The  Festival de Música Antigua de Tenerife (Fimante) [Tenerife Early Music Festival] is offering on Sunday the 3rd at 12:00 noon the concert Flores musicales, de Dresde a Nápoles, [Musical Flowers, from Dresden to Naples] interpreted by the ensemble Il Passeggero. Auditorio de Tenerife’s Sala de Cámara welcomes this proposal that wishes to take the audience on a journey across a Renaissance Europe that is full of life and movement, ideas and experimentation.

The programme alternates skill and colour games, re-enacting the dialogues of the selected composers and their different aesthetics, who are close to one another through their sensitivity and their great expressive strength. Il Passeggero is made up by Rémi Lécorché, sackbut and recorder; Adeline Cartier, harpsichord, and Isaure Lavergne, who in addition to playing the dulzainas and the recorder is the group’s artistic director.

Many 16th and 17th century musicians travelled to Italy one or several times, particularly to Rome, Florence or Venice. The most talented composers met in these creative and artistic imitation hubs. They would immediately take the new sounds and the latest musical creations across Europe, driven by the idea of beauty and expressiveness of a revisited Antiquity.

Tickets are available via Auditorio de Tenerife usual sale channels, at the box office from 10:00 am to 7:30 pm on Thursday and Saturday and on Sunday, two hours before the concert starts; via or calling 902 317 327.

One of the composers in the programme, Girolamo Frescobaldi, appears as an unavoidable figure of Italian Renaissance; principal organist in St. Peter’s Basilica in Rome, musicians from all over the world came to him and he exercised deep influence on performing and composition techniques. Through their journeys, musicians contributed to feed a musical source that quickly became common to all nations.

For example, this programme includes -penned by different authors- the song “La Mónica” (in French Une jeune fillette) and Doulce mémoire, based on a poem by King Francis I. With the help of the phenomenal technical progress, including the press, instrumental music was also at its height. Instruments like recorders, dulzainas, violas and even harpsichords were built in families.

It was a time to experiment new instrument prototypes that would encourage the same sound perfection. Human genius was boiling over stimulated by the exchanges among nations, the arts and the sciences.

“We find this at times exuberant inventiveness in the pieces by Storace and Bertoli, in which the instrumentalist reaches the limits of a virtuoso without overlooking the essential elegance, the sprezzatura, without which no human act is worthy of praise” explained Conrado Álvarez, Fimante’s artistic director.

The three young musicians who make up Il Passeggero come from different backgrounds and they met in Tours, in central France. Visiting often great Renaissance music specialists such as Jérémie Papasergio, Franck Poitrineau or Sébastien Wonner, they grew passionate for an elegant counterpoint repertoire.

Committed to seeking and experimenting early sounds, their instrument combination allows them to develop, thanks to the scores, a rich range of characteristic colourful timbres. Il Passeggero owes its name to the use of ornaments, unavoidable practice in the 16th and 17th centuries, that takes listeners on a journey of sounds and emotions.