In the Lowlands, the expression “the sound of genius” leads directly—unequivocally and immediately—to the supreme luthier: Antonio Stradivari. An indisputable fact, though not an absolute one. Many musical geniuses have passed through this great plain. One of them was equally supreme in the art of sound and music: Leonardo da Vinci. By now, a fairly well-established historiography affirms that Ludovico il Moro’s artist spent time at Villa Medici del Vascello, the residence of Sforza’s great love, Cecilia Gallerani, whom the Tuscan artist immortalized in Lady with an Ermine. A universally celebrated portrait masterpiece, perhaps second only to the Mona Lisa.

It is precisely because of these historical, artistic, and cultural affinities that Villa Medici del Vascello, under the administration of the municipality of San Giovanni in Croce, is hosting The Sound of Genius. The Sonic Reflection of Leonardo. It is a true creation of another great master luthier: Michele Sangineto. This exhibition is not only about instrument making. It is not just artistic craftsmanship, but above all study, passion, and the rediscovery of the “ancient.”

After all, just a few kilometers from the precious villa, in a small church in Fossacaprara, there exists the oldest depiction of a musical instrument: a rebec, featured in a fresco dated to just after the year 1000. Sangineto has patiently reconstructed the musical instruments that Leonardo sketched in his codices—marvelous notebooks (ante litteram) of science and art—attempting to bring them back to life.

Thus appear the citole, the tromba marina, the vielle, the portative organ, the soprano lute, the tambourine, the harp, the arpanetta, the cithara, the lyre, the rebec, and many other instruments passed down through manuscript and miniature traditions, alongside the great musical iconography. Instruments used to accompany learned music—caccia, motets, frottole, strambotti, songs, pavans—as well as popular music that, unfortunately, has not survived.

The importance of Sangineto’s work lies in bringing together all these aspects: from iconography to modeling, in order to reconstruct that sonic universe which once filled the Renaissance courts of the Lowlands. He has fully succeeded, because these instruments sound. They produce that music which a contemporary composer of Leonardo, Franchino Gaffurio, called the “music of the spheres.”

A remarkable example was offered during the presentation with a concert by Antica Liuteria Sangineto. The group—composed of Caterina Sangineto (continuous-bagpipe, bowed psaltery, flutes, voice), Armando Illario (paper organ, viola organista, percussion, voice), and Francesco Motta (lute)—delivered a fascinating performance. The program featured music by composers contemporary to Leonardo’s genius: Isaac, Compère, and Aquilano. The performance practice was fully respected, with particular emphasis on the beautiful voice of Caterina Sangineto. A true immersion into our great Lombard Renaissance, imbued with that vein of Flemish melancholy.

During the presentation, the mayor of San Giovanni in Croce, Pierguido Asinari, thanked the director of this newspaper, Mario Silla, and Gualtiero Nicolini (President of ANLAI) for presenting the project to the municipal administration, where it has now become a reality.

The exhibition, which also includes a small digital section, will remain open until June 28.