Electronic quadriphony and double choir motets by Johann Sebastian Bach. Two ways of exploring the acoustic space of the church of San Fedele: on the one hand four speakers arranged in a cross shaped quadriphony, on the other hand the double choir composed of thirty-two soloists in the center of the church to intone the most elaborate vocal works in the art of counterpoint, the monumental Motets of Johann Sebastian Bach, with some short inserts taken from sixteenth-century polyphonic Motets (Palestrina and de Victoria) and Gregorian monodic chant.

Electronic quadriphony will play an introductory role with the offering of a large ten-minute Motet made by Ars Discantica of San Fedele (A. Pileggi, M. Colombo) using essentially frequency modulation synthesis sounds and pure sinusoidal sounds, a four-voice compositional fabric, one per speaker, with harmonic labyrinths and modular interactions with a field recording.

PROGRAMME
Ars Discantica
Mottetto quadrifonico

Giovanni Pierluigi da Palestrina (1525 ca.-1594)
Canite tuba – Rorate coeli
mottetto

Johann Sebastian Bach (1685-1750)
Komm, Jesu komm!
Mottetto in sol minore BWV 229 per due cori a cappella

Sant’Ambrogio (339-397)
Veni redemptor gentium
Inno per l’Avvento

J.S. Bach
Lobet den Herrn, alle Heiden
Mottetto in do maggiore BWV 230 per coro e continuo

Gregoriano
Puer natus est nobis
Antiphona ad introitum VII

J.S. Bach
Ich lasse dich nicht, du segnest mich denn Non ti lascerò se non mi avrai benedetto, mio Gesù!
Mottetto per doppio coro BWV Anh. 159

Tomás Luis de Victoria (1548 – 1611)
Quem vidistis pastores – Dicite quidnam vidistis
Mottetto

J.S. Bach
Singet dem Herrn ein neues Lied (Cantate al Signore un canto nuovo!)
Mottetto in si bemolle maggiore BWV 225 per doppio coro a cappella