Wunderkammer

Wunderkammer is a musical project born from an idea of the ensamble Azione_Improvisa and the cultural association Anomalia, in the evocative setting of the Castello del Buonconsiglio.

At the heart of the project is the desire to interrogate the experience of listening in relation to space, with the 'intent to question new types of fruition designed for a heterogeneous audience. The space is not a simple shell that houses a listening experience, but becomes a real element of resonance, thanks to the collaboration with architect Manuela Baldracchi.

The project is articulated as a journey of sound exploration in which the musicians of the ensemble reveal their work, presenting both ensemble pieces and individual works. Through this immersive experience, the museum inspires unexpected suggestions and reflections in the visitor, sublimating the traditional image of the museum venue.

On the occasion of the Centenary, the Castello del Buonconsiglio opens up to new perspectives, aspiring to become a 'participating museum' projected towards future visions: it evokes and transforms the Renaissance concept of Wunderkammer, enriching it with an evolved meaning, open to discovery and innovation.

Listeners are guided through a path connecting different sound worlds in which common musical ideas resonate. The process of anamorphosis starts from Baroque music with Andrea Antonel and Margherita Berlanda, leading to the presentation of new works composed especially for the ensemble's soloists - with works by Anna Sowa and Roberto Vetrano - and for the ensemble Azione_Improvvisa - with works by Einike Leppik, Maurizio Azzan and Farzia Fallah - as well as a new installation by Daniela Fantechi. Immersive sound spaces are thus created, in which 'intimacy is built on the surprise of a Wunderkammer - a room of wonders.

The project is produced in collaboration with the Museo Castello del Buonconsiglio and supported by Fondazione Caritro, Divertimento Ensemble Milano, Ma/In Festival Mater and Anomalia.

Three performances are scheduled, Friday, Dec. 6, 6:30 and 8 p.m. and Saturday, Dec. 7, 9:30 a.m..

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Andrea Antonel - Scarlatti Hall

Recercar III, lute

Madonna s' il morire, Verdelotto (intavolato madrigal), theorbo from “Intabolatura de Lauto di Simon Gintzler, musico del reverendissimo cardinale di Trento,” Cristoforo Madruzzo. Printed in Venice by Gardane, 1547.

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Margherita Berlanda - Stua Grande Hall

Antonio De Cabezon (1510-1566)

Diferencias sobre el canto llano del Caballero

for keyboard instrument

John Cage (1912-1992)

A Flower (1950) for voice and piano

transcription for accordion and voice

Anna Sowa (1987)

minimal ANIMAL (2024)*

for accordion and electronics

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Daniela Fantechi - Albertiana Council Chamber

New work - installation

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Pierpaolo Dinapoli - Hall of Mirrors

Roberto Vetrano (1982)

Study for a landscape I, for electric guitar and electronics

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Improvised_Action - Great Hall

Robert De Visée (1650-1725)

Prelude - theorbo solo

Farzia Fallah (1980)

Blue, Blue, Boundless Blue

Maurizio Azzan (1988)

Time turns the shadows

Einike Leppik (1982)

One day is like a thousand years