- Ton Koopman http://www.baroquemusica.blogspot.com/ncr in concerto il 22 febbraio 2013 alle 19 Vicenza, Chiesa di S. Filippo Neri - Ton Koopman venerdì 22 febbraio alle ore 19 in concerto per il restaurato organo De Lorenzi-Zordan della Chiesa di S. Filippo Neri di Vicenza (c.so Palladio, 32).
Tutti invitati, ingresso libero; Ass. Amici dell'Organo di Vicenza - http://www.facebook.com/events/284220405041071 - Ton Koopman
Ton Koopman in concerto 2013 organo De Lorenzi-Zordan S. Filippo Neri Vicenza hd1080
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zzo: http://youtu.be/hIQrR22zww0
hd1080, mp4,mov, Fuga in Sol minore BWV 578 - J.S. Bach - Fugue in g minor, BWV 578,Little Fugue,Ton Koopman, Organ, Johann Sebastian Bach, 1685-1750,
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SEGUE DA
Concerto di Ton Koopman a Vicenza sull'organo De Lorenzi-Zordan appena restaurato. Video del programma di sala Agorà Magazine - Spettacolo Musica - http://www.agoramagazine.it/agora/spip.php?article37194
http://www.agoramagazine.it/agora/spip.php?rubrique55 - :
The ancient organ then suffered the consequences of the war, many instruments were depleted and tampered with, in some cases emptied from the barrel, thereby presenting situations sometimes really disastrous. " The new electric system also - became established in the '30s - it also involved the ancient tools, in some cases just to adapt to the new norms of the Council, to have a console in the altar or near the choir and the assembly rather than in isolated choir.
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Ton Koopman - http://www.tonkoopman.nl/agenda -
Giambattista De Lorenzi (1806-1883
Organo di S. Filippo Neri del 1835 di Giambattista De Lorenzi 1806-1883 a Vicenza
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Venerdì 22 febbraio 2013 – ore 19
EXPERTS. Before these hypotheses Filipinos turned to the inspector of the Superintendence of Venice, Elsa Bolzonello Zoja. "It was she who was able to recognize the two instruments - precisely what the church and oratory (De Lorenzi, 1845) - the original face of the organ Vicenza, tools, however, kept in a single site, a rarity-add prof.Dalla Old - In front of that situation Bolzonello felt the need to involve a more important organologist, Oscar Mischiati of Bologna, with whom he formed the most suitable restoration. Was received to the proposal of the organ Piccinelli, craftsman estimated that the deep knowledge of the craft in common availability and caution in working with the inspectors, creating an exchange of experiences in good stead. He was able to speak with expertise in many of the tools Triveneto and many tools of our diocese, without creating harmful interventions irreversible - alas - that increasingly rare but not extinct cases we can find in our province. "
RESTORATION. The restoration of 1975 was to restore as far as possible - and only partially - the audio of the original De Lorenzi. This intervention is not easy to reach was respectful with the renewed interest in the ancient organ, documented the invaluable publication by Mario. Saccardo, "Art organ: organists and musical activities to Filipinos in Vicenza" Vicenza 1975. ACTION CURRENT. The restoration project has been entrusted to the House of Daniel Giani Bodies of Cremona - organ builder who resolved well retrieving large nineteenth-century instruments - after collecting five proposals of experts in restoration, examined by the Congregation Vicenza and supported by cultural heritage the diocese and the Superintendence of Verona.
This restoration is necessary for the proper preservation of a strument. "With the very personal and very different organ Oratory this tool is and has been the subject of a great organ culture developed since 1975 - says Margherita Dalla Vecchia - Concerts, large projects for sacred music since 1975, more appropriate role in the Liturgy shall document the topicality, modernity likely to have the old instrument, the protagonist of all time, the most important and extensive pedagogical vision that must be who saves and who sounds, listen. " The operation of this fine historic involves not only the church of San Filippo but the entire city, says Dalla Vecchia, "This restoration awakens the interest for the instrument prince of the church, thinking about its role, the responsibility we have towards many works of art that are kept in it, certainly in relation to our time, with a projection into the future, without fear of the past. "
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