Time travel, a long-held human obsession, was made possible by Studium. To begin with, they traded their usual haunts for the Church of La Mercè, consecrated in 1661—nothing is a coincidence—the very time when all the composers featured in this concert were writing the pieces we heard last Monday. Furthermore, they did so with a lineup that would very likely have been quite similar to those of the 17th century: two violins, Ramon Andreu and Bernat Martí; a cello, Rosa Cañellas; an organ, Pedro Aguiló; and two sopranos, Irene Mas and Raquel Ribas. There was no need to close our eyes, or climb into Doc Brown's DeLorean, or enter the time machine imagined by H.G. Wells, nor was it even necessary for the musicians of Studium Aureum's small orchestra, conducted by Carles Ponseti, to use period instruments. Everything was much simpler; just by listening, we were able to enjoy a delightful and rich journey through the Italian Baroque. With such a small effort, we encountered as many as ten contemporary and fellow Italian musicians. The evening began with Girolamo Frescobaldi, with Canzon seconda, for two violins and continuo. From the very first agreements, it was enough to know that the teleportation had been a success. Just in case there were any doubts, the two sopranos were added to perform the Hail most noble virga Jesse, by Michelangelo Grancini, and so on, Dario Castello, Giovanni P. Cima, Salamone Grassi, and Arcangelo Corelli, among others, made an appearance.

Studium Aureum inaugurates a new season with a revised and expanded lineup, with nearly seventy members on stage, including singers, musicians, soloists, and, of course, the conductor. Carlos Ponseti, the silent musician. The chosen piece also has enough elements of special interest, although, being a Mozart piece, it doesn't usually appear in the programs. Penitent Davide K 469 It is a cantata that was commissioned by the Tonkünstler-Societät (Musicians' Society) of Vienna, on the occasion of Lent. The year was 1785, a rather busy year for the genius, during which he signed up to sixteen works, among which we find three piano concertos, a sonata for piano and violin, a quartet for piano and strings... and we already know that religious music was not among his preferences. A good reason to undertake the Kyrie and the Glory to its unfinished, who knows why, Great Mass in C minor K.427. Perhaps that's why there are so few performances. The golden selection, therefore, and as on so many occasions, has added value.