Calendar

QUINTETS FOR THE COUNT

Integral of string quintets with two violas by José Palomino de la Quintana (1753-1810)

TENERIFE AUDITORIUM CHAMBER CYCLE
DATE December 16 and 18, 2025
VENUE Chamber Room, Tenerife Auditorium, Av. Constitución 1, 38003 Santa Cruz de Tenerife.

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IMAGINARIUM

Chimeras and Fantasies of the Baroque Imagination

Imaginarium explores the development of the so-called Stylus Phantasticus, which, after its birth in Italy, swept across the Old Continent in search of new forms of expression and timbral and formal experimentation.

BARROCO EN LA FUNDACIÓN 2025
DATE September 18, 2025
VENUE Auditorio Fundación Cajacanarias, Plaza del Patriotismo 1, 38002 Santa Cruz de Tenerife

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BRITANNIA

England – 1650

At the beginning of the 17th century, chamber music in England experienced a notable boom among the social elite, consolidating its own identity that reflected the transition from Elizabethan sobriety to the emerging Baroque expressiveness. In its early phase, English music was characterized by a search for sonorous intimacy, evidenced by the predominant use of instruments such as the harpsichord and consorts of viols, which cultivated a national style. However, beginning in the second half of the century, English composers began to assimilate continental influences, primarily Italian and French, which would shape English chamber music during this period. Henry Purcell, the greatest exponent of this transformation, synthesized these international trends into a unique compositional language, combining refined Gallic ornamentation with profound melodic and harmonic expressiveness rooted in Italy. At the same time, composers such as John Blow, Nicola Matteis, Giovanni Legrenzi, and Giovanni Battista Vitali played crucial roles in the process of stylistic adaptation and reconfiguration, particularly in relation to the evolution of vocal and theatrical music, the use of instrumental polyphony, and the introduction of new performance techniques for the violin. Thus, 17th-century English chamber music, by integrating and reworking European influences, gave rise to a distinctive, recognizable, and fully consolidated aesthetic within the European Baroque.

Conciertos de verano de la RACBA

DATE July 16, 2025

VENUE Real Academia Canaria de Bellas Artes de San Miguel Arcángel, Pl. Ireneo González, 1. 38002 Santa Cruz de Tenerife

BRITANNIA

England – 1650

At the beginning of the 17th century, chamber music in England experienced a notable boom among the social elite, consolidating its own identity that reflected the transition from Elizabethan sobriety to the emerging Baroque expressiveness. In its early phase, English music was characterized by a search for sonorous intimacy, evidenced by the predominant use of instruments such as the harpsichord and consorts of viols, which cultivated a national style. However, beginning in the second half of the century, English composers began to assimilate continental influences, primarily Italian and French, which would shape English chamber music during this period. Henry Purcell, the greatest exponent of this transformation, synthesized these international trends into a unique compositional language, combining refined Gallic ornamentation with profound melodic and harmonic expressiveness rooted in Italy. At the same time, composers such as John Blow, Nicola Matteis, Giovanni Legrenzi, and Giovanni Battista Vitali played crucial roles in the process of stylistic adaptation and reconfiguration, particularly in relation to the evolution of vocal and theatrical music, the use of instrumental polyphony, and the introduction of new performance techniques for the violin. Thus, 17th-century English chamber music, by integrating and reworking European influences, gave rise to a distinctive, recognizable, and fully consolidated aesthetic within the European Baroque.

Ciclo Música Antigua en el Patio de la Orotava

DATE July 15, 2025

VENUE Casa de Colón, C/ Colón 1, 35001 Las Palmas de Gran Canaria.

BRITANNIA

England – 1650

At the beginning of the 17th century, chamber music in England experienced a notable boom among the social elite, consolidating its own identity that reflected the transition from Elizabethan sobriety to the emerging Baroque expressiveness. In its early phase, English music was characterized by a search for sonorous intimacy, evidenced by the predominant use of instruments such as the harpsichord and consorts of viols, which cultivated a national style. However, beginning in the second half of the century, English composers began to assimilate continental influences, primarily Italian and French, which would shape English chamber music during this period. Henry Purcell, the greatest exponent of this transformation, synthesized these international trends into a unique compositional language, combining refined Gallic ornamentation with profound melodic and harmonic expressiveness rooted in Italy. At the same time, composers such as John Blow, Nicola Matteis, Giovanni Legrenzi, and Giovanni Battista Vitali played crucial roles in the process of stylistic adaptation and reconfiguration, particularly in relation to the evolution of vocal and theatrical music, the use of instrumental polyphony, and the introduction of new performance techniques for the violin. Thus, 17th-century English chamber music, by integrating and reworking European influences, gave rise to a distinctive, recognizable, and fully consolidated aesthetic within the European Baroque.

XX Festival de Música de Cámara Villa de la Orotava
DATE July 14, 2025
VENUE San Agustín Church, C/ San Agustín, 2. 38300 La Orotava, Tenerife

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IMAGINARIUM

Chimeras and Fantasies of the Baroque Imagination

Imaginarium explores the development of the so-called Stylus Phantasticus, which, after its birth in Italy, swept across the Old Continent in search of new forms of expression and timbral and formal experimentation.

BARROCO EN LA FUNDACIÓN 2025
DATE June 26, 2025
VENUE Museo del Greco, Paseo del Tránsito, s/n. 45002 Toledo

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PAST EVENTS

FLORENS CIVITAS

Olalla Alemán & El Afecto Ilustrado

The Venetian School, which reached its peak between the second half of the 16th century and the first third of the 17th century, brought together a series of composers and innovations in musical practice that enjoyed enormous fame throughout Europe, marking the transition from the Renaissance to the Baroque musical period. The use of the polyphonic choir, polychorality, the development of the concertato style, the combination of voices and instruments in specific ways to achieve expressive contrasts of intense effectiveness, sound planes and distinct timbres, and chromatic experimentation, which distilled increasing expressiveness, were some of its most notable characteristics.

Florenscivites represents a line that connects composers closely linked to the Most Serene Republic, uniting aesthetics and profiles that will undoubtedly define the course of musical creation in subsequent centuries.

BARROCO EN LA FUNDACIÓN 2025

DATE May 14, 2025
LOCATION Auditorium of the University of Las Palmas de Gran Canaria, C. Juan de Quesada 30, 35001 Las Palmas de Gran Canaria

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IMAGINARIUM

Chimeras and Fantasies of the Baroque Imagination

Imaginarium explores the development of the so-called Stylus Phantasticus, which, after its birth in Italy, swept across the Old Continent in search of new forms of expression and timbral and formal experimentation.

FESTIVAL IBF CANARIAS
DATE April 16, 2025
VENUE Auditorio Alfredo Kraus, Ctra. del Rincón, s/n, 35010 Las Palmas de Gran Canaria, Las Palmas

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BAROQUE WORKSHOP

Sounds and Affects of the 17th and 18th Centuries

BARROCO Y BARROCOS II: TRAS LAS ARISTAS CULTURALES DE UNA ÉPOCA

DATE November 30, 2024
VENUE Museo del Prado, Paseo del Prado s/n, 28014, Madrid

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SUN OF THE SOUTH

Guitar Quintets by Luigi Boccherini (1743-1805)

In ‘Sun of the South,’ El Afecto Ilustrado offers a fresh and colorful interpretation of the guitar quintets by Italian composer Luigi Boccherini (1743-1805). A faithful reflection of Madrid society in the late 18th century and of all the enchanting light that this chamber music collection contains, like a catalog.

Music in Spain, like other arts, looked toward Italy for political reasons, and the Italian influence remained constant until the end of the 18th century. The guitar quintets, dating from the last quarter of the century, are a fascinating part of his work and constitute a sample of unique sounds, imbued with a luminous and vital Iberian Enlightenment spirit.

The combination of the guitar with a classical quartet structure allows the solo instrument to alternate moments of brilliance with others of accompaniment, in which the writing, which combines lyricism and virtuosity in equal measure, demonstrates the composer’s thorough knowledge of the instrument. The harmony in the quintets is luminous and elegant, a typically Boccherinian trait, and alternates major moments of great festive significance with others in deeply melancholic minor keys, which, without being strictly romantic, already announce the imminent arrival of Sturm und Drang.

CICLO ANTIQVA TEATRO PÉREZ GALDÓS
DATE November 17, 2024
VENUE Teatro Pérez Galdós, Plaza de Stagno, 35002 Las Palmas de Gran Canaria

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