‘Repicco’ consists of the violinist Kinga Ujszászi and the lutenist/guitarist Jadran Duncumb. Both of them in demand as soloists and chamber musicians and playing with some of the leading European period ensembles and orchestras, with ‘Repicco’ they focus primarily on the Italian baroque - although happily making forays into other times and places. They enjoy creating and performing fluid and varied programmes of familiar and unfamiliar music suited to their instruments; while their more unusual combination allows them to present this music in a novel and flexible yet historically-informed way, as well as bypassing the practical problems of needing a harpsichord. Repicco were selected as finalists of the 2013 York Early Music Competition and as 2015 'Ambronay Eeemerging Artists', where they also received the Audience Prize after their Assassini, Assassinati... programme in the Ambronay Festival and were subsequently selected into the next year of the programme.
As a part of the Eeemerging programme they were invited to Latvia and Romania for residencies and concerts, as well as being given the chance to perform recitals in Italy and the Ambronay Festival along with the other five selected ensembles. Their success at the latter has led to them being offered numerous recitals around Europe in the coming seasons. Engagements in the near future apart include concerts at the Göttingen Handel Festival and in England - where they will collaborate with the mezzo-soprano CIara Hendrick and gambist Andre Lislevand, a concert at the Festival de Haut Jura and a return to the Ambronay Festival with a new programme. Apart from this, they will also have residencies in Göttingen and Ambronay as part of their continued involvement in the Eeemerging programme.
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Assasini, assassinati e Matteis
17th century Italy was a lively place in many ways. While compositional and instrumental styles and techniques were changing at arguably the fastest rate in western classical music’s history, wars were raging between the various city states, plagues were sweeping across at regular intervals, Medicis were murdering Borgias and musicians were murdering each other... More info here
Biber Mystery Sonatas
Heinrich Biber’s fourteen sonatas and passacaglia, commonly referred to as the Mystery or Rosary Sonatas – famous for their use of scordatura, are some of the most remarkable pieces from the mid-baroque. Split into three parts; the Joyful Mysteries chart events in Jesus’ early life, the Sorrowful Mysteries the events leading to the Cruxifiction, and the Glorious Mysteries the Resurrection up to the Coronation of the Virgin. Repicco’s intimate instrumentation is in keeping with the meditative nature of these sonatas which were intended to accompany prayer. More info here
Rome: The Orpheus and the Hunchback
Rome was the centre of the musical world in the 17th century, even before Corelli. Our programme features the"più valori proffesori di Roma"; lutenist Lelio Colista - known as the "Orpheus of Rome" and violinist Carlo Lonati - the "Hunchback of the Queen" - whose twelve violin sonatas match the virtuosity and beauty of the later Corelli's. Of course no Roman programme is complete without the latter, while no programme with theorbo is complete without a bit of Kapsberger! More info here
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