At the dawn of the Renaissance, a new sensitivity emerges, finally giving space to the self of the poet-musician. The urge to express one’s inner self is favored by the highly singable Italian language, which reached full expressive maturity between the 14th and 15th centuries; but it also relies on the use of musical instruments capable of competing with the singing voice, particularly the viola da gamba.

A bow instrument of Spanish origin, it has a distinctly harmonic sound, which means, in terms of tone, thickness, depth, and richness.

Singing to the viola becomes a particularly appreciated practice, both in the interpretation of verses of an epic, legendary, narrative nature, improvising harmonies and passages to emphasize the contents and emotional states inherent in the text, and in creating a polyphonic composition of a frottola or madrigal type, playing one part and singing another, along with other voices or string instruments.

This way of making music, certainly accompanied by the reading of poetic passages from the greats of the time, starting with Francesco Petrarca, represented an inspiring way to share creative moments of entertainment but also to learn with the instrument and voice together, to rise to the way of the singer Orpheus who, the mythical Greek demi-god, during the Renaissance, came to symbolize the fully musical human being.

This image was truly captivating, particularly thanks to the specific characteristics of the bow instrument; and it was so captivating that it allowed the poets and musicians of the time to open their hearts in expressing expectations, hopes and disappointments, loves and passions, against a backdrop that sometimes evokes melancholy, sometimes play, and at other times the bitter solitude of suffering.

In any case, music and poetry reflecting the human soul.

Repertoire: J. Arcadelt, Ph. Verdelot, A. Willaert, V. Ruffo, F. Petrarca

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The way to the Sanctuary. Musical, poetic, and knowledge itinerary Singing to the viola. Elena Modena, Laura Soranzio, Ilario Gregoletto. Diego Piaia, reader.