Madrigal for Bertrand of Saint-Geniès
Installation for three loudspeakers, 3:41”
The Trecento Madrigal is an Italian musical form from the 14th century, used mainly in religious and militant contexts. The origins of the madrigal are obscure and debated. Scholars think Venetian music was the biggest influence, and some claim it was the French. By the 15th century, the Madrigal term was used in another context, consisted of different musical elements, and was completely a different genre of music. Therefore, this work uses the 14th century Madrigal as a declaration of historical context. By using the format, it paramount the effect of war and the clout of the Patriarchy on the history of the region.
Through a short musical journey, the spectator experiences three executive historical narratives, consisting of musical quotations. First, Francesco Landini’s Per Seguir La Speranza, that represents pre-national uplifting movements. It is followed by the dramatic story of the assassination of Patriarch Bertrand of Saint-Geniès (1258 –1350), concluded with the 14th century-style Mass in his honor. He was the patriarch of Aquileia from 1334 until his brutal death. Lastly, the work has an open ending, predicting nationalistic Europe, with the quote of “Gott erhalte Franz den Kaiser," a personal anthem to Francis II, Emperor of the Holy Roman Empire and Austria, by Lorenz Leopold Haschka and Joseph Haydn.
The work creates capsules of eras in time, using a musical/spatial/historical blend, which uses temporality in an elastic way. It showcases the connection between religion, music, and war, enabling the spectator to aesthetically experience an extended period of history in less than 4 minutes.
Musical recording, playing, mixing, and editing: Shani Broner
Reading: Dan Allon
Musical advisor: Taum Karni
