Created in 2016, Ensemble Démesure puts at the center of its repertoire the cantata, a musical genre emblematic of the XVIIth and XVIIIth centuries.
For its first project, the group focused on rediscovering secular works of the forerunner of Neapolitan baroque music: composer Cristofaro Caresana.
Moving towards an original and mainly new repertoire, the group addresses the baroque extravaganza with philology and rhythmic accuracy. It reaches poetry in the use of contrast and shows its Démesure (excessiveness) with the charm of chiaroscuro.
Born in Sardinia, Paola Erdas developed an early interest in the harpsichord. She was fascinated by the repertoire. After obtaining her diploma in Venice, a grant allowed her to study for four years at the Mozarteum in Salzburg in Kenneth Gilbert’s class. In 1996, with recorder virtuoso Lorenzo Cavasanti, she founded the JANAS ensemble. Under her leadership the group, which was soon enlarged to become a multi-instrumental ensemble, has given public performances of programmes created with historical reconstruction, in the widest sense, very much in mind.
Paola is particularly interested in the early harpsichord repertoire, and combines her performing activities with in-depth musicological studies published by Ut Orpheus Edizioni (Perrine Pièces de Luth en Musique; Lebègue Premier Livre).
Her solo CDs (Perrine, Libro de Cifra Nueva, Il Cembalo Intorno a Gesualdo, Pièces de Clavecin by Lebègue, Pièces en Manuscrits by D’Anglebert) have always received wide acclaim from international critics.
In 2010, 500 years after the birth of Antonio de Cabezon, Paola Erdas has edited two new volumes dedicated to the Spanish genius: La Tecla de l’Alma (Arcana) and the first volume of a complete edition of the Obras de Musica, which is being published by Ut Orpheus.
Paola has performed in prestigious international Festivals: Oude Muziek Utrecht; Festival Baroque de Pontoise; BOZAR, Brussels; AMUZ, Antwerp; Concerts Baroques de Paris, Philippe Maillard Productions; Semana Grande de Bilbao, Spain; Festival Europäische Kirchenmusik Schwäbisch Gmünd, Germany; Grandezze e Meraviglie di Modena, Wunderkammer Trieste and many others.
Paola Erdas greatly enjoys teaching as well as performing, and she is professor of harpsichord at the conservatoire of Trieste and Messina, Italy.
Jorge Alberto Guerrero
Born in Cali-Colombia, Jorge Alberto Guerrero studied architecture in Los Andes University in Bogotà while actively working in the field of rock and experimental music. He started his musical studies in the cello class of Roger Morgan in Bogotà. After settling in Milan in 1982 he continued his cello studies at the Civica Scuola di Musica in Milan, graduating under the guidance of Enrico Egano in 1991 at the Conservatory of Brescia. He dedicated himself to the baroque cello under the guidance of Roberto Gini, Hidemi Suzuki and Anner Bylsma.
With Giulio Prandi he is one of the founding members of Ghislieri C&C, following an intense work of study and discovery over sacred music composed during the baroque period. Among the productions: Sacred Music by Giacomo Antonio Perti recorded for Amadeus magazine, Sacred Music by Baldassarre Galuppi 2012, Niccolò Jommelli 2013, Mattutino de’ morti by Davide Perez released on May 2014 recorded for Sony- Deutsch Harmonia Mundi. In the last 10 years he played as principal cellist with groups as la Capella della Pietá dei Turchini (Antonio Florio), Il Complesso Barocco (Alan Curtis), Opera Fuoco (David Stern) in the most prestigious concert halls: Concertgebouw-Amsterdam, Philarmonie-Berlin, Barbican-London, Champs-Elysees Theatre and Cité de la Musique-Paris, Opéra Royal-Versailles, Konzerthaus-Wien, Accademia di Santa Cecilia-Rome, Sala Verdi del Conservatorio-Milan, Teatro de la Zarzuela-Madrid, Teatro Colon -Buenos Aires, Conservatorio-Shanghai, Toppan Hall-Tokyo. He recorded over 50 CDs for several labels as: Virgin, Sony DHM, Deutsche Grammophon, Opus 111, Naive, Stradivarius, which received awards and international critics recognition. He plays an original instrument constructed by Benoît Fleury – Paris, 1758.
Italian lute and theorbo player. Graduated cum laude both in lute and in musicology in Milan, he has been working as a professional player with the most important Italian early music ensembles such as: Concerto Italiano, Accordone, La Cappella della Pietà dei Turchini, La Risonanza, La Venexiana and with the London based Trinity Baroque. He is working with conductors as Rinaldo Alessandrini, Antonio Florio, Enrico Gatti, Alan Curtis, Julian Podger, Roberto Gini, Alessandro Ciccolini, Claudio Cavina. He played in the most important concert halls in Europe (e. g.: Konzerthaus, Berlin; Konzerthaus, Wien; Musikverein, Wien; Cité de la Musique, Paris; Auditorio Nacional, Madrid) and in the world (Teatro Colon, Buenos Aires; Toppan Hall, Tokyo) as well as in Uruguay, Chile, Mexico, Colombia, Brazil, China, Egypt, Morocco. He recorded over 50 CDs (with the labels Opus 111, Emi, Virgin, Glossa, Cyprès, Cantus, Alpha, Arcana, Naïve) and he won prizes like Gramophon Award, Diapason d’Or, Premio Vivaldi della Fondazione Cini, Venezia. He recorded for all the European Radio broadcasts, and for the French, Italian, German, Spanish, Chinese and Japanese TV. His solo recording “Le Mouton Fabuleux” is the winner of the “Premio del Disco Amadeus 2009”.
In 2012 he began a new duo collaboration with the recorder player Dorothee Oberlinger and founded the ensemble Laboratorio’600, which first release for the label Glossa is expected in the first months of 2013. He teaches Lute at the Conservatorio “E. F. Dall’Abaco” in Verona, Italy.
As a musicologist he wrote articles about the lute history and early Seventeenth-Century music, with an important paper on new documents about Claudio Monteverdi and Carlo Gesualdo. He worked for the new edition of The New Grove Dictionary of Music and Musicians and for Die Musik in Geschichte und Gegenwart. He’s part of the Editorial Board of the Journal of the Lute Society of America.
Cristoforo Caresana (1640-1708)
Unpublished Cantatas for soprano and continuo
By the middle of the 17th century, Naples was still a Spanish city. It was undergoing a particularly important artistic and musical development which would last until the creation of the Kingdom of the Two Sicilies and the choice of Naples as its capital. It was the wonderful Neapolitan century, the century of castrati and of triumphant baroque. Music loving travellers and musicians eager to learn crowded in the city which they contributed to make one of the most brilliant cultural centres in Europe.
C. Caresana, a singer, organist and composer born in Venice was one of them. At the height of his career he was the choirmaster of the Chapel of the Treasure of San Gennaro and belonged to the most prolific composers of his generation. We would like to dedicate a programme focused on still unpublished cantatas to that forgotten forerunner of the famous Neapolitan school, the school of Scarlatti and Porpora. Caresana’s music is displayed in a chiaroscuro in which the cantabile and virtuoso line confronts abstruse texts and sometimes reveals their erotic audacity.