"Aura Musicale" is more than an Internationally acclaimed chamber orchestra. It is rather an "alchemistic workshop" of early music.

We are experimenting in several senses:

  1. The forgotten works of the lesser known & forsaken composers
  2. With early musical instruments & their techniques
  3. On the new ways to musical expression – based on historical sources

If you take a look at our discography you will find out what real musical rarity is.

Who has not heard of Handel, Vivaldi, Bach or Mozart?

But have you ever heard the names of Giuseppe Valentini, Carlo Tessarini, Giambattista Cirri, Emanuel Siprutini, Aloisio Luigi Tomasini, Johann Sigismund Kusser before? Have you listened to any work by them?

And how about a trio sonata by Christoph Willibald Gluck the famous opera composer, the father of classical music drama? Or a flute concerto by Johann Joachim Quantz the flute teacher of Frederic the Great? These Composers and these works are the real discoveries for those who like musical adventures!

Etching of string instruments  

If you would like to visit the musical "terra incognita" listen to our CDs and you will see what treasures "Aura Musicale" is able to offer you!

But this is only the tip of the iceberg. The fruits of our untiring researches in musical archives would fill dozens of CDs and concerts. More of both are coming soon…

Playing early musical instruments is simply a must for a musician who has ever tried it with open ears and heart. It is like eating the lotus: you can not live without it anymore. The indescribably rich, colorful and refined sound of these instruments produces a cohesion with early music that gives you the feeling to be touched directly by the piece and its era. While instruments of later periods can sound beautifully, they are built for a different music with different sound representing other aesthetics.

 

Contemporary reports tell us much about how people of the Baroque and classical period felt listening to music. There are numerous joyful descriptions about performers and listeners reaching something near to ecstasy! For us therefore, playing early baroque music, on period instruments, is to get as close as possible to that original sensation.

Our well based theoretic knowledge must not result a dry and scholastic performance. We need much more to make music that is able to reach the soul of the audience. "Ratio & elocutio" must go hand in hand. The aura of the composer and the piece unifying with the aura of the musician has to touch the aura of the listener. This is the raison d'Ítre of "Aura Musicale" an Early Music Ensemble.

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