (1567-1643)
Scherzi musicali, SV 247 | “Quel sguardo sdegnosetto” (Venice, 1607)
Anonimous, after Sbruffapappa (16th Century)
“Vurria, ca fosse ciaola” (ca. 1600, Napoli)
Antonio Sartorio (1630-1680)
Giulio Cesare in Egitto | “Quando voglio, con un vezzo” (Venice, 1677)
Traditional Ladino
“Yo m‘enamuri d‘un aire” (Traditional, Asturias)
Gaspar Sanz (1640-1710)
Canarios (Zarazoga, 1674)
Federico García Lorca (1898-1936)
“Nana de Sevilla” (Folk song, Spain)
Jean Baptiste Lully (1632-1687)
Marche pour la Cérémonie des Turcs (Paris, 1670)
Buhurizade Mustafa Itri (1640 – 1712)
“Her Gördüğü Periye Gönül Mübtela Olur” (Istanbul)
Ali Ufkî Bey (1610–1675)
Nişabur semai nedirbu (Istanbul)
Aviva and Maya Amir
Night on the Waters | “Aneni”, “Chambers”, “Maim Haim” (The Fountain of Living Waters)
Arabic Muwashshah (Andalusian era c. 711-1492)
“Lamma Bada Yatathanna” (Al-Andalus)
Dimitrie Cantemir (1673-1723)
Mss. Dimitri Cantemir (118) | Der makām-ı ‘Uzzâl uşūleş Devr-i kebīr (Istanbul)
Yirmisekiz Mehmed Çelebi (1670-1732)
Mkam Arazbar Peşrev (Istanbul)
Antonio Vivaldi (1678-1741)
In furore iustissimae irae, RV 626 (Venice/Mantua, ca. 1700)
José de Nebra (1702-1768)
Vendado es amor, no es ciego | “Tempestad, grande, amigo” (Madrid, 1744)
Traditional Ladino
“Los guisados de la Berenjena” (Rhodes)
De generibus amoris
Description
The pieces we play in this concert weave earthly and heavenly love: love for God, love for life, love for coffee or wine, the pleasures of smell and taste, jealousy, and even gossip. These diverse kinds of love – in Latin, De generibus amoris – are instrumentally reflected in our concert, highlighted by the tenderness of the transverse flute and the virtuoso violin. We have chosen passionate arias, joyous drinking songs, and wild Spanish fandangos, displaying a journey through the 17th and 18th centuries in Paris, Germany, The Netherlands, Italy, and Spain and featuring pieces that are historically written for a cast of musicians of voice, transverse flute, violin, and continuo.
Timing
60 minutes
Musicians
Avventura Barocca Ensemble
Maya Amir, Mezzo-soprano and musical direction
Darina Ablogina, Traverso
Tamami Sakanaga, Violin
Beatriz Lopez Paz, Viola da Gamba
Pablo FitzGerald, Theorbo, Baroque Guitar
Joan Boronat Sanz, Cembalo
Musical program
Michel Pignolet de Montéclair (1667-1737)
La mort de Didon (Paris, ca. 1700)
J. S Bach (1685-1750)
Trio Sonata in G major, BWV 1039 (Leipzig, 1736-1741)
Kaffeekantate | “Ei, wie schmeckt der Coffee süsse” (Leipzig, 1732-1735)
Anonymous (ca. 16th century, Germanic Goliardic origins)
Variations based on “More Palatino” drinking-song by Jan Pieterszoon Sweelinck (Amsterdam, 1562-1621), Jacob van Eyck (Amsterdam, 1635) and Dieterich Buxtehude (Sweden, 1637-1707)
Benedetto Ferrari (ca. 1603 – 1681)
Musiche e poesie varie à voce solo, libro terzo | “Amanti, io vi so dire” (Venice, 1641)
Antonio Vivaldi (1678-1741)
In furore iustissimae irae, RV 626 (Venice/Mantua, ca. 1700)
Luigi Boccherini (1743-1805)
Fandango in G. Major, G. 448 (Madrid, 1798)
José de Nebra (1702-1768)
Vendado es amor, no es ciego | “Tempestad, grande, amigo” (Madrid, 1744)