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Bologna, the #wunderkammer review invites you to discover the wonders of the Music Museum
The concerts of the 'Unusual' cycle linked to the collections, the special guided tours and the musical narratives that will make (re) play the secret treasures of the museum are back
TO Bologna, to the International Music Museum is in progress #wunderkammer - the museum of wonders, a series of concerts, special guided tours and musical narratives that continues until December 16, 2022.

The initiative, after its success in the spring, doubles with the autumn edition: in particular with the concerts of the cycle Unusual - the music you don't expect, the review #wunderkammer returns to (re) play the secret treasures of Museum and Library of Music kept in the historical Sanguinetti Palace in Strada Maggiore.

Five “unusual” concerts on the calendar, all with specially chosen programs because linked to a manuscript, a printed edition, a letter, a painting belonging to the museum collections.

And these wonders can be unusually admired "from very close" in the appointments of the academic ¼ hour before the start of each concert, when they will be shown by museum experts. Each time a specific piece of the collection will be illustrated, related to the theme of the concert that will follow.

The fil rouge of the review is the musical journey to Italy, along the itinerary of the cities that have been the capitals of music over the centuries:
The musical Grand Tour starts from Bologna baroque where the repertoire - and the name itself - of the solo cello (il October 14 With the'Ensemble Aurora), move on to the sensual and spectacular declinations of love sung in the palaces of the Rome 17th century (October 21, Ensemble Op. 28), then arrives at Verona between the Renaissance and the Baroque, to the rediscovery of the multifaceted genius of Dionisio Bellante (October 23, Ensemble Filomela), moves on to musical jokes between Isabella d'Este's Mantua and Lucrezia Borgia's Ferrara (October 28 with Les Nations), to finally reach ... Babylon! in the special final appointment with the commedia dell'arte and the polyphonic and multilingual experiments of Dramatodía (November 4th).

The concerts will begin at 6.15 pm, preceded at 6 pm by the ¼ hour academic meetings with the experts.

Friday October 7 the Unusual cycle will be preceded by the event Persecuted Music, which traces the stories of the musicians interned in Italy and abroad, organized as part of the 6th Festival “Actuality of Memory”.

They complete the program two conversations, "The other half of the Stabat. Giovanni and Eugenia Tadolini 150 years after their death"With Antonino Fogliani, Saverio Lamacchia, Reto Müller is Luigi Verdi (Sunday November 13, 5.30 pm) and “Il counter-enlightenment. The musical theology of Johann G. Hamann", With Maurizio Giani of the University of Bologna (Conversations by Athena Musica, Friday December 16 4 pm).

Finally, there are three events dedicated to Music to see - guided tours to discover the Music Museum (October 23, November 13, December 10, 11 am): an expert will answer all questions about the museum, for a guided tour through six centuries of music history.


(In the image above, the Dramatodía ensemble)  

Other information of interest

Concerts UNUSUAL - the music you don't expect (14/21/23/28 October | November 4th): € 10 | € 8 (university students with ID card, over 65, Card Cultura holders)
Guided tours Music to see (23 October | 13 November | 10 December): included in the museum entrance ticket. Max 20 participants in turn
Free (7/23 October | 13 November | 16 December)

You can buy tickets in presale:
- at the bookshop of the Music Museum on opening days and times
- online (with a € 1 surcharge) from the website
Bologna, the #wunderkammer review invites you to discover the wonders of the Music Museum

There is more

The program in detail

Friday 7 October at 6.15 pm  (free entry)
Persecuted Music. Music and musicians "translated to the extreme borders"
As part of the sixth edition of the festival organized by Specialmente in the library "Actuality of Memory"

With Raffaele Deluca and the ensemble of the Conservatory of Rovigo (conductor Giuseppe Fagnocchi)

Ferramonti di Tarsia was the main place of internment of the fascist regime. In 1940, dozens of musicians and conservatory students were imprisoned there, who, with an act of real "musical resistance", managed to obtain scores and instruments (and even a grand piano). Thus, choirs and orchestras of internees played lieder and opera arias, polyphonic liturgical songs and Viennese cabaret in the camp. The musicologist Raffaele Deluca reconstructs this forgotten story and traces the stories of the musicians interned in Italy and abroad, including Ugo Sesini, librarian of the Liceo Musicale and partisan, who died in Mauthausen-Gusen in February 1945.

Friday 14 October h 6.15 pm [¼ h 6.00 pm]
UNUSUAL - trip to Italy
Baroque Bologna. Chamber Sonatas à violin and cello

Aurora Ensemble
Enrico Gatti baroque violin, Cristina Vidoni baroque cello

The term cello (or rather viulunzèl) appeared for the first time in Bologna in an edition of 1665, when the invention of the metal coating for the thicker strings made it possible to reduce the size of the new instrument, whose handling allowed virtuosity. able to rival those of the violin.

Professionals and "luxury" amateurs immediately tried their hand at it and the publications of Bologna publishers multiplied (such as the spectacular ones by Carlo Buffagnotti) of chamber or dance music for cello solo or in duo with the violin, which we will rediscover with two virtuosos of the Baroque repertoire: Enrico Gatti and Cristina Vidoni.

Friday 21 October h 6.15 pm [¼ h 6.00 pm]
UNUSUAL - trip to Italy
My heart dreamed. Miseries and splendors, pains & loves in the Roman palaces

Ensemble Op. 28
Agnese Allegra soprano, Laura La Vecchia theorbo and baroque guitar, Silvia Lovicario viola da gamba, Alessandro Quarta harpsichord and concertation

Dear friends, Rossi, Graziani and many others: in how many ways was love sung in Rome? The amorous passion, with its excesses and extravagances, has pervaded everything in the eternal city: the colors, the marbles, the baroque architecture and even the music. Desperate love, happy love, love and power, love and sex: the Ensemble Op. 28 will make us discover how the purest Italian song has sung these articulate and "modern" feelings, not only idyllic, but often cynical or wise, desperate or carefree, in the century that never ceases to surprise for its modernity: the seventeenth century.

Sunday 23 October 5.30 pm  (free entry)
UNUSUAL - trip to Italy
I laugh because you laugh. Verona between Renaissance and Baroque: the Academic Concerts by Dionisio Bellante
As part of the CantaBO 2022 Festival, in collaboration with AERCO - Associazione Emiliano Romagnola Cori

Ensemble Filomela
Alice Fraccari, Barbara Perrotta sopranos, Enrica Balasso alto, Matteo Valbusa tenor, Giovanni Leso baritone, Enrico Bissolo harpsichord, Antonio De Luigi theorbo, Felipe Leòn Rojas, cello

In 1629, at the age of only 19, Dionisio Bellante published the Academic Concerts, a truly surprising anthology for its variety and modernity, in which one passes from easy three-part songs to madrigals adhering to the new Monteverdi dictation, in which music serves of the word covers the literary concepts of a dress of notes capable of revealing its most intimate meaning. But it is in Orpheus' dramatic monologue for solo voice that the style of recitar singing bursts, revealing a brilliant and multifaceted protagonist of his time absolutely to be rediscovered.

Friday 28 October 18.15 [¼ 18.00]
UNUSUAL - trip to Italy
Will you leave me now? Frottole and musical jokes at the courts of Mantua and Ferrara

Les Nations
Cristina Calzolari, Giovanni Cantarini voices, Luigi Lupo flutes, Maria Luisa Baldassari, harpsichord

The lie was born between the Mantuan court of Isabella d'Este and the Ferrara of Lucrezia Borgia. The success of this immediate and light-hearted genre will be sanctioned by the Frottole Intabulate for sonar organs, the first collection of works for a keyboard instrument, printed by Andrea Antico in 1517, from which we will listen to pieces that were very well known at the time such as Vergine bella and the unleashed Che faralla , what a funny story about a lover who became a friar.

All in the original interpretation of Les Nations which, through the use of the diminutions theorized by the Venetian Silvestro Ganassi, closely resembles a contemporary jazz improvisation to the modern ear.

Friday 4 November h 6.15 pm [¼ h 6.00 pm]
UNUSUAL - trip to Italy
Babylon! Characters, masks and various speeches in 16th century Italy

Maria Dalia Albertini, Francesca Santi soprani, Alberto Allegrezza, Riccardo Pisani tenors, Niccolò Roda baritone, Guglielmo Buonsanti, bass

Germans, Venetians, Jews, Moors, Bergamasque, Indians, Bolognese, French, Neapolitans, Spaniards ... The musical and theatrical world of the Italian 16th century is a kaleidoscope of characters from the most varied origins and cultures, which the musicians and actors appropriated professionals within what will later be called the commedia dell'arte. Dramatodìa takes us to the discovery of this fascinating babel of sounds and languages and its multilingual polyphonic experiments, to recreate all the great theater of the world in a single scene.

Sunday 13 November 5.30 pm (free entry)
The other half of the Stabat. Giovanni and Eugenia Tadolini 150 years after their death

With Antonino Fogliani, Saverio Lamacchia, Reto Müller and Luigi Verdi

Belonging to a family of artists, the Bolognese Giovanni Tadolini (1789-1872) is remembered today above all for having written seven numbers out of thirteen of the "first version" of Rossini's Stabat Mater, which have come down to us only in the song-piano version and only recently orchestrated and directed by Antonino Fogliani. But in reality Tadolini was a prolific composer and influential director at the Théâtre-Italien in Paris, as well as husband of Eugenia Savorani (1808-1872), famous prima donna and favorite singer of Gaetano Donizetti, whose controversial and stormy biography will be retraced.

Friday 16 December 4 pm (free entry)
CONVERSATIONS by Athena Musica
The counter-enlightenment. The musical theology of Johann G. Hamann

With Maurizio Giani (University of Bologna)

The German philosopher Johann Georg Hamann is unknown to most today, but his anti-Enlightenment and counter-current thinking influenced writers and thinkers such as Goethe (who called him "the clearest mind of his time"), Hegel and Kierkegaard. A man with an irregular life, he was a friend of Kant, but also his first intellectual adversary, having elaborated many of the elements that would spread in the following century: from the romantic spirit to the mysticism of nature, from the distrust of reason to the importance of aesthetic and musical experience. that, within his theological thought and his life (Hamann was also a lutenist), had a central space.

Sunday 23 October | Sunday 13 November | Saturday 10 December h 11
Music to see. Guided tours to discover the Music Museum (included in the entrance ticket to the Museum)

Was Mozart wrong with his homework?
Is the perfect keyboard insonable?
Was Wagner from Bologna?
Was there a turntable in Respighi's orchestra?

Don't you know?
Then, you can't miss the special guided tours in which an expert at your disposal will answer these and all other questions about the museum, for a guided tour through six centuries of music history.

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