About
I'm not sure Monteverdi could have imagined his music being played on an Indian harmonium, Armenian duduk and electric guitar, but somehow it all worked perfectly. It felt as though the musicians - and the audience-were tapping into something both ancient and eternal, demonstrating that the ability of this music to invoke both contemplation and elevation is as powerful now as it was four centuries ago.
Jessica Nicholas, The Age
I need to congratulate you on a wonderful piece of work. It is really spectacular. As I listened repeatedly to each song, to both the text and the arrangements, I was continually impressed by the integrity of your work and the way that all the decisions fit well with the originals. And as I got further into it, I could see closer stylistic connections to all kinds of music of the last fifty years or more.
Professor John Griffiths AM OOIC FAHA
Vice President, International Musicological Society
The concert was superb, and just the kind of art music I want at Beleura while I am curating. The whole evening and the music was deeply moving. So beautifully creative, artistic and musical.
Dr. Anthony Gould AM, pianist, composer
What they say about HYPERBAROQ
I need to congratulate you on a wonderful piece of work. It is really spectacular. As I listened repeatedly to each song, to both the text and the arrangements, I was continually impressed by the integrity of your work and the way that all the decisions fit well with the originals. And as I got further into it, I could see closer stylistic connections to all kinds of music of the last fifty years or more.
Professor John Griffiths AM OOIC FAHA
Vice President, International Musicological Society
The concert was superb, and just the kind of art music I want at Beleura while I am curating. The whole evening and the music was deeply moving. So beautifully creative, artistic and musical.
Dr. Anthony Gould AM, pianist, composer
I'm not sure Monteverdi could have imagined his music being played on an Indian harmonium, Armenian duduk and electric guitar, but somehow it all worked perfectly. It felt as though the musicians - and the audience-were tapping into something both ancient and eternal, demonstrating that the ability of this music to invoke both contemplation and elevation is as powerful now as it was four centuries ago.
Jessica Nicholas, The Age
- Tripudiis Sonis Variis -
It began six years ago, on a rainy night in Melbourne, during lockdown. Mirko and Ilaria sat at the piano and played No, no, non si speri, a cantata Giacomo Carissimi wrote around 1664. Something became irreversible.
The Baroque principle of the affetti, music as the direct, uninhibited expression of feeling, was never a closed system. It was an invitation. It took us six years to understand what that invitation was asking: not to revive this music, not to interpret it, but to continue it.
Bringing our own sound to it, loops, samples, electronic textures, felt at first like touching something sacred with irreverent hands. Then we understood: the Baroque interpreter was never meant to be invisible. The affetti demanded a personal voice. So we let the electronics and the improvisation go where the feeling led.
Audiences feel this, even without understanding a word of the Italian or Latin. What reaches them is recognition, that human experience is not fragmented across time, but one long, uninterrupted conversation.
In 1504, the physician Gaspare Torella prescribed tripudiis sonis variis, a triumph of various sounds, as an antidote to the plague. We didn't know this when we began. When we found it, it felt like a confirmation.
We are one step in a conversation that has never broken off, one that asks not for answers, but for the courage to keep searching.
Hyperbaroq
Hyperbaroq is Mirko Guerrini, Ilaria Crociani and Stephen Magnusson.
This is why Baroque. This is why now.
