“Aura Musicale” is more than an Internationally acclaimed Baroque Chamber Orchestra
It is rather an “alchemist workshop” of Early Music or Tafelmusik.
We are experimenting in with Baroque Music in several senses:
- The forgotten works of the incredible but lesser known “forsaken” composers
- With early musical instruments & their techniques
- On the new methods of musical expression
- based on historical sources
If you have a listen to our Discography Aura Musicale Chamber Orchestra 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?
Have you listened to any work by them?
Now what about music from the father of classical music drama a trio sonata by Christoph Willibald Gluck, the famous opera composer?
Or a flute concerto by the flute teacher of Frederic the Great Johann Joachim Quantz ?
These Composers and these works are the real discoveries for those who like musical adventures!
If you would like to visit the musical “terra incognita” please take a moment to enjoy listen to some Baroque Chamber Orchestra Music on iTunes and you will see what treasures “Aura Musicale” is able to offer you!
We have recorded over 12 albums so far. 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, those who ever tried it with open ears and heart seldom forget it. 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. Much more is needed 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’être of the Baroque Chamber Music Orchestra “Aura Musicale”.