52. International Festival Wratislavia Cantans | recitar Cantando | programme book by National Forum of Music, Wrocław, Poland

52nd Andrzej Markowski International Festival

7-17 September 2017 WrocĹ&#x201A;aw, Lower Silesia general director: Andrzej Kosendiak artistic director: Giovanni Antonini

THE NATIONAL FORUM OF MUSIC IS CO-MANAGED BY

HONORARY PATRONAGE Presented by

Professor PIOTR GLIÅ&#x192;SKI MINISTER OF CULTURE AND NATIONAL HERITAGE

FESTIVAL IS A MEMBER OF

FESTIVAL IS HONORED WITH EFFE LABEL

Festival calendar

FESTIVAL CALENDAR

p. 50 Giovanni Antonini / Il Giardino Armonico

7.09.2017, thursday, 7:00 pm 8.09.2017, friday, 7:00 pm Wrocław, NFM, Main Hall (Sala Główna), pl. Wolności 1

Tickets: VIP – 300 zł* / 200 zł, I – N 150 zł / R 130 zł, II – N 120 zł / R 100 zł, III – N 80 zł / R 60 zł

8.09.2017, friday, 7:00 pm Wrocław, Evangelical-Augsburg Church of Divine Providence (ewangelicko-augsburski kościół Opatrzności Bożej), ul. Kazimierza Wielkiego 29

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Monteverdi – Il ritorno d’Ulisse in patria Sir John Eliot Gardiner / Furio Zanasi / Lucile Richardot / Krystian Adam / Hana Blažíková / Gianluca Buratto / Michał Czerniawski / Gareth Treseder / Zachary Wilder / Anna Dennis / John Taylor Ward / Francesca Boncompagni / Robert Burt / Francisco Fernández-Rueda / Carlo Vistoli / Silvia Frigato /

G. Mainerio, Ch. Tye, H. van Ghizeghem, A. Agricola, Francesca Biliotti / Monteverdi Choir / English Baroque Soloists / Elsa Rooke

Programme:

C. Monteverdi Il ritorno d’Ulisse in patria, SV 325

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Die Kunst der Fuge Programme:

Ottavio Dantone / Accademia Bizantina

Programme:

J.S. Bach Die Kunst der Fuge, BWV 1080

La Morte della Ragione J. des Prez, J. Dunstable, G.P. Del Buono, V. Ruffo, G. Gabrieli, G. de Macque, N. Gombert, G. Zanetti, T. Merula, D. Castello, L. Grossi da Viadana, J. Baldwine, G. da Venosa, C. Caresana, J. van Eyck, S. Scheidt, Anonymous

p. 54 Soyoung Yoon / Tomasz Daroch / Maciej Dobosz / So Young Sim

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End of Time

Środa Śląska, Church of St Andrew the Apostole (kościół pw. św. Andrzeja Apostoła), ul. Kolejowa 2

Free entry

7 Tickets: N 40 zł / R 30 zł

Programme:

C. Debussy La plus que lente (arr. for piano and cello by Z. Kocsis), La terrasse des audiences du clair de lune from the second book of Preludes, O. Messiaen Quatuor pour la fin du temps

(lecture and film screening on 9 September at 3 pm included in the ticket price)

Die Kunst der Fuge J.S. Bach Die Kunst der Fuge, BWV 1080

Tickets: VIP – 110 zł, N 90 zł / R 70 zł, balcony – N 70 zł / R 50 zł

8.09.2017, friday, 7:00 pm

Kalisz, Kalisz Philharmonic Concert Hall (Sala Koncertowa Filharmonii Kaliskiej, Aula WPA UAM), ul. Nowy Świat 28–30

9.09.2017, saturday, 5:00 pm

Programme:

Ottavio Dantone / Accademia Bizantina

8.09.2017, friday, 7:30 pm

Wrocław, NFM, Red Hall (Sala Czerwona), pl. Wolności 1

Tickets: VIP – 90 zł, N 70 zł / R 50 zł

9.09.2017, saturday, 7:00 pm Syców, Evangelical-Augsburg Church of Apostles John and Peter (kościół ewangelicko-augsburski pw. Apostołów Jana i Piotra), pl. Królowej Jadwigi 3 Tickets: N 25 zł / R 15 zł

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Colours of Sounds

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La Morte della Ragione

Programme:

Agnieszka Franków-Żelazny / Katarzyna NeugebauerJastrzębska / Jonasz Dziuba / NFM Choir

J. Jančevskis, R. Treece, J. Sykulski, J. MacMillan, G. Mahler, Ē. Ešenvalds, J. Dove, B. Chilcott

Giovanni Antonini / Il Giardino Armonico

Programme:

G. Mainerio, Ch. Tye, H. van Ghizeghem, A. Agricola,

J. des Prez, J. Dunstable, G.P. Del Buono, V. Ruffo, G. Gabrieli, G. de Macque, N. Gombert, G. Zanetti, T. Merula, D. Castello, L. Grossi da Viadana, J. Baldwine, G. da Venosa, C. Caresana, J. van Eyck, S. Scheidt, Anonymous

9.09.2017, saturday, 7:30 pm Bardo, Minor Basilica of the Visitation of the Blessed Virgin Mary (bazylika mniejsza Nawiedzenia NMP), pl. Wolności 5

Tickets: N 25 zł / R 15 zł

FESTIVAL CALENDAR

9.09.2017, saturday, 9:00 pm Wrocław, University Church of the Blessed Name of Jesus (kościół Uniwersytecki pw. Najświętszego Imienia Jezus), pl. Uniwersytecki 1

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Monteverdi – Vespers

Wrocław, Town Hall, Principal Room (Ratusz, Sala Wielka), Rynek 1

Programme:

Jean Tubéry / Ensemble La Fenice

C. Monteverdi Vespro della Beata Vergine, SV 206

Rosa del ciel – musical treasures of Wrocław University Library

10.09.2017, sunday, 7:00 pm Oleśnica, Prince’s Castle, Hall of the Knights (Zamek Książęcy, Sala Rycerska), ul. Zamkowa 4 Free entry

10.09.2017, sunday, 8:00 pm Wrocław, White Stork Synagogue (Synagoga pod Białym Bocianem), ul. Włodkowica 7

Tomáš Král / Judith Pacquier / Maximilian Ehrhardt / Jan Krejča / Massimiliano Toni

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J.H. Schein, C. Monteverdi, G.P. da Palestrina, G. Bassano, G.F. Sances, G.A. Rigatti, M. Cazzati, G. Frescobaldi, D. Obizzi, G.G. Kapsperger, B. Storace

Tomáš Král / Judith Pacquier / Maximilian Ehrhardt / Jan Krejča / Massimiliano Toni

Programme:

Ottavio Dantone / Accademia Bizantina

La Morte della Ragione Giovanni Antonini / Il Giardino Armonico

G. Mainerio, Ch. Tye, H. van Ghizeghem, A. Agricola,

O. Messiaen Et exspecto resurrectionem mortuorum, G. Pstrokońska-Nawratil Uru Anna / Light of the Sky

Rosa del ciel – musical treasures of Wrocław University Library

p. 78

Die Kunst der Fuge

Programme:

Tickets: VIP – 110 zł, N 90 zł / R 70 zł

Marzena Diakun / Nicholas Sharratt / Choir of the Karol Szymanowski Philharmonic in Kraków / NFM Wrocław Philharmonic

11.09.2017, monday, 7:00 pm Wrocław, NFM, Main Hall (Sala Główna), pl. Wolności 1 Tickets: VIP – 110 zł* / 60 zł, I – N 45 zł / R 30 zł, II – N 40 zł / R 25 zł, III – N 35 zł / R 20 zł

p. 70

Programme:

Tickets: VIP – 50 zł, N 30 zł / R 20 zł

Et exspecto resurrectionem

Programme:

Tickets: VIP – 130 zł, zone I – N 110 zł / R 90 zł, zone II – N 70 zł / R 50 zł

10.09.2017, sunday, 5:00 pm

p. 82

J.S. Bach Die Kunst der Fuge, BWV 1080

p. 80 J. des Prez, J. Dunstable, G.P. Del Buono, V. Ruffo, G. Gabrieli, G. de Macque, N. Gombert, G. Zanetti, T. Merula, D. Castello, L. Grossi da Viadana, J. Baldwine, G. da Venosa, C. Caresana, J. van Eyck, S. Scheidt, Anonymous

p. 90 Andrzej Kosendiak / Jarosław Bręk / Aleksandra Kubas-Kruk / Antoni Szuszkiewicz / Mikołaj Szuszkiewicz / Jerzy Butryn / Bogdan Makal / Mariola Cierpioł / Michał Ziemak / Mariusz Bonaszewski / Paweł Janyst / Przemysław Wasilkowski / Beata Passini / Franciszka Kierc-Franik / Iga Załęczna / Students of

11.09.2017, monday, 7:30 pm

Programme:

Krotoszyn, Church of St John the Baptist (kościół pw. św. Jana Chrzciciela), ul. Farna 10

J.H. Schein, C. Monteverdi, G.P. da Palestrina, G. Bassano, G.F. Sances, G.A. Rigatti, M. Cazzati, G. Frescobaldi, D. Obizzi, G.G. Kapsperger, B. Storace

Free entry

Moniuszko – Phantoms

Puppet Department of the State Superior Theatre School in Kraków, Wrocław Division / NFM Choir / Wrocław Baroque Orchestra / Paweł Passini

Programme:

S. Moniuszko Phantoms

12.09.2017, tuesday, 7:00 pm Wrocław, NFM, Main Hall (Sala Główna), pl. Wolności 1

Tickets: VIP – 250 zł* / 150 zł, I – N 110 zł / R 90 zł, II – N 90 zł / R 70 zł, III – N 50 zł / R 30 zł

FESTIVAL CALENDAR

13.09.2017, wednesday, 7:00 pm Bolesławiec, Church of Our Lady of Perpetual Help (kościół pw. Matki Bożej Nieustającej Pomocy), pl. Zamkowy 1 Free entry

13.09.2017, wednesday, 8:00 pm Wrocław, Basilica Minor of St Elizabeth (bazylika mniejsza pw. św. Elżbiety), ul. św. Elżbiety 1/2

Stabat Mater Programme:

Bielawa, Church of the Assumption of the Blessed Virgin Mary (kościół pw. Wniebowzięcia NMP), pl. Wyszyńskiego 1 Tickets: N 25 zł / R 15 zł

14.09.2017, thursday, 8:00 pm Wrocław, Collegiate Church of the Holy Cross and St Bartholomew (kolegiata Świętego Krzyża i św. Bartłomieja), pl. Kościelny 1 Tickets: VIP – 110 zł, N 90 zł / R 70 zł

p. 140

Telemann – Brockes-Passion Programme:

Vittorio Ghielmi / Graciela Gibelli / Carlos Mena / Cyril Auvity / Il Suonar Parlante / Cuncordu de Orosei

D. Ortiz, J. des Prez, S. Garsi da Parma, O. Bassani da Parma, A. Pärt, Anonymous, Buxheimer Orgelbuch, Sardinian and Gascoigne tradition

p. 110

500 Years of Reformation

Giovanni Antonini / Il Giardino Armonico / Lydia Teuscher / Katja Stuber / Marie Henriette Reinhold / Samuel Boden /Robin Tritschler / Johannes Weisser / NFM Choir / NFM Boys’ Choir

G.Ph. Telemann Brockes-Passion, TWV 5:1

Wrocław, Church of St Mary Magdalene, Polish National Catholic Cathedral (kościół pw. św. Marii Magdaleny, katedra Kościoła polskokatolickiego), ul. Szewska 10 Tickets: VIP – 110 zł, N 90 zł / R 70 zł

Kłodzko, Church of the Assumption of the Blessed Virgin Mary (kościół pw. Wniebowzięcia NMP), pl. Kościelny 9

11 Tickets: N 10 zł / R 5 zł

Daniel Reuss / Vocalconsort Berlin

J. des Prez, J. Walter, H.L. Hassler, J.H. Schein, G. Lange, S. Besler, H. Schütz

Young Masters Programme:

Programme:

Aleksandra Rupocińska / Soloists – Participants of the 42nd Oratorio and Cantata Music Interpretation Course / Festival Orchestra

A. Scarlatti San Casimiro, re di Polonia, T. Baird Cztery sonety miłosne (Four Love Sonnets)

p. 160

p. 118

Young Masters Aleksandra Rupocińska / Soloists – Participants of the 42nd Oratorio and Cantata Music Interpretation Course / Festival Orchestra

p. 158

A. Scarlatti San Casimiro, re di Polonia, T. Baird Cztery sonety miłosne (Four Love Sonnets)

Young Masters Programme:

p. 130

Stabat Mater Programme:

Vittorio Ghielmi / Graciela Gibelli / Carlos Mena / Cyril Auvity / Il Suonar Parlante / Cuncordu de Orosei

D. Ortiz, J. des Prez, S. Garsi da Parma, O. Bassani da Parma, A. Pärt, Anonymous, Buxheimer Orgelbuch, Sardinian and Gascoigne tradition

Aleksandra Rupocińska / Soloists – Participants of the 42nd Oratorio and Cantata Music Interpretation Course / Festival Orchestra

p. 162

A. Scarlatti San Casimiro, re di Polonia, T. Baird Cztery sonety miłosne (Four Love Sonnets)

Telemann – Brockes-Passion Programme:

15.09.2017, friday, 7:00 pm

15.09.2017, friday, 7:30 pm

Programme:

Tickets: VIP – 70 zł, N 50 zł / R 30 zł

14.09.2017, thursday, 7:30 pm

p. 104

Masters of Italian Polyphony

p. 132

Programme:

Hervé Niquet / Le Concert Spirituel

C. Monteverdi, O. Benevolo, G.P. da Palestrina, G. Frescobaldi, plainchant

Giovanni Antonini / Il Giardino Armonico / Lydia Teuscher / Katja Stuber / Marie Henriette Reinhold / Samuel Boden /Robin Tritschler / Johannes Weisser / NFM Choir / NFM Boys’ Choir

G.Ph. Telemann Brockes-Passion, TWV 5:1

15.09.2017, friday, 8:00 pm Głogów, Church of Our Lady the Queen of Poland (Kościół pw. NMP Królowej Polski), pl. Wyszyńskiego 1 Tickets: N 25 zł / R 15 zł

16.09.2017, saturday, 5:00 pm Wrocław, NFM, Red Hall (Sala Czerwona), pl. Wolności 1 Tickets: VIP – 50 zł, N 30 zł / R 20 zł

16.09.2017, saturday, 8:00 pm Wrocław, Church of St Mary Magdalene, Polish National Catholic Cathedral (kościół pw. św. Marii Magdaleny, katedra Kościoła polskokatolickiego), ul. Szewska 10

Tickets: VIP – 110 zł, N 90 zł / R 70 zł

FESTIVAL CALENDAR

17.09.2017, sunday, 7:00 pm

Mozart – La clemenza di Tito

Wrocław, Wrocław Opera (Opera Wrocławska), ul. Świdnicka 35

Tickets: VIP – 180 zł, I – N 130 zł / R 110 zł, II – N 100 zł / R 80 zł, III – N 70 zł / R 50 zł

p. 164

Programme:

Teodor Currentzis / Maximilian Schmitt / Karina Gauvin / Anna Lucia Richter / Stéphanie d’Oustrac / Jeanine De Bique / Sir Willard White / MusicAeterna Orchestra and Choir

W.A. Mozart La clemenza di Tito, K. 621, Great Mass in C Minor, K. 427 (excerpts), Adagio and Fugue in C Minor, K. 546, Mauerische Trauermusik, K. 477

42nd Oratorio and Cantata Music Interpretation Course

VIP* – with access to the VIP Room VIP – VIP tickets N – normal tickets R – reduced tickets I, II, III – price categories Bookings:

ACCOMPANYING EVENTS 4–17.09.2017 Wrocław

TICKETS

phone: +48 71 715 97 00 rezerwacje@nfm.wroclaw.pl (Monday–Friday: 9:00 am–5:00 pm, Saturday: 3:00 pm–8:30 pm)

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Tickets online:

www.bilety.nfm.wroclaw.pl Box Office (entrance from pl. Wolności)

15–16.09.2017 Wrocław

7.09–31.10.2017 Wrocław, NFM, pl. Wolności 1

44th Symposium on Oratorio and Cantata Music and Performance Practice

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Thierry Chollat – Métamorphoses Musicales Exhibition Vernissage: 7.09.2017, Thursday, 6:00 pm

9.09.2017, Saturday, 3:00 pm Wrocław, NFM, Chamber Hall (Sala Kameralna), pl. Wolności 1

For events held outside the NFM, the Box Office is also open one hour before the concert at the concert venue. No ticket returns.

Introduction to ‘End of Time’ concert: lecture of Jerzy Stankiewicz ‘Olivier Messiaen and Polish Prisoners of War – Artists and Intelligentsia in Stalag VIII A in Görlitz. The Origins of the Quatuor pour la fin du temps’. After the lecture we invite you to a screening of The Charm of the Impossible (a film by N.B. Vidal). The introduction will last 100 minutes. You will be admitted upon presenting a ticket to ‘End of Time’ concert on 9 September at 5:00 pm at the NFM.

Biographies of artists and ensembles

Working hours: Monday–Friday: 11:00 am–6:00 pm (or until the starting hour of the evening concert; with a break between 3:00 pm and 3:30 pm) Saturday: 3:00 pm–8:30 pm (or until the hour of the evening concert) Sunday: two hours before the concert

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The Organiser reserves the right to make changes to the programme.

www.nfm.wroclaw.pl www.wratislaviacantans.pl

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Concert places in Wrocław

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The National Forum of Music (Narodowe Forum Muzyki im. Witolda Lutosławskiego) pl. Wolności 1 Evangelical-Augsburg Church of Divine Providence (ewangelicko-augsburski kościół Opatrzności Bożej) ul. Kazimierza Wielkiego 29 University Church of the Blessed Name of Jesus (kościół Uniwersytecki pw. Najświętszego Imienia Jezus) pl. Uniwersytecki 1

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Town Hall, Principal Room (Ratusz, Sala Wielka) Rynek 1

White Stork Synagogue (Synagoga pod Białym Bocianem) ul. Włodkowica 7 Basilica Minor of St Elizabeth (bazylika mniejsza pw. św. Elżbiety) ul. św. Elżbiety 1/2 Collegiate Church of the Holy Cross and St Bartholomew (kolegiata Świętego Krzyża i św. Bartłomieja) pl. Kościelny 1 Church of St Mary Magdalene, Polish National Catholic Cathedral (kościół pw. św. Marii Magdaleny, katedra Kościoła polskokatolickiego) ul. Szewska 10 Wrocław Opera (Opera Wrocławska) ul. Świdnicka 35

Introduction

Andrzej Markowski

Andrzej Markowski (1924–1986) The Founder and Architect of the Wrocław Oratorio-Cantata Festival Wratislavia Cantans

Invocation Literary content, structures of poetic verse, phonetic playing and ‘programmes’ founded on historical, religious or traditional narrative have bewitched and inspired composers of all eras. The vocal-instrumental form which focuses essentially on music and singing supported by the spoken word unrestrained by circumstances and motion – continue to fascinate both performers and listeners to this day.

Composers have endowed the genre with such force of expression that regardless of the type of commission to a forgotten addressee, or dedication or relevance of programmatic intentions, new values continue to emerge for what is described in the score as: na chór i orkiestrę – per Coro, Soli e Stromenti – for voices and instru ments – für Chor, Sprechstimme und Orchester – pour Grande Orchestre et Chœur. Once again we discover the rich inventiveness and the mastery of Monteverdi, Perotin, Vivaldi, Szymanowski, Janáček and Webern. Without religious, nationalistic or racial bias, we absorb monumental works by Bach and Handel, as well as recently discovered and documented African ritual forms of vocal-instrumental music, Byzantine songs and works inspired by folklore. The synthesis of word and music in Luigi Nono’s vocal-instrumental works, Witold Lutosławski’s Trois poèmes, Penderecki’s Passion and the works of Stravinsky we experience as a deep expression of humanistic values. During this festival, performers should also reach for lesser known or as yet unperformed works by Polish composers. Here in Wrocław, where actus oratoricus takes place and where cantata form of all eras and styles can be heard.

Born on 22 August 1924 in Lublin; died on 30 October 1986 in Warsaw. He studied composition in Lublin (1939–41) and piano in Warsaw (1943–44). He continued his studies in the Trinity College of Music in London (composition with Alec Rowley, 1946–47) and in Warsaw’s State Higher School of Music (composition with Piotr Rytel and Tadeusz Szeligowski, conducting with Witold Rowicki, 1947–55).

deputy artistic director of Warsaw Philharmonic. In the 1970s he made a tour of England with the WOSPR (Great Symphony Orchestra of the Polish Radio) and (twice) – a tour of Japan with Tokyo Philharmonic Orchestra.

He also gained renown as an eminent interpreter of baroque and contemporary music. He repeatedly conducted concerts at the Biennale di Venezia and the Sagra Musicale Umbra festival in Perugia. He performed with such world famous artists as: Artur Rubinstein, David Oistrakh, Isaac In 1955–59 he was a conductor at the Stern, Maurizio Pollini, Henryk Szeryng, Silesian Philharmonic in Katowice, and in Krystian Zimerman, Stefan Askenase, 1959–64 – artistic director and principal con- Julius Katchen, and Vlado Perlemutter. He ductor of Cracow Philharmonic Orchestra. promoted contemporary music in Poland In 1959 he founded a chamber orchestra in and abroad, conducting, among others, more Cracow, and later organised a concert cycle than 25 concerts of the Warsaw Autumn entitled Musica Antiqua et Nova, as well festival. He was also a member of that as the Cracow Spring of Young Musicians, Festival’s Repertoire Committee in 1971–81. where many compositions by Krzysztof At the Warsaw Autumn, he presented world Penderecki, Grażyna Bacewicz and others and Polish premieres of compositions were premiered. With his Chamber Orchestra by Krzysztof Penderecki, Henryk Mikołaj ‘Filarmonica di Cracovia’ he toured Italy, Górecki, Kazimierz Serocki, Tomasz Sikorski, Belgium and the United States. Kazimierz Sikorski, Bolesław Szabelski, Witold Szalonek, Paweł Szymański, György He greatly contributed to the promotion Ligeti, Pierre Boulez, Hans Werner Henze, of Polish music both at home and abroad. Charles Ives, Iannis Xenakis, Luigi Nono, and He conducted orchestras in Berlin, Milan’s Bruno Maderna. La Scala, Amsterdam’s Concertgebouw, Palais des Beaux-Arts in Brussels, as well as He also won tremendous renown with his Paris, Barcelona, Madrid, Cologne, Florence, music for more than 35 short and feature Leipzig, Dresden, Montreux, Frankfurt, films, including such Polish classics as Teheran, Beirut, Melbourne, Moscow, Andrzej Wajda’s A Generation, The Ashes Copenhagen, Oslo, Darmstadt, Buenos Aires, and Roly Poly, Jerzy Hoffman’s Colonel and Mexico. He gained recognition and fame Wołodyjowski, as well as experimental films as a pioneering interpreter of early music, by Andrzej Munk, Walerian Borowczyk, conducting Polish premieres of such works Jan Lenica and Tadeusz Makarczyński. He as Monteverdi’s Vespro della Beata Vergine inspired Andrzej Wajda’s film The Orchestra and Il combattimento di Tancredi e Clorinda, Conductor. He also wrote theatre music. Handel’s Messiah and Judas Maccabaeus, In 1965, he received the Minister of Culture but also Debussy’s Pelléas et Mélisande. and Art Award, 2nd Class, and in 1974 – State In 1965 he accepted the post of director of Wrocław Philharmonic, which he managed to install in its own new building. In 1966 he founded the Wratislavia Cantans Festival of Oratorio and Cantata Music, of which he was the artistic director in 1966–76. He also simultaneously directed the Festival of Polish Contemporary Music in Wrocław and the Festival of Organ and Harpsichord Music. In 1979, together with Warsaw Philharmonic Symphony Orchestra, he toured the Far and Near East. In 1971–77 he was a conductor and

Award, 1st Class for his outstanding artistic creations at the Warsaw Autumn festival. He was twice granted the Orpheus Critics’ Award (1968, 1971) and (also twice) – the annual Award of the Polish Composers’ Union (1969, 1971). In 1974 his LP recording of Krzysztof Penderecki’s Utrenja won the Grand Prix du Disque of the Académie Charles Cros in France. From 1970, he held the post of conductor in Groningen Philharmonic, and from 1982 – the post of artistic director in Łódź Philharmonic. 19

Recitar cantando, the intriguing title of the 52nd Andrzej Markowski International Festival Wratislavia Cantans is meant to symbolise a certain extension to the programme formula. Since time immemorial, ‘declamation and singing’ have lived in a symbiosis, specific not only for the musical culture of the West. The relationship between what is spoken, declamated, recited and what is sung – in the context of European early modern period and perhaps even modernity – lines out a musical territory that has been a terra incognita for Wratislavia Cantans until this year: the opera.

Andrzej Kosendiak General Director of the Andrzej Markowski International Festival Wratislavia Cantans Giovanni Antonini Artistic Director of the Andrzej Markowski International Festival Wratislavia Cantans

Trig points The programme framework of the 52nd Festival is extremely broad and can be determined in various ways. Its key elements, certain ‘trig points’ of the programme, seem to be the following: the 450th anniversary of Claudio Monteverdi’s birth and the 250th anniversary of Georg Philipp Telemann’s death, the 500th celebration of the

beginning of the Reformation, with the staffage of musical diversities and cross-references that occur in culture and art. Take the evolution of a significant medieval sequence (Stabat Mater) versus a 20th-century reflection on the ultimate truths of faith, or romanticism with its fantastic spirituality. Finally, a conflict that the arts have been trying to solve forever and without clear success: the confrontation between rationalism and emotionalism. This seems to be the spine, the core of the Festival with many smaller but no less important topics pursued on the side. Wrocław will see many renowned artists. The Festival will be inaugurated by one of the greatest conductors of our time. The expert and master in baroque music interpretation, Sir John Eliot Gardiner returns with his ensembles, recognised and loved by the local audience. For the finale: a debut by the conductor of RussianGreek roots, Teodor Currentzis and his vocal-instrumental ensemble MusicAeterna. We will host a great cast of performers and ensembles playing historical instruments: Accademia Bizantina directed by Ottavio Dantone, Ensemble La Fenice with Jean Tubéry, Il Suonar Parlante and Cuncordu de Orosei groups under the artistic direction of gambist Vittorio Ghielmi, Le Concert Spirituel with Hervé Niquet, Vocalconsort Berlin

conducted by Daniel Reuss, and finally – last but not least – Il Giardino Armonico. During the Festival we will also obviously get a chance to hear the ensembles of the National Forum of Music: NFM Wrocław Philharmonic (with guest conductor, Marzena Diakun), Wrocław Baroque Orchestra (performing under the baton of Andrzej Kosendiak), as well as NFM choirs. No Festival could do without soloists. In September in Wrocław we will be able to admire a truly extraordinary group of singers: Tomáš Král, Karina Gauvin, Hana Blažíková, Furio Zanasi, Sir Willard White and Zachary Wilder, to name a few.

The great Monteverdi… Il ritorno d’Ulisse in patria (The Return of Ulysses to his Homeland) by Claudio Monteverdi in the interpretive vision of Sir John Eliot Gardiner opens this year’s Wratislavia Cantans and dictates its ideological motto. 450 years ago one of the greatest geniuses of music and composing was born to pave a new way for European music. His revolutionary approach to art and new style (known as seconda pratica) met with a sharp reaction from conservative theorists and inspired ideological disputes that no breakthrough can go without. Thanks to the foresight Claudio Monteverdi shared with others

like him, the music of the 17th century began to speak a completely different, unexpectedly fresh and modern language. Il ritorno d’Ulisse in patria was Monteverdi’s the first full-size opera written for the public theatres of Venice. It premiered in the carnival of 1640 which makes it his late work, created by the mature, 73-year-old, conscious of his creative skills. This is not the only work of Monteverdi presented during the Festival. Two days later, at the University Church, Ensemble La Fenice will present the famous Vespers of the Blessed Virgin Mary. Written 30 years earlier, the piece exudes baroque splendor and an almost theatrical vision of religious music. It should be remembered that the Vespers are a key example of Monteverdi’s innovation in composition, the emanation and quintessence of stile moderno.

…and the underestimated Telemann While Claudio Monteverdi has a well-established position in the history of music as the ‘creator of new music’, Georg Philipp Telemann tends to be forgotten. The reasons behind this are many – perhaps his close proximity to Bach and Handel plays the crucial role. Telemann is still in their shade, a position he does not deserve. After all, he was an extremely busy and prolific composer. Perceived as an asset in the 18th century, this ease in creation was considered a defect later. Is it possible to take seriously someone who has composed more than three thousand pieces? The certain laxity in the attitude towards Telemann was rooted mainly in the ignorance of his achievements. Only efforts to revive his music made by contemporary performers allow us to appreciate the scale of Telemann’s talent. He was perhaps the biggest erudite among the composers of the 18th-century Europe, a man well aware of the stylistic specifics of not only Italian, French or German music, but also of Polish influences on the instrumental art of the Baroque. From the vast oeuvre of Telemann, we selected Passion to a libretto by Barthold Heinrich Brockes. Telemann created music to this version of the Passion of Christ in 1716, which made it one of more than 40 passions he composed (only half survived to our time). On the 250th anniversary of the death of the great Telemann, Wrocław will pay him due tribute.

Stabat Mater and the polyphonic tradition Fascinating choices for the Passover-themed repertoire will be featured in the concert titled ‘Stabat Mater’. Several developments of the 13th-century sequence by Jacopone da Todi from different periods – from the anonymous Renaissance pieces by Josquin des Prez to the 20th-century creations by Arvo Pärt – will play in the context of the traditional music of Sardinia. The Collegiate Church of the Holy Cross and St Bartholomew, who has witnessed many artistic experiments so far, will be the meeting place for singers who use a special technique (cantu a tenore) and a viola da gamba ensemble Il Suonar Parlante, all under the artistic supervision of Vittorio Ghielmi. Artistic exploration breaks old patterns and defines new horizons in art. Hopefully, this performance will fulfil such expectations. Works by Josquin, one of the greatest musical geniuses, are present also in the programmes for other concerts. This dispersion can be approached as a conceptual prism, a slightly provocative tool showing the dichotomy of cultural phenomena, their intellectual rivalry. The Reformation placed music on the pedestal; it filled the sacred spaces and became an absolute leader, prevailing over other arts. The father of the Reformation, Martin Luther, attributed extreme theological significance to music. Hence the outburst of new compositions, which over time adopted the Italian discovery of seconda pratica, the new and emotional style that radiated from the South of Europe. Does this mean that the works of Palestrina, who remained a servant of Rome and a follower of the old counterpoint tradition to the end of his days, are paradoxically on the side of constructivism, closer to the rationality of the North? We will look for the answers to that question during the performances of Vocalconsort Berlin (concert titled ‘500 Years of Reformation’) in St Elizabeth’s Church and Le Concert Spirituel ('Masters of Italian Polyphony') in St Mary Magdalene’s Church. Typically, the South-North dichotomy is approached in a different way. North is synonymous with rationalism, South is seen as the home of emotion and sensuality. Fascinated by the 18th-century Venice, almost a century ago Pavel Muratov wrote an excellent essay, still valid today. He highlights that the life of the city on the Lagoon ‘was indeed an ongoing feast’, and adds that ‘the 18th century was the century of music, and not one European, not one Italian city at the time could measure up to Venice in terms of musicality.’ Perhaps we can venture a more general statement: that no nation can match Italians in terms of musicality? The answer could be positive if it was not for one persona from the northern side of the Alps: the Great Cantor from Leipzig, Johann Sebastian Bach. Italian musicality is emotional, which is why one of the two concerts of Il Giardino Armonico (in the White Stork Synagogue) is titled 'The Death of Reason' (‘La Morte della Ragione’).

It stands in clear opposition to what Accademia Bizantina proposes for the programme: a performance of The Art of Fugue by Bach. This work, designed as a homage to the logic of counterpoint and musical constructivism, is often perceived as synonymous with rationalism in art. But does logic and order exclude emotionality? How much poetry must the venerable Johann Sebastian Bach have had to attempt to codify the art of counterpoint and ask: where are the limits of exploiting a fairly simple musical theme are? Without any ‘romantic rapture of spirit’ this ‘rational’ treaty on the art of counterpoint would never come to light.

Emotions versus reason The death of reason cannot be postulated as final, although we can often get the impression, looking down on the earthly life, that humanity continues to behave irrationally. The two works by Olivier Messiaen, one of the greatest composers of the 20th century, indirectly question the state of human moral condition. Quartet for the End of Time – composed in Stalag VIII A in Görlitz, whose first listeners, on 15 January 1941, were 5,000 camp prisoners – 'was written at the end of the world, that is [...] at the beginning of eternity, and this is not a play on words related to the end of slavery.' Messiaen composed the orchestral Et exspecto resurrectionem mortuorum nearly a quarter century later. This deeply moving piece was dedicated to the memory of victims of the two

World Wars. Today, our part of Europe is still free from the bloody conflicts, but our world is in a deep crisis, which feeds growing uncertainty and fear. An in times of fear, the question returns about what lies ahead in the unknown future. A concern for the world and its people is the duty of us all, including artist. Messiaen’s Et exspecto... will be performed next to a large composition, Uru Anna / Light of the Sky from 1999, a fragment of the monumental cycle of Frescoes by a Polish composer Grażyna Pstrokońska-Nawratil. Both works draw from the depths of Christian mysticism and will be performed by NFM Wrocław Philharmonic conducted by Marzena Diakun. Although 20th-century music does not dominate the 52nd edition of Wratislavia Cantans, it creates an eloquent, ideologically indifferent point of reference for earlier works – like this repertoire rarity: Phantoms cantata by Stanisław Moniuszko. A selection of lyrical scenes based on Part II of the Dziady poem points to the reserves of Slavic spirituality. Europe should come together as one, filled with diverse traditions and cultural contexts. Wrocław itself continues to be a symbol of both the cultural wealth and complicated past of Europe. The story of the wealthy Central European city reflects, like in a mirror, in the treasures stored at the university library. The selection of these preserved music materials will be presented in a concert by the splendid Czech singer Tomáš Král in the Principal Room of Wrocław’s Town Hall.

Try opera for a change We could not close without mentioning the concert, which will be a key part of the educational section of Wratislavia Cantans Festival. The day before the finale, the participants of the 42nd Oratorio and Cantata Music Interpretation Course and Festival Orchestra, directed by harpsichordist Aleksandra Rupocińska will perform the oratorio San Casimiro, re di Polonia by Alessandro Scarlatti. We wonder what comes of the confrontation of this baroque Italian music with Four Love Sonnets by Tadeusz Baird. This is yet another trace of the exuberance and multithreading of European culture: an Italian artist tells the story of one episode in the history of Poland, and a Polish artist re-interprets one of the Shakespearean masterpieces. Only music can open up such possibilities. The very end of Wratislavia Cantans will take place on the other side of Wolności Square, at the Wrocław Opera in Świdnicka Street. The finale and the inauguration of the Festival will be all about the opera. La clemenza di Tito is one of those works by Mozart that can arouse controversy, but is particularly intriguing due to its ambiguity. Many symbolic threads do intertwine in La clemenza di Tito: the thick layer of the Italian libretto tradition, the Metastasio convention which was to become at a certain moment la lingua latina of European art, and the indication of the context of Central Europe as an important place on the Continental map. Mozart wrote (if indeed in a hurry) La clemenza di Tito for Prague and for the posh occasion of Emperor Leopold II’s coronation as King of Bohemia, and conducted himself the world premiere on 6 September 1791. Empress Maria Theresa allegedly blurted out: ‘una porcheria tedesca’ (‘German muck’). Perhaps this anecdote is all made-up, but it shows how important to rationalists from the north, in the era of ‘triumphant reason’, was Italian affectivity, sensuality and dramatic pause, the qualities which, perhaps, in the Empress’ opinion were hardly present in Mozart’s music? And if we look for symbols and references to the present – Prague is just a few steps away from Wrocław, which not so long ago bore the prestigious title of European capital of culture. Two years after Andrzej Markowski was adopted as the patron and featured in the official name of the Festival, we want to prove that Wratislavia might be over fifty, but is still fresh and sharp. As primary assumed by Markowski, the Festival is centered around oratorio and cantata music; including opera in the program does not change that at all. It only indicates just another musical plane, where ‘declamation and singing’ feel at home.

Andrzej Kosendiak General Director of THE ANDRZEJ MARKOWSKI International Festival Wratislavia Cantans

Director of the Witold Lutosławski National Forum of Music, conductor and teacher, he counts as one of the most active musicians and promoters in Poland. He graduated from the Faculty of Composition, Conducting and Music Theory of the Wrocław Academy of Music, where in 2013 he obtained the degree of doctor habilitatus. For years he has lectured at his alma mater, and his positions there included the directorship of the Inter-Faculty Early Music Studies from 2001–2009. From 2014–2016 he taught at the Music Academy in Gdańsk, and since 2016 has resumed his teaching activities as professor at the Wrocław Academy of Music.

photo: Łukasz Rajchert

In 2016 Andrzej Kosendiak received an Award of the Mayor of Wrocław and was rewarded Dolnośląski Klucz Sukcesu in the Greatest Personality in the Promotion of Lower Silesia category. In October 2016 he was elected Vicepresident of the Minister of Culture’s Council of Artistic Institutions, founded in 2012. In 2017 he received the award of Radio Wrocław Kultura ‘Emotions’ in the Personality of the Cultural Season category.

In 2005 Andrzej Kosendiak was appointed Director of the Wrocław Philharmonic and the International Festival Wratislavia Cantans, and ever since has effectively worked on changing the profile of both organisations and merging them into one performing arts organisation under the name of National Forum of Music. Thanks to his ideas and efforts, the prestigious concert venue of the National Forum of Music was constructed. The opening of the National Forum of Music was recognised as the Event of the Year and honoured with the Coryphaeus of Polish Music award. The Society of Polish Philharmonics was founded due to his initiative, and now Andrzej Kosendiak is its chair for the second term. He has founded the following resident ensembles of the National Forum of Music: the NFM Choir, the Wrocław Baroque Orchestra, and the NFM Boys’ Choir. He initiated the Leo Festival and the international meetings of young choirs called The Singing Europe. Following his efforts, in 2013 the Wrocław Philharmonic organised the 27th Congress of the International Society for the Performing Arts. He is a co-founder of Academies of Early Music, combining concerts with master classes (Bach Academy in 2014, Handel Academy in 2015, Mozart Academy 2016, and Mendelssohn Academy 2017). The educational projects advanced thanks to his initiative include: Singing

Wrocław and Mummy, Daddy Sing to Me. He invited Agnieszka Franków-Żelazny to co-found the Polish National Youth Choir and the Choral Academy. Muzyka w Mieście (Music in the City) monthly, published by the National Forum of Music, is yet another in the long line of the artist’s successful ideas. Andrzej Kosendiak established the phonographic series 1000 Years of Music in Wrocław, recording the musical heritage of the city. It was his idea to commence the Witold Lutosławski. Opera omnia series, with six albums published so far. Another important recording project is the joint project of Paul McCreesh and the NFM Choir whose aim is to record great oratorios. Albums released in this series have won prestigious awards: BBC Music Magazine Award (twice), Diapason d’Or and the Gramophone Editor’s Choice. Early music is of particular interest to Andrzej Kosendiak: in 1985 he founded Collegio di Musica Sacra he has led to date. He has toured many European countries, as well as the USA (collaboration with Chapel Hill University North Carolina), in addition to performances at the most prestigious festivals and in the concert venues across Poland. His recording catalogue includes hitherto unknown works from the collections of Wrocław

University Library: Musica da Chiesa (DUX), from the Strasbourg Library: F.X. Richter’s Messa Pastorale, Sinfonia in D, Magnificat (CYPRES), as well as A.M. Bononcini’s Stabat Mater (DUX). In 2012 and 2014 two CDs with music by Grzegorz Gerwazy Gorczycki under his baton were released on the CD Accord label. The first CD won the Wrocław Music Prize, and both were nominated for a Fryderyk Award. Andrzej Kosendiak’s latest release is the Salzburg Marian Mass with liturgical music by Mozart, two albums with works of Bartłomiej Pękiel, as well as a disc of works by Marcin Mielczewski (CD Accord). Another CD in the Witold Lutosławski. Opera omnia series, featuring his songs for children and recorded with the NFM Instrumentalists and NFM Boys’ Choir under the baton of Andrzej Kosendiak, will be released soon. As a conductor he gives regular concerts with the NFM Wrocław Philharmonic and NFM Choir as well as with the Wrocław Baroque Orchestra, alongside philharmonic orchestras across Poland. His latest engagements include: Haydn’s The Creation, Handel’s Messiah, Mozart’s Mass in C Minor and Requiem, J.S. Bach’s Mass in B Minor and Passions, Fauré’s Requiem, and Britten’s cantata Saint Nicolas.

Giovanni Antonini Artistic Director of THE ANDRZEJ MARKOWSKI International Festival Wratislavia Cantans

He is a founding member of the Baroque ensemble Il Giardino Armonico, which he has led since 1989. With his group he has appeared as a conductor and a soloists on the recorder and Baroque transverse flute in Europe, the United States, Canada, South America, Australia, Japan and Malaysia.

With Il Giardino Armonico, Giovanni Antonini has recorded numerous CDs of instrumental works by Vivaldi (including The Four Seasons), other 17th- and 18th-century Italian composers, J.S. Bach (Brandenburg Concertos), Biber and Locke for Teldec. With Naïve he recorded Vivaldi’s opera Ottone in villa, and in the last years he has been recording with Il Giardino Armonico for Decca Classics, Harmonia Mundi and Alpha Classics (Outhere Music Group), often with the participation of acclaimed soloists.

He has performed with many prestigious artists, including Cecilia Bartoli, Isabelle Faust, Viktoria Mullova, Giuliano Carmignola, Giovanni Sollima, Sol Gabetta, Katia and Marielle Labèque, Kristian Bezuidenhout.

He recorded Norma with Cecilia Bartoli (Decca Classics, 2013). With Kammerorchester Basel the complete Beethoven symphonies (Sony BMG); the first eight have already been published.

Appreciated for his refined and innovative reading of the Classic and Baroque repertoire, Antonini is regularly invited as a guest conductor by the most prestigious orchestras as the Berliner Philharmoniker, Royal Concertgebouw Orchestra in Amsterdam, Tonhalle Orchester in Zurich, Mozarteumorchester Salzburg, Orquesta Nacional de España,

Since September 2013 he is the artistic director of the International Festival Wratislavia Cantans in Wrocław (Poland), where he received the Wrocław Music Award (classical music category) for the impressive artistic creations presented in 2014.

Born in Milan, Giovanni Antonini studied at the Civica Scuola di Musica in Milan and at the Centre de Musique Ancienne in Geneva.

photo: Paolo Morello

Gewandhausorchester Leipzig, Kammerorchester Basel. Furthermore he has been invited at Teatro alla Scala in Milan where he conducted Handel’s Alcina (2009) and at the Salzburg Festival for Handel’s Giulio Cesare in Egitto (2012) and Bellini’s Norma (2013 and 2015). At the Opernhaus Zürich he conducted Alcina (2014 and 2016), Mozart’s Le nozze di Figaro (2016) and will conduct Mozart’s Idomeneo, re di Creta (2018).

Giovanni Antonini is the artistic and musical director of the prestigious project Haydn2032, whose aim is to record all of the Haydn symphonies, with both Il Giardino Armonico and Kammerorchester Basel. The first four volumes have been recorded with Il Giardino Armonico: La Passione (November 2014), Il Filosofo (May 2015), Solo e Pensoso (August 2016), Il Distratto (March 2017). The fifth L’Homme de Génie, the first wilth Kammerorchester Basel, will be published in 2017. All on Alpha Classics.

Dear Ladies and Gentlemen!

photo: Danuta Matloch

Professor Piotr Gliński Deputy Prime Minister Minister of Culture and National Heritage

For so many years, autumns in Wrocław have been full of music – from recitals and chamber concert to great vocalinstrumental forms. Music lovers are attracted to the city by outstanding vocalists, excellent choirs, superb instrumental ensembles and famous conductors. The Andrzej Markowski International Festival Wratislavia Cantans is one of the most important festivals of classical music in Europe, and its main idea is presenting the beauty of human voice and the mastery of vocal art. This year, the 52nd edition of the Festival is entitled Recitar cantando and focuses on the relationship between singing and declamation. The programme, whose basis are the great works of oratorio and cantata repertoire, this time will be enriched with opera performances. To celebrate Claudio Monteverdi’s 450th anniversary, Il ritorno d’Ulisse in patria will be performed under the baton of legendary Sir John Eliot Gardiner. The programme of the International Festival Wratislavia Cantans featured Polish works too. The rarely performed cantata Phantoms by Moniuszko will surely be a memorable event of this year’s edition, based on Adam Mickiewicz’s drama Dziady. Wratislavia Cantans is a wonderful opportunity to promote the young generation of singers under the tagline ‘Young Masters’, there will be a concert featuring participants of the Oratorio and Cantata Music Interpretation Course, including conservatoire students and graduates. Concerts and accompanying events attract audiences not only from Poland but from many, even the most distant parts of the world to Wrocław. Each edition of this festival is a unique event, and each September Wrocław becomes a true capital of musical culture. My words of appreciation and gratitude to all whose work and talent have contributed to the production of this feast of music. I believe that the 52nd edition will confirm the high status of Wratislavia Cantans, and that the rich programme will satisfy the tastes of the most demanding listeners. My best wishes of profound artistic experiences go to the performers and the audience alike. Let us rejoice in sharing music. Yours sincerely, Professor Piotr Gliński Deputy Prime Minister Minister of Culture and National Heritage

Ladies and Gentlemen, welcome to Wrocław! The summer is ending, and with its departure the gates of our hospitable city open to all the artists and admirers of the Andrzej Markowski International Festival Wratislavia Cantans. I believe that, following a tradition of several decades, the 52nd edition of the Festival will delight us with the sublime beauty of music. The programme is full of musical delicacies, surely to be appreciated by connoisseurs. The world-famous Sir John Eliot Gardiner will open Wratislavia Cantans with Il ritorno d’Ulisse in patria by Monteverdi. The line-up includes performances by a host of recognised artists and fresh debutants, superb early music groups and the NFM resident ensembles, and notably the Wrocław Baroque Orchestra under the baton of Andrzej Kosendiak, Director of the National Forum of Music. I am happy that every year Wrocław hosts so many music enthusiasts. Your presence testifies to our everlasting need of elevating experiences and sensitivity to beauty, unfettered by the hustle and bustle of everyday life. My best wishes go to all the artists, the Festival Team and audiences. May this year’s Wratislavia Cantans Recitar cantando give you many memorable experiences. photo: Maciej Kulczyński

Rafał Dutkiewicz

Rafał Dutkiewicz Mayor of Wrocław

Mayor of Wrocław

Cezary Przybylski Marshal of the Lower Silesian Province

Dear Ladies and Gentlemen!

It is my great pleasure to invite you to participate in the 52nd International Festival Wratislavia Cantans, which is one of the most important European events of this kind. The past 51 years have seen plethora of artistic achievements, hundreds of concert and unusual programmes – performed masterfully, moving, many times quite simply delightful and going down in our memory with unforgettable experiences. Over these years, we could admire the art of conductors, orchestras, consorts and soloists from all over the world. I believe that the 52nd edition of Wratislavia Cantans will give us a lot to remember, as the programme abounds in masterpieces being part of the great European cultural heritage. The motto of this year’s Wratislavia – Recitar cantando – will be reflected in opera performances: Il ritorno d’Ulisse by Monteverdi, directed by Sir John Eliot Gardiner, the coronation opera La clemenza di Tito by Mozart, directed by Teodor Currentzis, and a staging of Moniuszko’s Phantoms prepared by Andrzej Kosendiak and Paweł Passini. I am happy to see such a rich programme, featuring both superb soloists and conductors and the wide range of music genres and forms to be presented. May I wish all who create the International Festival Wratislavia Cantans and all who visit us for its concerts, seeking indelible musical impressions, profound satisfaction and joy deriving from yet another triumph of music.

The most wonderful gift of the Andrzej Markowski International Festival Wratislavia Cantans are music and singing performed by outstanding artists. Virtuosos, genius conductors, extraordinary soloists – a genuine constellation of stars we have been able to admire for decades. The work on creating this musical universe requires experience and commitment of the whole Team. This is the right occasion to say thank you and to congratulate Maestro Andrzej Kosendiak on successfully fulfilling his mission at the National Forum of Music. This year’s edition of Wratislavia Cantans is held under the motto Recitar cantando, enabling us to get a bigger picture of the declamatory aspect of vocal art. At the same time, it is an invitation to a journey into the beguiling world of the works presented, to get familiar with important contexts of European culture. Moniuszko’s Phantoms, directed by Paweł Passini will give us a Polish perspective on the subject. Certainly, an important focus of Wratislavia Cantans is the celebration of Claudio Monteverdi’s 450th birth anniversary, an innovative master whose genius influenced the rise of Baroque in music. This year also sees the 500th anniversary of Reformation, with a concert celebrating this important point in history at the Basilica of St Elizabeth. I also believe that Die Kunst der Fuge by Johann Sebastian Bach will be enthusiastic ally received by everyone, just as the intimate and intriguing concert ‘End of Time’ bringing together Claude Debussy and Olivier Messiaen, two composers of unusual craft and imagination. Finally, let me wish success to the whole festival Team responsible for producing the 52nd International Festival Wratislavia Cantans. My best wishes to our wonderful audiences visiting Wrocław.

Cezary Przybylski Marshal of the Lower Silesian Province

photo: Tomasz Gola

Paweł Hreniak Lower Silesian Voivode

Programme notes

Monteverdi – Il ritorno d’Ulisse in patria 7.09.2017, Thursday, 7:00 pm 8.09.2017, Friday, 7:00 pm Wrocław, NFM, Main Hall (Sala Główna), pl. Wolności 1 PERFORMERS:

ProgramME:

Sir John Eliot Gardiner – conductor Furio Zanasi – Ulisse (baritone) Lucile Richardot – Penelope (mezzo-soprano) Krystian Adam – Telemaco (tenor) Hana Blažíková – Minerva/Fortuna (soprano) Gianluca Buratto – Tempo/Nettuno/Antinoo (bass) Michał Czerniawski – Pisandro (countertenor) Gareth Treseder – Anfinomo (tenor) Zachary Wilder – Eurimaco (tenor) Anna Dennis – Melanto (soprano) John Taylor Ward – Giove (baritone) Francesca Boncompagni – Giunone (soprano) Robert Burt – Iro (tenor) Francisco Fernández-Rueda – Eumete (tenor) Carlo Vistoli – L'humana fragilità (countertenor) Silvia Frigato – Amore (soprano) Francesca Biliotti – Ericlea (mezzo-soprano) Monteverdi Choir English Baroque Soloists

Claudio Monteverdi (1567–1643) Il ritorno d’Ulisse in patria, SV 325

Sir John Eliot Gardiner, Elsa Rooke – co-directors Rick Fisher – lighting Patricia Hofstede – costumes

TIME 210'

The concert has a 20-minute intermission.

Programme note

Il ritorno di Claudio al teatro Penelope answered him: ‘O my dear son I am so lost in astonishment that words I have none To ask him questions or his answers to chase And look him confidently in the face If indeed it be Ulysses there is every chance Exchanging a few words I'll know him at once We'll come closer together as time goes by As there are signs only we recognise.’ Homer, Odyssey, Song 23

Piotr Maculewicz

The three decades that divide Claudio Monteverdi’s first Mantuan opera (L’Orfeo 1607) from the 70-year-old maestro’s triad of late works written for Venice, brought many formal and functional changes to the genre. The late-Renaissance Florentine opera (dramma per musica) was at first only accessible to courts, and only to the most affluent, as a sign of wealth, taste and prestige. Consequently the genre was soon adopted by the Gonzagas of Mantua, later by the Barberini circle in Rome and other centres fascinated by the splendour of these pioneering ones. However, neither the first composers of opera or its noble patrons expected it would so quickly become p u b l i c entertainment, quite egalitarian in fact and accessible to anyone willing to buy a ticket for the performance. This happened in Venice, whose specific oligarchic-republican political system favoured forms of patronage different from other courtly centres. The city’s affluent patriarchal families managed an assortment of lucrative ventures; apart from international trade, they included various crafts as well as a purely commercial approach to theatre. The first staging of opera in Venice was shown at the Teatro San Cassiano during the 1637 carnival, performed by Benedetto Ferrari’s troupe from Rome – the work in question was the no longer extant Andromeda by Francesco Mannelli. Was the venerable maestro di cappella of St Mark’s Basilica present among the spectators? This we do not know, but it seems probable that he was. From 1613 Monteverdi was in the service of the Doges and their churches, concentrating on the composition of sacred music, having earlier in Mantua proved himself to be an ingenious composer of operas, including among others the abovementioned Orpheus and the lost (apart from the famous lament) L’Arianna. After his move to Venice he composed a few more theatrical works for Mantua and one (Proserpina rapita, 1630) for the Mocenigo family of Venetian patricians staged in their palace; all these works have been lost. The revival of the 1608 L’Arianna was performed at the inauguration of the Teatro San Moisè as an opera house, during the 1639/40

carnival. It was obviously expected that the adored maestro would supply new and original compositions in the genre; it was less obvious that he would agree. Apart from age and fatigue, there were also considerations of prestige: it seemed unbefitting for the kapellmeister of St Mark’s Basilica to write works regarded at the time as trivial entertainment. The credit for persuading him to change his mind goes to Giacomo Badoaro (1602 – 1654), an enlightened humanist and amateur poet, an aristocrat active at the Accademia degli Incogniti and author of the libretto to the first of three operas composed by Monteverdi for Venice: Il ritorno d’Ulisse in patria. Ulisse was premiered at the Teatro Santi Giovanni e Paolo (or, according to other sources that are regarded today as unreliable, at San Cassiano) in February 1641, performed by the resident Ferrari/ Mannelli theatrical company and according to Badoara’s preface (probably written on its revival in the following season) enjoyed as many as ten performances to a full house – a rare and impressive result for the times. We do not know how the collaboration between the poet debuting as librettist and the experienced composer proceeded, as the latter had a reputation for being abrasive and domineering, hence it could not have been easy. The only example of the music’s source material is a manuscript copy housed in Vienna since the end of the 17th century, which is almost certainly connected to one of the work’s early Italian performances. There are also 13 various surviving copies of the libretto, including two dating back to the times of its premiere. There was much discussion about the authenticity of the musical score with questions raised about how much of it was written in Claudio’s hand and how complete a picture of the original work it represented. Doubts were raised regarding a significant differences between the libretto and the score, the main issue being that the libretto has five acts while the score only three. Contemporary researchers (among others Ellen Rosand and Alan Curtis, editor of the new critical edition of Ulisse) acknowledge that most of the musical material is original and are inclined to believe that it was Monteverdi who forced the poet to revise the form of the work and influenced the changes to, and deletions of, individual scenes (perhaps on the occasion of the work’s revival in Bologna, after its premiere season? NB in an unprecedented move at the time, the work was also revived in Venice). No doubt he also discarded the libretto’s original prologue – which featured Fate, Power and Virtue while in the opera Human Frailty is confronted by Time, Fate and Cupid. According to George Burrows this amendment has particular consequences to the essence of the work, the dramatic and moral weight falling to Penelope rather than the adventures of the titular Ulysses. In the opera the Queen of Ithaca is a woman full of human passion,

Ulisse was premiered at the Teatro Santi Giovanni e Paolo (or, according to other sources that are regarded today as unreliable, at San Cassiano) in February 1641, performed by the resident Ferrari/Mannelli theatrical company and according to Badoara’s preface (probably written on its revival in the following season) enjoyed as many as ten performances to a full house – a rare and impressive result for the times.

who yearns, loves and doubts, a far more complex character than that of Homer’s epic in which she personifies the virtue of sophrosyne: humility, moderation and surrender to the will of the gods. Other than that the libretto remains faithful (although due to ne cessary simplification – e.g. Penelope’s hundred admirers reduced to three, the differing characters and motivations of Eurimaco and Melanto) to the related events described in the Odyssey (Songs 13-23, hence half the epic!). 37

Synopsis The musical setting is relatively modest (if only compared with L’Orfeo, whose Mantuan sponsor provided generous funds) requiring however a cast of a dozen or so singers who perform almost thirty roles as well as (minor) choral parts. Nevertheless, instrumental accompaniment remains very frugal, the singing is basically supported only by the improvised bass line of the continuo (the then practice allowing of course for great variety in the set up of continuo group, in accordance with the dramatic content and expressive situations), with only sporadic entrances in several short ritornellos and sinfonias (e.g. a battle-like concitato in the scene of attack on Penelope’s suitors) of a five-part string ensemble, if need be complemented ad libitum by other instruments. The singing is dominated by affective declamation, often developing into arioso and closed forms of quasi-arias of varied structures – variation, ostinato, and, frequently, refrain ones, occasionally of a dance-like character, deemed by early commentators as a rather conservative feature. Only after detailed analysis or careful and informed attention to Monteverdi’s music is its exceptional subtlety and variety revealed, its ingenious realisation of the principal element of seconda pratica: ‘ut oratio sit domina harmoniae’. The distinctiveness of social status and individual personalities is underlined by differing types of recitar cantando – aristocratic protagonists sing with genteel moderation, the gods – with greater emphasis, evil and treacherous personae – with grotesquely exaggerated ornamentation. The superb manner in which the comical features of the primitive glutton Iro are conveyed is to be greatly admired as is the artistry of the ensemble parts (often in the seconda pratica madrigal 38

convention). One of the most memorable scenes is the harrowing lament of the lovesick Penelope at the beginning of Act I – one of the most wonderful ‘opening gestures’ in Baroque opera.

Not until the 20th century (after the publication of Robert Hass’ edition in the 1920s) was there any renewed interest in the work, although given the then doubts as to the authenticity of its source as well as its relatively modest musical setting (there being a few attempts to ‘improve’ it with new orchestration) it remained for some time the composer’s least performed opera. New research, the Curtis edition and a series of excellent performances and recordings have done justice to the work, whose title has been hailed by contemporaries as a metaphor for ‘the return of the divine Claudio to the theatre’. Despite being greatly admired by its contemporaries, the work fell into oblivion. Monteverdi endowed Venice with two further operas: Le nozze d’Enea in Lavinia (1641, lost) and the epic L’incoronazione di Poppea (1642), which concluded the Cremona maestro’s contribution to the theatrical genre. It could be that the presence of the only surviving manuscript of Ulisse in Vienna attests to its having been staged there, although there is no proof to support it – the manuscript could just as easily have been acquired for study or collection purposes. Not until the 20th century (after the publication of Robert Hass’ edition in the 1920s) was there any renewed interest in the work, although given the then doubts as to the authenticity of its source as well as its relatively modest musical setting (there being a few attempts to ‘improve’ it with new orchestration) it remained for some time the composer’s least performed opera. New research, the abovementioned Curtis edition and a series of excellent performances and recordings have done justice to the work, whose title has been hailed by contemporaries as a metaphor for ‘the return of the divine Claudio to the theatre’.

Prologue Human Frailty is anxious about her helplessness in the face of Time, Fortune and Love (personified by the divine Cupid). Act I In the palace at Ithaca, Penelope (accompanied by her nurse Ericlea) mourns the twenty-year absence of her royal husband Odysseus/Ulisse. As they leave, her attendant Melanto enters while flirting with Eurimaco, the faithful servant of the three suitors (Antinoo, Anfinomo, Pisandro) who are seeking the widow Penelope’s (or so they think) hand in marriage. Meanwhile on the island’s coast Ulisse is lying unconscious, brought ashore by the sympathetic Faeci, whom the gods of Olympus want to punish for defying their wishes. Waking up, Ulisse does not realise he has landed in his homeland of which fact he is informed by Minerva disguised as a shepherd. The goddess assures him of the constancy and virtue of his faithfully waiting wife and promises to help him regain his throne. Ulisse must first get to the court unrecognised. He is to be assisted by his faithful servant Eumete and his son Telemaco, in search of whom Minerva departs. In the meantime Melanto tries to persuade Penelope to abandon hope of her husband’s return and give her hand to one of the suitors. The action moves to the modest cottage of Eumete who, isolated, lives the life of a shepherd having been banished from the court by Penelope’s suitors (there he is mocked by the bawdy Iro who still lives in the palace and acts on behalf of the queen’s suitors). Ulisse enters disguised by Minerva as an old beggar – unrecognised he assures the delighted Eumete that the king lives and his return is imminent. Act II Minerva returns in a chariot with Telemaco (who has been wandering in search of his father) – he is greeted joyfully by Eumete and Ulisse the beggar. When the servant goes to impart the joyous news to Penelope a bolt of fire sent from the gods descends on Ulisse restoring his kingly robes and revealing his true identity to his son. Both are delighted to see each other, then Telemaco makes his way to the palace and Ulisse promises to follow shortly. Meanwhile, Melanto complains to Eurimaco that Penelope still refuses to accept the offers of her suitors. The latter try to cheer her up by organising singing and dancing at the palace – but she continues to reject them. Eumete arrives and informs the queen that her son Telemaco has returned but she refuses to believe him. Eumete’s message is overheard by the suitors who plot to kill Telemaco, who could be a threat to their aspirations of winning the throne of Ithaca. They are deterred from this act by a divine symbol in the form of an eagle – and renew their efforts to win Penelope, this time with gold. Minerva assures Ulisse of her support, while he,

again disguised as a beggar, makes his way to the palace, where he is challenged to a duel by Iro, who thinks he is dealing with a vagrant and hence loses. Penelope now states she will accept the suitor who is able to string Ulisse’s bow. None of the three pretenders are able to succeed in the task. The king, still disguised as a beggar, asks to try though renounces the prize. To everyone’s surprise he succeeds in stringing the bow. Still unrecognised, he aims his bow and arrow and kills Penelope’s suitors. Act III Iro, servant to the murdered suitors, bewails his loss and wants to commit suicide. Melanto tries to warn the queen of the danger presented by the mysterious and dangerous newcomer – but she is only interested in memories of her lost husband. Eumete and Telemaco try to convince her that he lives and has returned, but Penelope refuses to believe them. Minerva, who is sympathetic to Ulisse, begs Giunone, Giove and Nettuno to restore Ulisse to the throne. The old nurse Ericlea finally recognises Ulisse by the scar on his back. However, Penelope continues to disbelieve even when Ulisse appears in his true form and Ericlea confirms his identity. Only when Ulisse reveals an intimate detail known only to him: an embroidered image of Diana on the queen’s bedlinen – is she convinced of her husband’s return. Together they sing to celebrate their renewed happiness.

Biographies of artists and ensembles are provided in an alphabetical order on pages 170–215. 39

Die Kunst der Fuge 8.09.2017, Friday, 7:00 pm

Wrocław, Evangelical-Augsburg Church of Divine Providence (ewangelicko-augsburski kościół Opatrzności Bożej), ul. Kazimierza Wielkiego 29 PERFORMERS:

ProgramME:

Accademia Bizantina: Alessandro Tampieri, Ana Liz Ojeda – violins Diego Mecca – viola Emmanuel Jacques – cello Stefano Demicheli – chest organ Ottavio Dantone – harpsichord, artistic direction

Johann Sebastian Bach (1685–1750) Die Kunst der Fuge, BWV 1080

TIME 80'

Contrapunctus 1  Contrapunctus 2  Contrapunctus 3 Contrapunctus 4  Contrapunctus 5  Contrapunctus 6 a 4 in Stylo Francese Contrapunctus 7 a 4 per Augment et Diminut Contrapunctus 8 a 3 Contrapunctus 9 a 4 alla Duodecima Contrapunctus 10 a 4 alla Decima Contrapunctus 11 a 4  Contrapunctus 12 a 4 (Rectus) Contrapunctus 12 a 4 (Inversus) Contrapunctus a 3 (Inversus) Fuga a 2 Clav. (Rectus del Contrapunctus a 3) Canon per Augmentationem in Contrario Motu Canon in Hypodiapason  Canon alla Decima [in] Contrapunto alla Terza Canon alla Duodecima in Contrapunto alla Quinta Fuga a 3 Soggetti

Programme note

Why is it that Bach – the greatest master of counterpoint in history – failed to leave a manual on counterpoint that would reveal all his secrets and preserve them for posterity? Indeed there is no doubt that he was aware of the unique knowledge and talent he possessed and knew that the art of counterpoint was inevitably receding into the past with the advent of fashion for the stile galante. We know his library consisted of numerous theoretical works dedicated to counterpoint, nonetheless he decided to leave a work of practical use. His second son and first publisher of Kunst der Fuge – Carl Philipp Emanuel – when announcing the collection’s publication wrote in the journal Critische Nachrichten aus dem Reiche der Gelehrsamkeit (7 May 1751):

Barbara Świderska

‘A lack of good examples is the reason why the secret of the fugue was so sparsely propagated. Many great maestros often guarded it jealously. Those who wished to gain insight into it, had to do it through hearing. While the rules imparted to us were good and comprehensive there was a lack of essential examples. It is well-known however how fruitless teaching is without examples and experience shows there are far greater benefits to be gained from practical study than theoretical pointers. This work, which we would like to draw to the attention of the Public is entirely practical and realises what many talented people for years promised in their works. (…) Those familiar with the history of music admit that to date no publication exists where the entire knowledge of the fugue is so comprehensively studied on the basis of a single subject.’ A lecture on theory – a far simpler undertaking – Bach left to others. The task was realised in the two-volume manual (the first theoretical work on the fugue, though of course not on the counterpoint) Abhandlung von der Fuge written in 1753–54 by Friedrich Wilhelm Marpurg, who had visited Leipzig at a time when Bach was working on his Art of Fugue. Marpurg had consulted Bach about his own work which he based on the composer’s ‘practical lecture’, later writing the forward to the second edition of Kunst der Fuge in 1752. For a long time The Art of Fugue was unjustly treated as an abstract ‘practical treatise’ on counterpoint, on the whole not intended for performance. The author did not specify for which instrument it had been composed, hence it can be played on a keyboard instrument but sounds just as fine when performed by an instrumental ensemble. Bach started work on Kunst der Fuge at the beginning of the 1740s. In 1742 he completed the final draft of an early version, which consisted of 14 parts: 12 fugues and 2 canons. Nonetheless he continued to work on The Art of Fugue. In 1746 he reworked and extended fugues nos. 1–3, wrote anew the canon no. 12 and added 4 new components – 2 canons and 2 fugues.

In 1748 the work was prepared for publication with the increasingly blind Bach still overseeing work on note engravings. The work was finally published in 1751, after Bach’s death, together with the unfinished Fuga a 3 Soggetti – many years later Carl Philipp wrote on the last page of the manuscript: ‘The composer died while working on this fugue, that uses the name BACH as the countersubject.’ The earlier quoted press release mentions 24 movements – the printed version (without chorale) has 23 movements if we include the ‘mirror fugue’ version; however in Bach’s Nekrolog Carl Philipp and Agricola state: ‘His last illness prevented him from completing the project or compose the last four-subject fugue in which the four subjects were to be reversed in turn, note by note in all four voices.’ In various sources there is not the slightest trace of evidence of a plan for the said fugue, neither can we be sure of its format or the final shape of the work, which the publishers chose to conclude with the said unfinished fugue and the chorale Wenn wir in höchsten Nöthen sein (Vor deinen Thron tret ich hiermit), supposedly dictated by the composer on his deathbed. This highly imaginative story induced numerous musicians to attempt a completion of the last fugue, however perspicacious researchers have recently posed the question of whether work on the piece was indeed interrupted by death. Christoph Wolff notes that the last page of the surviving manuscript could prove that by interrupting the piece in bar 239, Bach may have had no intention of writing anything further – the following staves are drawn so carelessly that it would have been impossible to write anything on them – and Bach would not have started writing on a page unfit for purpose. Perhaps he left the fugue unfinished as a challenge to his readers – learned musicians like his friends from the Mizler Society. In its printed version the collection therefore has 23 components and an additional chorale. The principal subject, common to the entire collection, undergoes numerous transformations (from a calm, ricecar-like version to a virtuosic semiquaver figuration) and inversions (namely a reversed direction of the melody). Gradually Bach introduces more intricate contrapuntal devices like the stretto (i.e. the entrance of the answer before the subject is completed, initially introduced in Contrapunctus 4 and further appearing in an increasingly complex manner), augmentation (i.e. the lengthening of the subject’s rhythmic values) and diminution (shortening), with the stretti often juxtaposed with the subject proper or its inversion. The unfinished manuscript of Fuga a 3 Soggetti (Contrapunctus 14) was not given its title by Bach and for some time was a source of concern for many researchers, considering that it has three subjects (first one in long notes, second one in quavers and the third one, being the signature B-A-C-H in German reading of the notes B -A-C-B) yet the work’s principal subject, present so far in every

movement, does not appear. Despite the abovementioned testimonials of the day and the inclusion of the fugue in the first edition, some researchers suggest it has nothing in common with the work. Not until the end of the 19th century was it discovered that the principal subject melds perfectly with its other three; so this was the trail followed by successive authors of a reconstruction, who created not a triple – but a quadruple fugue, hence fulfilling the premiss of ‘inverting all the subjects, note by note in all four voices’ (Zoltán Göncz) and by the same token producing a scintillating finale to the work.

This highly imaginative story induced numerous musicians to attempt a completion of the last fugue, however perspicacious researchers have recently posed the question of whether work on the piece was indeed interrupted by death.

In spite of its impressive technical craftsmanship, The Art of Fugue continues to be in every respect a highly interesting work. It unfolds as a cycle, thanks to the introduction of increasingly energetic forms of the subject, whose progression is simultaneously diversified by varied contrasts, e.g. austere solemnity coupled with virtuosity and dance rhythms, or the presence of chromaticism in some movements.

Biographies of artists and ensembles are provided in an alphabetical order on pages 170–215. 43

Colours of Sounds

8.09.2017, Friday, 7:00 pm

Środa Śląska, Church of St Andrew the Apostole (kościół pw. św. Andrzeja Apostoła), ul. Kolejowa 2 PERFORMERS:

ProgramME:

Agnieszka Franków-Żelazny – conductor Katarzyna Neugebauer-Jastrzębska – piano Jonasz Dziuba – trumpet NFM Choir

Jēkabs Jančevskis (*1992) Odpływ solo: Aleksandra Turalska, Natalia Kiczyńska Roger Treece (*1963) Brief Eternity solo: Aleksandra Sosna, Małgorzata Ciężka-Kątnik Jacek Sykulski (*1964) Stoi lód na Prośnie solo: Aleksandra Sosna James MacMillan (*1959) The Gallant Weaver solo: Aleksandra Turalska, Natalia Kiczyńska, Paulina Boreczko-Wilczyńska Gustav Mahler (1860–1911) Die zwei blauen Augen from Lieder eines fahrenden Gesellen (arr. Clytus Gottwald) Ēriks Ešenvalds (*1977) Northern Lights solo: Sebastian Mach Jonathan Dove (*1959) Seek Him that Maketh the Seven Stars Bob Chilcott (*1955) The Dove and the Olive Leaf The Shepherds Sing solo: Natalia Kiczyńska

TIME 60'

Programme note

When over fifty years ago a distinguished conductor and composer Andrzej Markowski had the idea of organising the Wratislavia Cantans festival in Wrocław, he struck a chord with concert audiences. The concept of ‘singing Wrocław’ proved to be prophetic and universal, considering that singing – the vocal art of various cultures, nations and historical periods – has the power to attract audiences of successive generations. Such concerts as this evening’s event give full expression to Andrzej Markowski’s concept. Choral evenings are always exceptional: ensemble singing possesses inordinate power. Furthermore, works featured in the programme of such performances are generally not that elaborate, offering opportunities for creating interesting and highly varied programmes of diverse repertoire.

Artur Bielecki Gustav Mahler was one of the greatest composers of song that European music has ever produced. Rooted in the romantic, Austrio-German tradition of Lied (Schubert, Schumann, Brahms, Wolf, and others) as well as German folk songs (Das Knaben Wunderhorn), Mahler transposed the romantic song genre onto a symphonic ground. An excellent example is Das Lied von der Erde (The Song of the Earth), a masterpiece which combines the element of song and poetry with the symphonic world of the large orchestra. Equally outstanding – and how romantic in expression – are his Lieder eines fahrenden Gesellen (Songs of a Wayfarer) for voice and orchestra. As the composer wrote: ‘The songs are conceived as a cycle: a wandering journeyman, according to his destiny, sets out to see the world and wanders straight ahead’. The four songs of the cycle were originally conceived with 46

piano accompaniment and orchestrated a decade later (premiered in Berlin in 1896). The texts were written by the composer himself and were inspired by the young composer’s love for soprano Johanne Richter. The fourth song bears the title Die zwei blauen Augen (The Two Blue Eyes). The opening is expressive and characteristic of the composer’s motif of wandering. Mahler’s melodic line as well as his masterful synthesis of poetry and music are just some of this song’s fascinating features. Jonathan Dove’s Seek Him that Maketh the Seven Stars is a highly expressive choral work with texts based mainly on excerpts from the Bible’s Book of Amos, which speaks of seeking God – Him ‘that maketh the seven stars and Orion, and turneth the shadow of death into the morning, and maketh the day dark with night.’ The composition is remarkably complex and interesting in terms of harmony and has a contemplative character that aptly conveys a feeling of communing with a Mystery. The programme’s Scottish accent is contributed by James MacMillan’s The Gallant Weaver. The song’s titular hero is based on a poem written in 1791 by Scotland’s national poet, Robert Burns. The work is a type of folk love song, sung by an enamoured girl. Particularly noteworthy in the composition is the skilful introduction of a canon in the divisi soprano parts. Brief Eternity is a work of complex origin. It comes from Bobby McFerrin’s album VOCAbuLarieS, created in collaboration with Roger Treece, an American composer, arranger, vocalist and conductor. The meeting of these two talents gave birth to an extraordinary composition, or rather a new vocal style. In his work Northern Lights, Ēriks Ešenvalds exploits the text of a Latvian folk song to create an expressive scene of admiring the splendour of the Northern Lights from on board a ship. Latvian

contemporary music is also represented by Jēkabs Jančevskis, who in his work Odpływ (Ebb Tide) was inspired by a poem by Polish poet Tadeusz Dąbrowski. A further Polish accent in today’s concert programme is Jacek Sykulski’s Stoi lód na Prośnie (The Ice on Prosna River) for mixed choir a cappella, composed in 2014. Bob Chilcott is one of the most interesting figures of contemporary British music. A greatly respected composer, conductor and singer, he is considered to be one of the leading choral composers active in England today. As a boy he sang in the Choir of King’s College, Cambridge. Later for 12 years he composed for the famous British ensemble The King’s Singers, with whom he sang. Chilcott maintains that music has the capacity to unite people, hence his works contain motifs of peace and hope. The concert programme features two of his compositions. The Dove and the Olive Leaf is a work written for mixed choir. The text is drawn from the Book of Genesis and is sung simultaneously in English and Hebrew. The biblical motif of a dove with an olive branch in its beak alludes of course to the story of Noah’s Ark: the arrival of the bird with an olive branch heralds the end of the Flood and a new covenant between God and man. In turn, The Shepherds Sing is an atmospheric and charming setting of a text by George Herbert, an early 17th-century English poet. The verses of this English orator, poet and cleric have been set to music by many British composers, including Henry Purcell, Benjamin Britten and Ralph Vaughan Williams, a rich tradition to which Chilcott also belongs. The work is scored for four-part choir, soprano solo, trumpet (which may be substituted by saxophone or clarinet) and piano (or harp). The poem by George Herbert – one of Britain’s metaphysical poets – refers to the subject of the Nativity. The image of singing shepherds is immediately followed by the question: ‘and shall I silent be?’. The need of worshiping God comes into prominence as the poet compares his soul to a shepherd. Bob Chilcott’s musical setting of this religious poetry is charmingly simple, subtle and lyrical.

Biographies of artists and ensembles are provided in an alphabetical order on pages 170–215.

Texts

Jēkabs Jančevskis Odpływ Chcę wypowiedzieć bursztyn, A w ustach mam kalafonię Symfonię pisków, do której zgina się jak owad tancerka O brązowozielonych oczach. Za chwilę zniknie w szumie braw, Za falującą kurtyną słów. Jak krab w szarym piachu, Który nazywa życiem kalafonię. Tadeusz Dąbrowski

Roger Treece Brief Eternity I hear my ‘hey la’ Echo with my ‘hola’ Beneath my footbridge, where I always sing Whistling Papa’s whistle Bouncing off the stone Closing my eyes to find eternal spring Rolling down the hillside Soaking in the twilight Floating with laughter and the spinning sky Deep in constellations Fathoming creation How could all this evolve from timeless time Imagine this One brief eternity One tiny glimpse from God One small infinity Where I sing ‘hey la!’ Dropping back to hard land Ticking with the tock land Finding a portal back to timeless seas

Texts Maybe someone’s kiss is Where suspended bliss is Or in the moment Before your baby Drifts to sleep Your lullabies Lulla-bye you Will bring you back… Drifting off and Slipping into Somewhere you swear you hear… …Voices, mama’s ‘doo doo doo doo’ Lovers whisper ‘doo doo doo doo’ Loved ones lost are singing with you Psalms and whispers Working in the garden has you… …Breathing in the bloom and then you View the sunset view to move you Close to truly understanding Life and death but nothing ending Voices living on Voices, mama’s ‘doo doo doo doo’ Lovers cooing ‘doo doo doo doo’ Loved ones lost are singing with you Psalms and whispers Working in the garden has you… …Breathing in the bloom, and then you View the sunset view to bring you Back to awe and understanding To the place Where revelations seem so never ending Mama hear my hey la, hey la… I hear Papa’s whistle, can you hear him too… God has granted us With this brief eternity A chance to see wondrous glimpse Within a kiss Suspended bliss An echoed voice A spinning boy Who’s drifting with the stars to sleep Don Rosler 48

Jacek Sykulski Stoi lód na Prośnie

Gustav Mahler Die zwei blauen Augen

Stoi lód na Prośnie, stoi koło młyna, Pięć lat tu przychodzi z Podzamcza dziewczyna. Stoi dziewczę, kwili, w dłoniach fular skrywa, Święty Roch na sumę ku pociesze wzywa. Oj dana… Oj dana…

Die zwei blauen Augen von meinem Schatz, Die haben mich in die weite Welt geschickt. Da mußt ich Abschied nehmen vom allerliebsten Platz! O Augen blau, warum habt ihr mich angeblickt? Nun hab' ich ewig Leid und Grämen!

Stoi młyn, lecz któż ma koło rozklekotać? Nie ma mąki, nie ma i nie będzie chleba. Stoi lód na Prośnie, czas pod lodem płynie, A Jan Nepomucen stoi przy dziewczynie. Marek Mikołajczak

James MacMillan The Gallant Weaver Where Cart rins rowin' to the sea, By mony a flower and spreading tree, There lives a lad, the lad for me, He is a gallant Weaver. O, I had wooers aught or nine, They gied me rings and ribbons fine; And I was fear'd my heart wad tine, And I gied it to the Weaver. My daddie sign'd my tocher-band, To gie the lad that has the land, But to my heart I'll add my hand, And give it to the Weaver. While birds rejoice in leafy bowers, While bees delight in opening flowers, While corn grows green in summer showers, I love my gallant Weaver. Robert Burns

Oh, the whole sky was one glowing mass of colored flames, so mighty, so brave! Like a pathway of light the northern lights seemed to draw us into the sky. Yes, it was harp-music, wild storming in the darkness; The strings trembled and sparkled in the glow of the flames Like a shower of fiery darts. A fiery crown of auroral light cast a warm glow across the arctic ice. Again at times it was like softly playing, gently rocking silvery waves, On which dreams travel into unknown worlds.

Ich bin ausgegangen in stiller Nacht Wohl über die dunkle Heide. Hat mir niemand Ade gesagt. Ade! Mein Gesell' war Lieb' und Leide!

Fridtjof Nansen

Auf der Straße steht ein Lindenbaum, Da hab' ich zum ersten Mal im Schlaf geruht! Unter dem Lindenbaum, Der hat seine Blüten über mich geschneit, Da wußt' ich nicht, wie das Leben tut, War alles, alles wieder gut! Alles! Alles, Lieb und Leid Und Welt und Traum!

Seek Him that maketh the seven stars and Orion and turneth the shadow of death into the morning. Alleluia, yea, the darkness shineth as the day, the night is light about me. Amen.

Gustav Mahler

Bob Chilcott The Dove and the Olive Leaf

Ēriks Ešenvalds Northern Lights

And the dove came in to him in the evening; and, lo, in her mouth was an olive leaf plucked off.

Cik naksnīnas prêt ziemeli Ē, redzēj’ kāvus karojam; Karo kāvi pie debesu, Ē, vedīs karus mūs’ zemē.

Gen 8:11

Latvian folk song

The shepherds sing; and shall I silent be? My God, no hymn for Thee? My soul’s a shepherd too; a flock it feeds Of thoughts, and words, and deeds.

It was night, and I had gone on deck several times. Iceberg was silent; I too was silent. It was true dark and cold. At nine o’clock I was below in my cabin, When the captain hailed me with the words: ‘Come above, Hall, at once! The world is on fire!’ I knew his meaning, and, quick as thought, I rushed to the companion stairs. In a moment I reached the deck And as the cabin door swung open, A dazzling light, overpow’ring light burst upon my startled senses! Charles Francis Hall

Jonathan Dove Seek Him that Maketh the Seven Stars

Amos 5:8; Ps 139:12

Bob Chilcott The Shepherds Sing

The pasture is Thy word: the streams, Thy grace Enriching all the place. Shepherd and flock shall sing, and all my powers Outsing the daylight hours. Then will we sing, and shine all our own day, And one another pay: His beams shall cheer my breast, and both so twine, Till ev’n his beams sing, and my music shine. George Herbert 49

Alexander Agricola De tous biens plaine John Dunstable (c. 1390–1453) Puzzle canon (Henry VIII Ms., c. 1510–1520) Josquin des Prez La déploration de la mort de Johannes Ockeghem (c. 1497) Anonymous (Italy, 16th c.) La Battaglia (Ms. British Library, c. 1560) Giovanni Pietro Del Buono (?–before 1657) LXXVII: Obligho di dui Zoppi e dui Ciechi sull’Ave Maris Stella from Canoni, obblighi et sonate Canoni, obblighi et sonate (Palermo, 1641) Anonymous (16th c.) Uppon la mi re Kalisz, Kalisz Philharmonic Concert Hall Giorgio Mainerio Schiarazula marazula, Ungarescha (Sala Koncertowa Filharmonii Kaliskiej, Aula WPA UAM), and Saltarello from Primo libro de’ balli (Venice, 1578) Vincenzo Ruffo (c. 1508–1587) Dormendo un giorno from ul. Nowy Świat 28–30 Capricci in musica (Milan, 1564) Anonymous La Gamba PERFORMERS: Giovanni Gabrieli (c. 1554/57–1612) Sonata XIII a otto voci from Canzoni e Sonate (Venice, 1615)

La Morte della Ragione

8.09.2017, Friday, 7:30 pm

Il Giardino Armonico: Giovanni Antonini – music direction, flutes, dulcian Giulia Genini – flutes, dulcian Andrea Inghisciano – cornett Gawain Glenton – cornett, flutes Alberto Guerra – dulcian Emily White – trombone Stefano Barneschi, Liana Mosca – violins, fiddle Paolo Beschi – cello Giancarlo De Frenza – violone Riccardo Doni – organ, harpsichord Margret Köll – harps

ProgramME: Anonymous (Italy, 16th c.) La Morte della Ragione – pavana (Ms. British Library, c. 1560) Giorgio Mainerio (c. 1535–1582) Gagliarda from Primo libro de’ balli (Venice, 1578) Christopher Tye (c. 1505–before 1573) In Nomine 'Crye' Hayne van Ghizeghem (c. 1445–1476/97) De tous biens plaine (Henry VIII Ms., c. 1510–1520) Alexander Agricola (1445/6–1506) De tous biens plaine (two versions) Josquin des Prez (1450–1521) De tous biens playne from Harmonice Musices Odhecaton A (Venice, 1501)

TIME 130'

***

Giovanni de Macque (1548/50–1614) Seconde Stravaganze (Ms British Library, 1617) Nicolas Gombert (c. 1495–c. 1560) La rose – chanson from Canzon… per sonar (Venice, 1588) Gasparo Zanetti (fl. 1626–1645) La Bella Pedrina from Il Scolaro (Milan, 1645) Tarquinio Merula (1594/5–1665) La Pedrina – canzona from Canzoni… op. 12 (Venice, 1637) Dario Castello (fl. 1621–1649) Sonata 14 a quattro from Sonate concertate in stil moderno, Libro II (Venice, 1629) Lodovico Grossi da Viadana (c. 1560–1627) La Napoletana a 8 from Sinfonie musicali (Venice, 1610) John Baldwine (before 1560–1615) 4 Vocum (Ms. British Museum, 1603) Gesualdo da Venosa (1566–1613) Canzon Francese del Principe (Ms. British Library, 1617) Cristoforo Caresana (c. 1640–1709) Tarantella from Duo. Opera seconda (Naples, 1693) Giovanni Pietro Del Buono Sonata VII: Stravagante, e per il cimbalo cromatico from Canoni, obblighi et sonate (Palermo, 1641) Jacob van Eyck (1589/90–1657) Fantasia & Echo from Der Fluyten Lust-hof (Amsterdam, 1649) Samuel Scheidt (1587–1654) Galliard Battaglia from Ludi Musici (Hamburg, 1621)

Programme note

La Morte della Ragione is an anonymous pavane, whose title undoubtedly refers to Petrarch ('Regnano i sensi, et la ragion è morta' – senses reign, reason is dead), inspired a programme of instrumental music spanning over 200 years, from the late Middle Ages represented by the sophisticated works of John Dunstable, through a vari ety of Renaissance forms (often of vocal provenance) up to and including extravagant pieces of the early Baroque. Numerous anonymous pieces are featured alongside works, whose composers differ only in name from their anonymous counterparts. For we know next to nothing about the lives of Hayne van Ghizeghem, Giovanni Pietro Del Buono or Dario Castello. Perhaps sometimes it is better not to know: would being ignorant of Gombert’s or Gesualdo’s crimes make us more appreciative of their music?

Krzysztof Komarnicki The programme layout, intentionally designed to diverge from a chronological order, reveals startling associations between works distant in time and underlines the continuity of thought, ideas and development of compositional techniques. It also shows the migrating motifs of which there is no shortage in music, like La Pedrina or La Gamba, or the well known motif In nomine – during a period of 150 years in England, tens if not hundreds of consort works were written based on this melody taken from John Taverner’s Mass; Christopher Tye alone composed 24 of them. A similar role was fulfilled by the cantus firmus Ave maris stella, on which basis Giovanni Pietro Del Buono wrote several dozen of his instrumental works. Obligo di dui Zoppi e dui Ciechi sull’Ave Maris Stella is a type of ricercar (the term ‘obligo’ or ‘obbligho’ appears only in Del Buono’s work) as well as 52

a sophisticated contrapuntal joke – according to the title it is a work for ‘two who are lame and two who are blind’. The remarkably chromaticised Sonata VII Stravagante sull’Ave Maris Stella was composed for a special harpsichord with a greatly increased number of keys allowing for the performance of chromatic effects, before the advent of equal temperament. Del Buono’s entire collection Canoni, oblighi e sonate... is the largest practically organised compendium on counterpoint prior to Bach’s Kunst der Fuge. The earlier mentioned Ghizeghem is the author of the threevoice chanson De tous biens plaine, which provided a basis for the works of future generations of composers, both by masters almost forgotten today (Agricola) and those who enjoy recognition (des Prez). The French maestro is also the author of a sophisticated lament on the death of Ockeghem (Nymphes des bois), which in the first part imitates the contrapuntal style of the late lamented composer. Contrapuntal mastery is admirably displayed in the canon Uppon la mi re, often attributed to Thomas Preston, albeit today, probably as a precaution, not included in the composer’s list of works. John Baldwin’s 4 vocum, sounds old-fashioned even for its time, it was written however by the most important copyist of the Elizabethan era, whose work contributed to the survival of numerous compositions by among others, William Byrd. In this piece Baldwin comes across as a master of instrumental counterpoint. Of the purely instrumental works, particularly noteworthy is a Gesualdo rarity, one of this composer’s few and far between works that are not of vocal provenance. Its startling melodic shape however leave no doubt as to the author’s personality. This style had a fair share of influence on Giovanni de Macque, whose Seconde

Stravaganze is a good illustration of this inspiration. At the opposite end of the spectrum stands the exceptionally beautiful and contemplative monody for recorder by Jacob van Eyck – a work from a collection of around 140 compositions published in The Flute’s Garden of Delights (Der Fluyten Lust-hof), one of the largest collections of instrumental music of its day as well as the largest ever compilation for any woodwind instrument, and certainly the largest one ever to be dictated – van Eyck being blind from birth. Dormendo un giorno shows its composer as a master of refinement with sophisticated taste and meticulous technique. In later years, however, Vincenzo Ruffo turned completely towards sacred music, composing according to guidelines issued by the Council of Trent; from this moment on his works were characterised by simple, transparent vocal polyphony geared towards a clearlydefined delivery (but not interpretation or – Heaven, forbid! – illustration) of the text. Today we call this style... the Palestrina style. During the Renaissance, music of a purely instrumental nature evolved mainly in the field of dance music with the pavane and galliard as its essential forms. Frequent programmatic subtitles (La morte della ragione, La battaglia) would suggest that the works were originally intended for the theatre or other types of pageants. Giorgio Mainerio is the author of the largest collection of 16th-century dance music. This composer, cleric and occultist only narrowly escaped prosecution for witchcraft. Needless to say, instrumental music of the following era was also founded on dance forms, which appeared as movements of suite or sonata as well as independently, a good example of which are the works of Cristoforo Caresana and Samuel Scheidt. Tarantella by Caresana, an important composer of the early Neapolitan school, has little in common with the frenetic dance we associate with a tarantella, due to Rossini’s imaginative setting. The work is a type of carol intended for performance during Christmastide. Scheidt’s La battaglia is a work composed for a consort of five viols and continuo, although it is often performed by wind ensembles, which the composer did not exclude. Any form of struggle is only allusively suggested in the work – hence the title could be somewhat incidental. The music has very little in common with illustrative music, if only to mention such works as Janequin’s La guerre or Monteverdi’s Il combattimento... Neither should we forget about the sonatas and canzone that initiated the remarkable development of Baroque ensemble music, which in turn lead to the development of the modern orchestra, while in the next era – the birth of the symphony. The virtuosic La Napoletana by Lodovico Grossi, known by the sobriquet da Viadana, even today continues to be fascinating in its modern sound and virtuosic concept of all the parts. This Franciscan friar contributed to the popularisation of the basso

continuo technique, admittedly not his invention, but applied with such success that many followed his example leading to its popularisation and twohundred year reign (even Beethoven played continuo in his piano concertos). Giovanni Gabrieli’s Sonata XIII a otto voci was undoubtedly written for performance in Venice’s St Mark’s Basilica, considering it is a polychoral work typical of the composer and the centre he worked for. Two ensembles are juxtaposed, performing a questionand-answer dialogue. The early sonata’s characteristic initial motif (the socalled ‘canzona motif’), which disappeared in the mists of time, resurfaced in Beethoven’s work as a rhythmic motif of Fate in Symphony No. 5. Dario Castello is also occasionally associated with Venice and its basilica, although his Sonata 14 a quattro is not a polychoral piece. In terms of performance forces this is a modest work, albeit no less fascinating in form and expression. As was usual at the beginning of the 17th century, the Sonata has a multisection structure while its respective sections played attacca, are marked by differing tempi. It is worth noting that despite Castello’s application of initial imitation at the beginning of each section, the main subject of each section is not that of a contrapuntal structure but rather a full-blooded melodic line right up to the cadenza. The work’s harmonic structure is also fascinating in its modernity, with hardly any remnants of thinking in terms of church modes.

Biographies of artists and ensembles are provided in an alphabetical order on pages 170–215. 53

End of Time

9.09.2017, Saturday, 5:00 pm

Wrocław, NFM, Red Hall (Sala Czerwona), pl. Wolności 1

PERFORMERS:

ProgramME:

Soyoung Yoon – violin Tomasz Daroch – cello Maciej Dobosz – clarinet So Young Sim – piano

Claude Debussy (1862–1918) La plus que lente (arr. for piano and cello by Zoltán Kocsis) La terrasse des audiences du clair de lune from the second book of Preludes Olivier Messiaen (1908–1992) Quatuor pour la fin du temps I Liturgie de cristal II Vocalise, pour l’Ange qui annonce la fin du temps III Abîme des oiseaux IV Intermède V Louange à l'Éternité de Jésus VI Danse de la fureur, pour les sept trompettes VII Fouillis d’arcs-en-ciel, pour l’Ange qui announce la fin du temps VIII Louange à l'Immortalité de Jésus

The concert will be preceded by a film screening and a lecture. For details see page 12.

TIME 60'

Programme note

If not for circumstances, who knows if Oliver Messiaen’s most important chamber work would ever have been written. And if so, one can assume with a large dose of probability, it would have had a different form, not to mention message. Quatuor pour le fin du temps, however, was to become a symbolic borderline moment of moral and emotional singularity, where the rules of ‘simple normality’ i.e. peace-time everyday life, no longer applied.

Marcin Majchrowski The year 1939 was another (sadly not the last) telling caesura – the beginning of the greatest and bloodiest war to date. Messiaen was conscripted into the army as an infantryman. During the ‘phoney war’ he was stationed in Sarreguemines, Verdun and Nancy. In June 1940 he was taken into German captivity and interned in Stalag VIII A in Görlitz. It ought to be said at the start that – thankfully – this was not the worst place that 20th-century totalitarianism had managed to invent and create, nevertheless the very nature of camp isolation serves as a metaphor for captivity. Here, inspired by visions from The Apocalypse of St John, the quartet for violin, clarinet, cello and piano came into being. The combination of instruments was dictated by prisonerof-war circumstances. Sharing the burden of captivity with Messiaen were the violinist Jean Le Boulaire, the clarinetist Henri Akoka and cellist Étienne Pasquier. Together with the composer performing the piano part they premiered the Quartet for the End of Time on 15 January 1941, in the open air on the Stalag’s parade ground in Görlitz 56

in front of an ‘audience’ of several thousand prisoners and camp guards. Messiaen later recalled the piercing cold, the snow-covered camp and the poor condition of the instruments (like a metaphor for human fate) – the cello had only three strings while the piano’s keyboard repetition mechanism kept acting up, i.e. the keys would cave in and refuse to return to their original position. The work in its entirety, which gives an impression of consistency and coherence, did not come about ‘in one go’ and has origins of a very interesting nature. The Quartet’s fifth movement, reconstructed by Messiaen from memory, is a transcription of a fragment (7th movement) from another chamber piece – Fête de belles eaux written in 1937 for an ondes Martenot sextet. In the finale the composer exploited thematic material from an even earlier work – the 1929 Diptyque for organ. Before hitting upon the concept of the Quartet – while still in the transit camp near Tuol – Messiaen started to compose a work for solo clarinet which later on in Görlitz spawned the idea of a single-movement Trio written for Akoka, Boulaire and Pasquier. Before the ‘official’ January premiere of the entire Quartet, a presentation of large fragments of the work took place in December 1940, on which occasion Messiaen’s music was interwoven with poetry by the Polish officer cadet Zdzisław Nardelli (the event is recorded in the book Otchłań ptaków [Abyss of Birds]). The originality of Quartet for the End of Time manifests itself in various ways, i.a. the unusual choice of instruments dictated by existing circumstances but also in terms of its form reflecting the work’s very symbolic musical content, which alludes directly to its source of inspiration. Accordingly, the deeply devout composer exploited the opening verses of Chapter X of the Apocalypse of St John: ‘And I saw another mighty Angel come down from heaven clothed with a cloud and a rainbow upon his head, and his face was as the sun and his feet as pillars of fire. And the Angel whom I saw standing upon the sea, and upon the land, lifted up his hand to heaven. And he swore by him who liveth for ever and ever, who created heaven and the things that are therein; and the earth and

the things which are therein; and the sea and all the things therein. That time shall be no longer. But in the days of the seventh Angel, when he shall begin to sound the trumpet, the mystery of God shall be finished, as he has declared by his servants, the prophets.’ The biblical words are quite literally conveyed in the Quartet’s eight movements, each of which is provided with commentaries by the composer. This music’s emotional temperature (dominated mainly by a bitter chill) seems unprecedented. Messiaen deliberately questions temporality, taking no notice of such down-to-earth manifestations as the perceptual habits of a potential listener. Ultimately he conveys in sound a vision that is apocalyptic and extreme. First an introduction – Crystal liturgy – still a somewhat ‘lively’ musical portrayal of dawn with awakening birds. ‘Transpose this onto a religious plane and you have the harmonious silence of Heaven’ – suggests Messiaen. Contrast introduced by the Vocalise for the Angel who announces the end of time is designed to strike fear. Towards the end we hear the voice ‘of this mighty angel, a rainbow upon his head and clothed with a cloud, who sets one foot on the sea and one foot on the earth.’ Nevertheless, the loud disturbing music is juxtaposed with the surprisingly delicate sounds of con sordino strings playing against a background of an unvaryingly static piano accompaniment. Could the end of the world be so disturbingly chilly? The reply – very pessimistic – comes in the third movement for solo clarinet (Abyss of birds). According to Messiaen ‘the abyss is Time with its sadness, its weariness. The birds are the opposite of Time, they are our desire for light, for stars, for rainbows and for jubilant songs.’ They are sorely missed in this dismal abyss. The only movement of the Quartet not to be given a programmatic title is the Interlude – a miniature scherzo for violin, cello and clarinet. It sounds light, almost like a mockery or grotesque. Perhaps it symbolises a closed chapter of existence as it borders with the work’s idealistic essence – the movement entitled Praise to the eternity of Jesus. ‘Jesus is considered here as the Word. A broad infinitely slow phrase of the cello praises with love and reverence the eternity of the Word, powerful and gentle, whose time never runs out. The melody stretches majestically into a kind of gentle, regal distance.’ The delicate texture of the cello and piano duet return in the penultimate movement, but before that happens the whole ensemble imitates in unisono ‘the rhythm of gongs and trumpets’. For Messiaen the Dance of fury for the seven trumpets is ‘music of stone, huge blocks of purple rage, icy exhilaration.’ Tangle of rainbows for the Angel who announces the end of time, at first delicate and static, becomes incisive in the climax (glissandos, trills and tremolos) – after all the Angel comes with ‘swords of fire, this blue-orange lava, these sudden stars, there is the tangle, there are the rainbows!’ Messiaen however closes his apocalyptic vision

in a surprisingly optimistic manner; for the deeply devout composer the Praise to the immortality of Jesus ‘is all love. Its slow ascent to heights is the ascent of man to God.’ Quartet has a lyrical ending while the symbolic ascent has a physical dimension – the violin performs high E7, the highest note in the whole work. ‘Music takes over where words become powerless – incapable of expression; music becomes the object of the inexpressible. I would like music to give an impression of emerging from the shadows at moments disappearing; that it always be discrete’ – are Claude Debussy’s famous words expressed in the context of his operatic masterpiece Pelléas and Mélisande, yet which excellently characterise both the content of his very popular ‘bagatelle’ – the waltz La plus que lente and his piano preludes composed at the turn of the 20th century. They testify to the existence of a delicate art found in the narrow, borderline surface of the shadow. In this context the prelude La terrasse des audiences du clair de lune (The Terrace of Moonlit Audiences) as a symbol of this night-time shadow is even more elusive than its day-time counterpart; however not entirely. The opening of the Prelude is indeed oneiric, unreal and delicate, even though there are occasional ‘whimsical’ motifs and a powerful and ecstatic climax. The slow waltz, more literal perhaps, takes a ‘peek’ towards the realism of a whirling dance-floor but also has a note of thought-provoking and nameless melancholy.

Biographies of artists and ensembles are provided in an alphabetical order on pages 170–215. 57

Die Kunst der Fuge 9.09.2017, Saturday, 7:00 pm

Syców, Evangelical-Augsburg Church of Apostles John and Peter (kościół ewangelicko-augsburski pw. Apostołów Jana i Piotra), pl. Królowej Jadwigi 3 PERFORMERS:

ProgramME:

Johann Sebastian Bach (1685–1750) Die Kunst der Fuge, BWV 1080 Contrapunctus 1  Contrapunctus 2  Contrapunctus 3 Contrapunctus 4  Contrapunctus 5  Contrapunctus 6 a 4 in Stylo Francese Contrapunctus 7 a 4 per Augment et Diminut Contrapunctus 8 a 3 Contrapunctus 9 a 4 alla Duodecima Contrapunctus 10 a 4 alla Decima Contrapunctus 11 a 4  Contrapunctus 12 a 4 (Rectus) Contrapunctus 12 a 4 (Inversus) Contrapunctus a 3 (Inversus) Fuga a 2 Clav. (Rectus del Contrapunctus a 3) Canon per Augmentationem in Contrario Motu Canon in Hypodiapason  Canon alla Decima [in] Contrapunto alla Terza Canon alla Duodecima in Contrapunto alla Quinta Fuga a 3 Soggetti

TIME 80' For programme note, see concert on 8.09, 7:00 pm in Wrocław on page 40.

La Morte della Ragione 9.09.2017, Saturday, 7:30 pm Bardo, Minor Basilica of the Visitation of the Blessed Virgin Mary (bazylika mniejsza Nawiedzenia NMP), pl. Wolności 5 PERFORMERS: Il Giardino Armonico: Giovanni Antonini – music direction, flutes, dulcian Giulia Genini – flutes, dulcian Andrea Inghisciano – cornett Gawain Glenton – cornett, flutes Alberto Guerra – dulcian Emily White – trombone Stefano Barneschi, Liana Mosca – violins, fiddle Paolo Beschi – cello Giancarlo De Frenza – violone Riccardo Doni – organ, harpsichord Margret Köll – harps

ProgramME: Anonymous (Italy, 16th c.) La Morte della Ragione – pavana (Ms. British Library, c. 1560) Giorgio Mainerio (c. 1535–1582) Gagliarda from Primo libro de’ balli (Venice, 1578) Christopher Tye (c. 1505–before 1573) In Nomine ‘Crye’ Hayne van Ghizeghem (c. 1445–1476/97) De tous biens plaine (Henry VIII Ms., c. 1510–1520) Alexander Agricola (1445/6–1506) De tous biens plaine (two versions) Josquin des Prez (1450–1521) De tous biens playne from Harmonice Musices Odhecaton A (Venice, 1501)

Alexander Agricola De tous biens plaine John Dunstable (c. 1390–1453) Puzzle canon (Henry VIII Ms., c. 1510–1520) Josquin des Prez La déploration de la mort de Johannes Ockeghem (c. 1497) Anonymous (Italy, 16th c.) La Battaglia (Ms. British Library, c. 1560) Giovanni Pietro Del Buono (?–before 1657) LXXVII: Obligho di dui Zoppi e dui Ciechi sull’Ave Maris Stella from Canoni, obblighi et sonate Canoni, obblighi et sonate (Palermo, 1641) Anonymous (16th c.) Uppon la mi re Giorgio Mainerio Schiarazula marazula, Ungarescha and Saltarello from Primo libro de’ balli (Venice, 1578) Vincenzo Ruffo (c. 1508–1587) Dormendo un giorno from Capricci in musica (Milan, 1564) Anonymous La Gamba Giovanni Gabrieli (c. 1554/57–1612) Sonata XIII a otto voci from Canzoni e Sonate (Venice, 1615)

***

TIME 130' For programme note, see concert on 8.09, 7:30 pm in Kalisz on page 50.

Monteverdi – Vespers

9.09.2017, Saturday, 9:00 pm

Wrocław, University Church of the Blessed Name of Jesus (kościół Uniwersytecki pw. Najświętszego Imienia Jezus), pl. Uniwersytecki 1 PERFORMERS:

ProgramME:

Jean Tubéry – artistic direction Ensemble La Fenice

Claudio Monteverdi (1567–1643) Vespro della Beata Vergine, SV 206 I Versiculus et Responsorium II Dixit Dominus III Nigra sum IV Laudate pueri V Pulchra es VI Laetatus sum VII Duo Seraphim VIII Nisi Dominus IX Audi coelum X Lauda, Jerusalem XI Sancta Maria, ora pro nobis XII Ave maris stella XIII Magnificat

TIME 110'

Programme note

At the turn of the 20th century, in his anthology entitled L’arte musicale in Italia, Luigi Torchi published a selection of works by Claudio Monteverdi – a composer at the time shrouded in legend, known from historical accounts as a great and widely admired innovator whose music thus far had been accessible to only a few archival researchers. During the 19th century only Ariadne’s Lament and a single aria from L'Orfeo had been published in Parisotti’s famous collection Arie antiche. Torchi published among others Sonata sopra ‘Sancta Maria’ from a set known under the Italian title Vespro della Beata Vergine composed in 1610 (during a period when Monteverdi was in service to the Gonzagas in Mantua). This exceptionally extravagant and virtuosic work – in the genre of a Venetian instrumental canzona complemented by the ostinato singing of a repetitive litanic invocation – caused quite a sensation.

Piotr Maculewicz

In 1932 the entire set appeared in print (included the abovementioned sonata) as Volume 14 of monumental series of Claudio Monteverdi’s Tutte le opere edited by Gian Francesco Malipiero. The Marian Vespers in their entirety proved as extravagant as the sonata derived from them, hence it was unanimously acknowledged that they belong to those of the composer’s epoch-making works, which determined a new course in the history of music. After decades of research and numerous publications dedicated to the 1610 collection this view underwent change – though admiration for the music’s beauty and power as well as the innovatory nature of many of its elements remained indisputable and self-evident, increased knowledge of its historical and liturgical context, showed the work to be rather more conventional than at first thought. Notwithstanding the progress in research work, we still know very little of the circumstances in which Vespro della Beata Vergine was composed. The only source of information that remains is a meticulously prepared print from the Venetian publishing house of Ricciardo Amadino. The collection’s full Latin title conveys much interesting information: Sanctissimæ / Virgini / Missa senis vocibvs / ad ecclesiarum choros / ac Vesperæ plvribvs decantandæ / cvm nonnvllis sacris concentibvs, / ad Sacella siue Principum Cubicula accommodata. / Opera / a Clavdio Monteverde / nuper effecta / ac Beatiss. Pavlo V. Pont. Max. consecrata. / Venetijs, Apud Ricciardum Amadinum. / M D C X.

Here we find a mass setting (a conservative, Renaissance in style, six-part Missa in illo tempore after Gombert’s motet) and discover that the vespers published in the same edition are ‘accompanied’ by ‘several sacred concerti’ suitable for ‘chapels as well as ducal chambers’. The dedicatee is Pope Paul V. The set of vespers, typical of a Sunday or Feast day Liturgy of the Hours, includes five imposing psalms in concertato style (combining virtuoso voice and instrumental parts including elaborate ones for violin and cornet): Dixit Dominus, Laudate pueri Dominum, Laetus sum, Nisi Dominus and Lauda, Jerusalem as well as the Marian canticle – Magnificat. The publication offers two versions of the canticle: one grander for voices and obligato instruments the other more modest for voice and continuo. Furthermore the composer includes an invitatorium: Deus in adiutorium meum intende as well as – between the psalms – concentus sacrae, namely in this case motets for few parts in an innovatory, expressive and secular-like spirit of the seconda pratica: Nigra sum, Pulchra es, Duo Seraphim, Audi coelum, the already mentioned Sonata sopra ‘Sancta Maria, ora pro nobis’ and the hymn Ave maris stella. Indeed, these additional works, some of which have a Marian context, were the subject of greatest debate mainly due to questions of liturgy – basically the texts do not adhere to the vespers, not one of the motets added by Monteverdi is a ‘canonical’ (as would be expected) psalm antiphon. This fact persuaded many commentators that the collection was not intended as a liturgical set, but merely as an anthology of independent compositions ‘to be chosen from’ to suit the occasion. If this was the case, the psalms had to be complemented by appropriate antiphons of Gregorian chant. However, research into 16th- and 17th-century liturgical practices indicated a frequent use of substitutes for antiphons: varied compositions, including instrumental works, performed loco antiphonae mainly due to the difficulty of adapting the tonality of plainchant antiphons to new, multi-part psalm settings. This practice, at first viewed suspiciously by the Church but in time unofficially accepted, was finally ‘legalised’ in the 17th century (albeit remaining dependent on the traditions of individual dioceses). Consequently, the psalms and Magnificat of Monteverdi’s Vesperae could be (but not necessarily) considered as a liturgical entity with concentibus included in the same print. When discussing the collection, there was also speculation whether it represented a record of a specific liturgy celebrated in Mantua (e.g. vespers in praise of St Barbara, patron saint of its cathedral). This was indeed a possibility (and just such a hypothetical reconstruction of a full liturgy with plainchant antiphons is presented by the Ensemble La Fenice), on the other hand, words contained in the Venetian print ...sive Principum Cubicula – ...or for ducal chambers, could also point in another interesting direction. At the time the cathedral adhered to its own liturgical rites

to which Monteverdi’s vespers did not entirely conform, however individual compositions of the collection (even if considered as an integral whole), particularly the chamber motets, may well have been performed in various configurations, together or on their own, both in the cathedral (or other places of worship) and during private services in the palace of Duke Vincenzo and his family (this would also account for certain departures from the ‘canon’). Confirmation of this premise is supported by the opening Domine ad adiuvandum sung in falsobordone style against a background of an audacious fanfare-like opening toccata adapted from L'Orfeo – an opera written for the Court. It was also widely accepted that this edition was to have been a ‘portfolio’ of works in which the composer wished to display his fluency in all idioms and techniques available at the time – from the rigorous Renaissance stile osservato as exemplified by the Mass, the expressively daring and innovatory accompanied monody present in the motets, through to the dazzling concertato of the psalms and Magnificat.

After decades of research and numerous publications dedicated to the 1610 collection, admiration for the music’s beauty and power as well as the innovatory nature of many of its elements remained indisputable and self-evident, however, increased knowledge of its historical and liturgical context, showed the work to be rather more conventional than at first thought. 65

Claudio Monteverdi Vespro della Beata Vergine The work’s dedication to the Pope suggests that the composer, who was already planning to leave the Gonzaga Court in Mantua had hopes (in the event unfulfilled) of a position in Rome, while having the work published in Venice and showing his appreciation for the city’s highly valued monumental style – indicates that he wanted to be seen as a potential candidate for the post of kapellmeister of St Mark’s, which indeed he became three years later. There still remains the question of the ‘uniqueness’ of Monteverdi’s collection, which for a long time had no known precedent. Jeffrey Kurtzman demonstrated, however, that the publication concept of combining a Mass and vesper psalms together with a selection of motets (not necessarily antiphonal) in one edition had at least a dozen or so analogous published examples with quite imposing collected material per tutte le solennità including Marian feast days (e.g. Orfeo Vecchi, 1590; Antonio Mortaro, 1599; Francesco Terriera, 1601; Serafino Patta, 1606). Kurtzman consequently notes that the uniqueness of Monteverdi’s collection does not rely solely on its layout or rhetorical stravaganze (their earlier counterparts also having such concepts as the sonata con voce, the illustration of the Holy Trinity’s mysteries through a changing number of voices as in Duo Seraphim or echo effects in Audi coelum etc.) so greatly admired by earlier commentators. The collection stands out for its conceptual approach to psalms, probably the least appreciated in earlier literature (even Denis Arnold calls them ‘traditional’, contrary to what they are!). In his psalms (also in the Magnificat) Monteverdi probably wanted to create a synthesis of the old (cantus firmus, falsobordone, counterpoint) with the new (monody, concertato) perhaps to prove to the passionate polemics of the day that the prima and seconda pratica do not necessarily have to be in opposition. Hence no other collection of the great Claudio is as self-revealing as Missa ac Vesperae – showing a composer capable of combining two great periods in the history of music and their two highly contrasted styles. Many of the achievements forged in his 1610 collection the composer would develop further during the next three decades as the greatly admired maestro di cappella to the Doges’ church – of St Mark’s Basilica in Venice.

Biographies of artists and ensembles are provided in an alphabetical order on pages 170–215. 66

I Versiculus et Responsorium Versiculus Deus in adiutorium meum intende. Responsorium Domine ad adiuvandum me festina. Gloria Patri, et Filio, et Spiritui Sancto: Sicut erat in principio, et nunc, et semper, Et in saecula saeculorum. Amen. Alleluia. Antiphona Angelicam vitam eligens, Beata Barbara suum corpus immaculatum Domino consecravit. II Psalmus 109: Dixit Dominus, a 6 voci e 6 strumenti Dixit Dominus Domino meo: Sede a dextris meis Donec ponam inimicos tuos Scabellum pedum tuorum. Virgam virtutis tuae Emittet Dominus ex Sion, Dominare in medio inimicorum tuorum. Tecum principium in die virtutis tuae, In splendoribus sanctorum: Ex utero ante luciferum genui te Iuravit Dominus et non paenitebit eum: Tu es sacerdos in aeternum Secundum ordinem Melchisedech. Dominus a dextris tuis, Confregit in die irae suae reges. Iudicabit in nationibus, implebit ruinas, Conquassabit capita in terra multorum. De torrente in via bibet, Propterea exaltabit caput. Gloria Patri, et Filio, et Spiritui Sancto. Sicut erat in principio, et nunc, et semper, Et in saecula saeculorum. Amen.

III Nigra sum Motetto a voce sola Nigra sum, sed formosa Filia Ierusalem. Ideo dilexit me rex Et introduxit me in cubiculum suum Et dixit mihi: Surge, amica mea, et veni Iam hiems transiit, Imber abiit et recessit, Flores apparuerunt in terra nostra; Tempus putationis advenit. Antihpona In Dei orto sata nunc piorum frequentiam suavissimo odore conspergit. IV Psalmus 112: Laudate pueri, a 8 voci Laudate, pueri, Dominum: Laudate nomen Domini. Sit nomen Domini benedictum: Ex hoc nunc, et usque in saeculum. A solis ortu usque ad occasum: Laudabile nomen Domini. Excelsus super omnes gentes Dominus: Et super coelos gloria eius. Quis sicut Dominus, Deus noster, Qui in altis habitat: Et humilia respicit In coelo et in terra. Suscitans a terra inopem: Et de stercore erigens pauperem. Ut collocet eum cum principibus: Cum principibus populi sui. Qui habitare facit sterilem in domo: Matrem filiorum laetantem. Gloria Patri, et Filio, et Spiritui Sancto: Sicut erat in principio, et nunc, et semper, Et in saecula saeculorum. Amen. V Pulchra es Concerto a 2 voci Pulchra es amica mea, suavis et decora filia Ierusalem. Pulchra es amica mea, suavis et decora sicut Ierusalem, terribilis ut castrorum acies ordinata. Averte oculos tuos a me quia ipsi me avolare fecerunt.

Antiphona Paterni oblita amoris repudiotis falsis diis, se ad Dei Veri cultum convertit. VI Psalmus 121: Laetatus sum, a 6 voci Laetatus sum in his quae dicta sunt mihi: In domum Domini ibimus. Stantes erant pedes nostri: In atriis tuis Ierusalem. Ierusalem que aedificatur ut civitas: Cuius participatio eius in idipsum. Illuc enim ascenderunt tribus, Tribus Domini: Testimonium Israel Ad confitendum nomini Domini. Quia illic sederunt sedes in iudicio: Sedes super domum David. Rogate quae ad pacem sunt Ierusalem: Et abundantia diligentibus te. Fiat pax in virtute tua: Et abundantia in turribus tuis. Propter fratres meos et proximos meos: Loquebar pacem de te. Propter domum Domini Dei nostri: Quaesivi bona tibi. Gloria Patri, et Filio, et Spiritui Sancto: Sicut erat in principio, et nunc, et semper, Et in saecula saeculorum. Amen.

VII Duo Seraphim Concerto a 3 voci Duo Seraphim clamabant alter ad alterum: Sanctus, sanctus, sanctus Dominus Deus Sabaoth. Plena est omnis terra gloria eius. Tres sunt qui testimonium dant in coelo: Pater, Verbum et Spiritus Sanctus, Et hi tres unum sunt. Sanctus, sanctus, sanctus Dominus Deus Sabaoth. Plena est omnis terra gloria eius. Antiphona In Sanctae Trinitatis confessione perseverans, plagis omnibus Dei misericordia liberatur.

Text VIII Psalmus 126: Nisi Dominus, a 10 voci Nisi Dominus aedificaverit domum: In vanum laboraverunt qui aedificant eam. Nisi Dominus custodierit civitatem: Frustra vigilat qui custodit eam. Vanum est vobis ante lucem surgere: Surgite postquam sederitis Qui manducatis panem doloris. Cum dederit dilectis suis somnum: Ecce haereditas Domini filii Merces fructus ventris. Sicut sagittae in manu potentis: Ita filii excussorum. Beatus vir, qui implevit desiderium suum ex ipsis: Non confundetur cum loquetur inimicis suis in porta. Gloria Patri, et Filio, et Spiritui Sancto: Sicut erat in principio, et nunc, et semper, Et in saecula saeculorum. Amen.

IX Audi coelum Concerto a 6 voci Audi coelum verba mea Plena desiderio, Et perfusa gaudio. Eco: Audio! Dic, quaeso, mihi: Quae est ista quae consurgens Ut aurora rutilat ut benedicam? Eco: Dicam! Dic, nam ista pulchra ut luna, Electa ut sol, replet laetitia Terras, coelos, Maria. Eco: Maria! Maria Virgo, illa dulcis Predicta a Prophetis Ezechiel Porta Orientalis. Eco: Talis! Illa sacra, et felix porta Per quam mors fuit expulsa Introduxit autem vita. Eco: Ita!

Quae semper tutum est medium Inter hominem et Deum, Pro culpis remedium. Eco: Medium. Omnes hanc ergo sequamur Qua cum gratia mereamur Vitam aeternum. Consequamur. Eco: Sequamur! Praestet nobis Deus Pater hoc et Filus et Mater Cuius nomen invocamus dulce miseris solamen. Eco: Amen! Benedicta es, Virgo Maria, In saeculorum saecula.

Antiphona Trinitatem venerata e corporis ergastulo discedens ad caeleste regnum evolavit.

X Psalmus 147: Lauda, Jerusalem, a 7 voci Lauda, Ierusalem, Dominum: Lauda Deum tuum Sion. Quoniam confortavit seras portarum tuarum: Benedixit filiis tuis in te. Qui posuit fines tuos pacem: Et adipe frumenti satiat te. Qui emittit eloquium suum terrae: Velociter currit sermo eius. Qui dat nivem sicut lanam: Nebulam sicut cinerem spargit. Mittit crystallum suum sicut buccellas: Ante faciem frigoris eius quis sustinebit? Emittet verbum suum et liquefaciet ea: Fabit spiritus eius et fluent aquae. Qui annuntiat verbum suum Iacob: Iustitias et iuditia sua Israel. Non fecit taliter omni nationi: Et iuditia sua non manifestavit eis. Gloria Patri, et Filio, et Spiritui Sancto: Sicut erat in principio, et nunc, et semper, Et in saecula saeculorum. Amen.

XI Sonata sopra Sancta Maria, ora pro nobis, a 8 voci Sancta Maria, ora pro nobis. XII Ave maris stella, Hymnus a 8 voci Ave maris stella, Dei Mater alma, Atque semper Virgo, Felix coeli porta. Sumens illud Ave Gabrielis ore, Funda nos in pace Mutans Evae nomen. Solve vincla reis, Profer lumen caecis; Mala nostra pelle, Bona cuncta posce. Monstra te esse matrem, Sumat per te preces, Qui pro nobis natus Tulit esse tuus. Virgo singularis Inter omnes mitis, Nos culpis solutos Mites fac et castos. Vitam praesta puram Iter para tutum: Ut videntes Iesum Semper collaetemur. Sit laus Deo Patri, Summo Christo decus, Spiritui Sancto, Tribus honor unus. Amen. Antiphona Hodie beata Barbara virgo gloriosa patris sui monitis ac mundi vanitatibus spretis pro Christi amore corruptibili vita se abdicans ad incorruptibilem perpetuo cum Christo regnatura conscendit.

XIII Magnificat, a 7 voci e 6 strumentiÂ Versus 1 Magnificat anima mea Dominum. Versus 2 Et exsultavit spiritus meus in Deo salutari meo. Versus 3 Quia respexit humilitatem ancillae suae: Ecce enim ex hoc beatam me dicent omnes generationes. Versus 4 Quia fecit mihi magna qui potens est: Et sanctum nomen eius. Versus 5 Et misericordia eius a progenie in progenies timentibus eum. Versus 6 Fecit potentiam in bracchio suo: Dispersit superbos mente cordis sui. Versus 7 Deposuit potentes de sede, Et exaltavit humiles. Versus 8 Esurientes implevit bonis: Et divites dimisit inanes. Versus 9 Suscepit Israel puerum suum, Recordatus misericordiae suae. Versus 10 Sicut locutus est ad patres nostros, Abraham et semini eius in saecula. Versus 11 Gloria Patri, et Filio, et Spiritui Sancto: Versus 12 Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen.

Rosa del ciel – musical treasures of Wrocław University Library

10.09.2017, Sunday, 5:00 pm

Wrocław, Town Hall, Principal Room (Ratusz, Sala Wielka), Rynek 1

PERFORMERS: Tomáš Král – baritone Judith Pacquier – cornett, recorder Maximilian Ehrhardt – arpa doppia a tre registri Jan Krejča – theorbo Massimiliano Toni – harpsichord, chest organ

ProgramME: Johann Hermann Schein (1586–1630) Padouana from Banchetto Musicale Claudio Monteverdi (1567–1643) Rosa del ciel from L’Orfeo Giovanni Pierluigi da Palestrina (1525–1594) / Giovanni Bassano (c. 1561–1617) Tota pulchra est Giovanni Felice Sances (c. 1600–1679) Chi nel regno almo d’Amore from Il quarto libro delle cantate (1636)

TIME 65'

Giovanni Antonio Rigatti (c. 1613–1648) La mia Fillide è brunetta from Musiche diverse a voce sola (1641) Maurizio Cazzati (1616–1678) Ti giurai la mia fede from cantata Amor costante from Arie e cantate a voce sola (1649) Girolamo Frescobaldi (1583–1643) Toccata Ottava from Toccate e partite, libro primo (1615/1637) Domenico Obizzi (c. 1611–1630) Deh consoli il mio tormento; Hor che fatto hà partita; E si grave il tormento; O sospiro amoroso spirto from Madrigali et arie a voce sola, opera seconda (1627) Giovanni Girolamo Kapsperger (c. 1580–1651) Toccata e Passacaglia in A Minor Giovanni Antonio Rigatti Filli mia vita – dialogo a doi from Musiche diverse a voce sola (1641) Bernardo Storace (c. 1637–c. 1707) Ciaccona Claudio Monteverdi Vi ricorda o boschi ombrosi from L’Orfeo

Programme note

The collection of early Italian musical prints housed in Wrocław’s University Library (Biblioteka Uniwersytetu Wrocławskiego, BUWr) represents one of Europe’s most important corpora of source material related to 17th-century Italian music. This is determined both by the size of the collection and the considerable number of unique extant pieces it contains. The prints are of varied provenance, however most found their way to Wrocław thanks to the efforts of Daniel Sartorius (c. 1620–1671), who was a collector of sacred music, which he copied by hand and imported their printed editions. We do not know if this was connected to his professional activities or merely the passion of a music lover.

Tomasz Dobrzański

All we know for certain is that in 1647 he was engaged as a teacher at the gymnasium of the St Elizabeth Church. Sartorius’ collection, later bequeathed to Wrocław’s City Library, contained around 400 titles of musical prints, mainly of sacred music, namely masses, psalms, motets and concerti ecclesiastici. The collection also included 10 extensive surviving manuscripts penned by Sartorius with works of a similar subject-matter albeit by unnamed composers. Part of these works may have been composed by Sartorius himself; those compositions whose authors were subsequently identified, had undergone certain modifications, possibly as a means of adapting them for local performance requirements. Doubtless, the reason for such an action was the fact that indigenous musical endeavour in the service of the city’s patricians was rarely directed towards the religion and its practice. Nonetheless it is difficult to assess the role played at the time by Sartorius’ collection. Most of the prints survive in excellent condition, without any annotations or corrections, hence it is safe to assume that they were not used for performance. However they may have served as a repository, where copies could be made for musician’s purposes. The Italian prints found their way to the BUWr also through other avenues, which today are difficult to trace. The present collection was created by an amalgamation of resources from pre-war Wrocław libraries – the already mentioned City Library, the University Library, as well as several smaller provincial libraries. The majority of the 16th- and 17th-century prints (c. 3000 volumes) come from the City Library, which collection of musical manuscripts in turn came into existence when the book collection of Wrocław patrician Thomas Rhediger (d. 1576) was merged with book collections from the St Mary Magdalene and the St Bernardine Church libraries. The surviving early musical sources are presently housed at the Department of Music Collections, founded in 1949 as the Office of Music. They include priceless copies of 17th-century Italian prints with works

by Claudio Monteverdi, Orlando di Lasso, Mikołaj Zieleński and Heinrich Schütz; with instrumental music also superbly represented by – Biagio Marini’s Affetti musicali (Venice, 1617) and Sonate, symphonie... (Venice, 1629) as well as a copy of Bartolomé de Selma y Salaverde’s Canzoni fantasie et correnti (Venice, 1638), dedicated to ‘John Charles Vasa, Bishop of Wrocław’. Today’s concert programme based on the Library’s old Italian prints, features early baroque Italian vocal music descended from 16th-century madrigal traditions, in an age when poetry on a romantic theme already had its well established models and phraseology. In spite of significant changes in music that took place at the turn of the century, this poetry basically remained unchanged. Its origins were rooted on the one hand in poetry of medieval chivalry and on the other – in a world of pastoral poetry fashioned by ancient poets. The first tradition depicted above all else, a lover’s sufferings often with fatal consequences brought on by the indifference of an inaccessible and uncaring lady, frequently accused of cruelty. The second, derived from ancient bucolic poetry, was designed to transport us in the company of shepherds and shepherdesses, woodland deities and pagan gods, to an idyllic world of Arcadian hills and its settings for love stories. In Renaissance Italy, these elements of poetic imagery were in particular intensely developed in the field of vocal music and the theatrical genres. To us contemporary listeners, the constant repetition of the same conventional poetic images, where the words morte, dolore, amore appear ad nauseam, may occasionally come across as somewhat monotonous. When examining this poetry, it is fair to say that truly original works are a rarity, albeit today we do not necessarily have the expertise to evaluate them. Such stereotyping could possibly be explained by the function assigned to the texts of the musical works, treated by composers and performers as a point of reference in a given musical piece. Consequently it acts only as a pretext and stimulus for composing, whose primary aim is to achieve variable affects, while the word is endowed with tonal meaning and becomes an element that gives performers scope for articulation. Here we come to the reasons for changes that occurred at the turn of the century when the text became the central element of a musical work with music assigned to the service of poetry – musica ancilla poesiae. A musician was transformed into a soloist-cum-orator, whose objective was to convince and enchant the listener with the art of eliciting emotions that relied on the practice of affected figures and the ability to apply suitable decorative effects to the text. Humanistic ideals developed during the Renaissance called for a return to an earlier, ancient concept of the functioning of music, which relied primarily on communication and only afterwards on giving pleasure.

Polyphonic music, where dense counterpoint obscured the meaning of words and various modi blended into each other, was not suited to the implementation of the above ideals, hence significant changes were required. Their history is best illustrated through Tota pulchra by Giovanni Pierluigi da Palestrina, the emblematic figure of Renaissance polyphony. Palestrina’s polyphonic work underwent a process of embellishment through the application of diminution, a technique developed in the 16th century that allowed repertoire to be switched from the sphere of ensemble music-making to the realm of solo music. An arrangement of Palestrina’s work was made by Giovanni Bassano, one of the most important figures in the development of improvised virtuosity through the application of passaggi. Giovanni Bassano left a detailed book on instrumental ornamentation as well as a collection of embellished musical works.

The Italian prints found their way to the BUWr also through other avenues, which today are difficult to trace. The present collection was created by an amalgamation of resources from pre-war Wrocław libraries (...) The majority of the 16thand 17th-century prints (c. 3000 volumes) come from the City Library, which collection of musical manuscripts in turn came into existence when the book collection of Wrocław patrician Thomas Rhediger (d. 1576) was merged with book collections from the St Mary Magdalene and the St Bernardine Church libraries. 73

Texts Today’s concert programme based on the Library’s old Italian prints, features early baroque Italian vocal music descended from 16th-century madrigal traditions, in an age when poetry on a romantic theme already had its well established models and phraseology. In spite of significant changes in music that took place at the turn of the century, this poetry basically remained unchanged. Its origins were rooted on the one hand in poetry of medieval chivalry and on the other – in a world of pastoral poetry fashioned by ancient poets.

The composers featured in this evening’s concert are on the whole little known today, although in their times they enjoyed fame and recognition, often holding important functions in musical institutions and were able to boast a rich compositional output. They were the people who motivated musical life and determined the course of development the art of music would take. The latter included such figures as Domenico Obizzi, a composer affiliated with St Mark’s Basilica in Venice and Giovanni Antonio Rigatti, also active in Venice but above all remembered as kapellmeister of Udine Cathedral. Another famous composer was Giovanni Felice Sances – a singer, virtuoso and distinguished composer, who held the post of Imperial Kapellmeister at the court in Vienna. An interesting composer was Maurizio Cazzati, about whom musicology of our times is not particularly complimentary. During his lifetime, as a valued kapellmeister and composer he held many musical posts. The highlight of his career was the post of maestro di cappella of San Petronio Basilica in Bologna. When publishing his catalogue of works, Cazzati thrice meticulously listed his impressive compositional contribution. To date there have been no detailed studies of his works, mainly due to their vast number. Thanks to the creative endeavour of these composers we can take a peek into the world of 17th-century music, conceived through the craftsmanship of composers, whose style and carefully cultivated traditions set their works on a pedestal. Be that as it may, to these maestros the Romantic notion of musical genius was a foreign concept.

Biographies of artists and ensembles are provided in an alphabetical order on pages 170–215.

Claudio Monteverdi Rosa del ciel Rosa del ciel, vita del mondo, e degna Prole di lui che l’universo affrena, Sol, ch’il tutto circondi e’l tutto miri, Da gli stellanti giri, Dimmi: vedestù mai Di me più lieto e fortunato Amante? Fu ben felice il giorno, Mio ben, che pria ti vidi, E più felice l’ora Che per te sospirai, Poich’al mio sospirar tu sospirasti: Felicissimo il punto Che la candida mano Pegno di pura fede a me porge[sti] Se tanti cori havessi Quant’occh’ha il ciel eterno e quante chiome Han questi colli ameni il verde maggio, Tutti colmi sarieno e traboccanti Di quel piacer ch’oggi mi fà contento.

Giovanni Felice Sances Chi nel regno almo d’Amore Chi nel regno almo d’Amore Brama l’ore trar serene Fuor di pene D’una sola amante stolto Non si chiami Molte n’ami Ma non molto Finga pene per ciascuna Ma nessuna habia la palma D’arder l’alma Tal hor esca in mezzo al viso Breve pianto Ma frà tanto In cor sia riso La modesta se ti scaccia Tu procaccia che l’audace Ti dia pace Se la bianca ti beffeggia La brunetta Per vendetta E tu vegheggia

Quando vede donna bella Che sol ella nel tuo petto Ha ricetto In trofeo meschin ti mena Flagellato Condannato In vil catena Ma se scorge che tu scaltro Tosto ad altro amabil volto Sarai volto Non si mostra più severa Ma pietosa Amorosa E Lusinghera Quel van titolo di fede Ch’ogn’un crede, e ogn’un desia E’ pazzia A vestirsi e fede avezza Di candore Che il colore Di sciochezza

Giovanni Antonio Rigatti La mia Fillide è brunetta La mia Fillide è brunetta et a me cosi diletta, nero ha il gitto de bei lumi onde a vien ch’io mi consumi. Se tal hor ver me ti move raggi son non visti altro ne raggi, se ben è ritrosetta, pur à me cosi diletta. Il suo crin non è dorato ma un bel nero innanellato che li diede il Cielo in sorte. Chiaro segno d’empia morte sol sospiri e amari pianti, dona ogn’hora à mille Amanti, la crudel dispettosetta, pur à me cosi diletta. Il suo volto si brunetto reccà me gusto è diletto, il suo dir gratioso e vago rende il cor contento è pago, e se poi vede ch’io miri i lucenti suoi bei giri si dimostra ritrosetta, 75

Texts pur à me cosi diletta.

Maurizio Cazzati Ti giurai la mia fede Ti giurai la mia fede è tù col crine mi legesti à tua beltà; Dà vaghezze si vicine hor qual man mi scioglierà dà vaghezze si divine hor qual man mi scioglierà. Troppo dolce è la Catena è gia godo di tal nodo si soave è la mia pena. Che per non tormi più (ben mio) dà tè con lo strale d’Amor m’inchiodo il piè.

Mà se’l mio vivo foco portò lunge il suo ardore, ond’ è che sempre il core, si consuma e si strugge à poco à poco. Forse quel caro sguardo, che in me girò partendo, sospirando e piangendo, nutre la fiamma onde anco avampo e ardo. O pure à te s’ascrive, Amor di ciò la palma, se senza foco e alma, un core innamorato avampa e vive.

Domenico Obizzi E si grave il tormento Domenico Obizzi Deh consoli il mio tormento Deh consoli il mio tormento chiunque sciolto porta il core da la rete empia d’Amore, e in grembo à libertà vive contento. Amo Donna sì spietata, che gioisce à miei martiri, che ridente à miei sospiri e sdegna la crudel d’esser amata. Mentre il cor ch’à morte langue lagrimando pietà chiede se ben ode, e se ben vede, Stassi la bella mia sorda qual Angue. Destin crudo iniqua sorte, chieggio in van pace al mio duolo, sò ben io, che potrò solo medicina al mio mal trovar la morte.

Domenico Obizzi Hor che fatto hà partita Hor che fatto hà partita, da me l’anima mia misero e che più sia, che’l cadavero mio sostenga in vita. Forse quel dolce à Dio, che prima che partisse, languidetta mi disse, e fatto alma immortal del petto mio.

E si grave il tormento che fà provar Amore, al misero mio core, mentre Donna crudel vagheggio intento. Ch’io dico ogn’hora ahi che morir mi fà, un cor senza pietà. S’io rimiro il bel viso e godo i raggi ardenti, de begl’occhi lucenti, e le care parole, il dolce riso. L’empia s’asconde onde morir mi fà, un cor senza pietà. S’io sospiro i sospiri sprezza la Donna mia, e bella insieme e ria, God’ è gioisce sol de miei martiri. Tai che conosco che morir mi fà, un cor senza pietà. Ben per uscir d’impaccio tento lasciar tal’ hora, colei che m’innamora, mà scior non sò quest’amoroso laccio. Ch’io l’amo ancor se ben morir mi fà, un cor senza pietà.

Domenico Obizzi O sospiro amoroso spirto O sospiro amoroso, spirto d’un cor doglioso, ch’esci dal petto à volo, pausa soave à l’amoroso duolo. Zefiretto d’Amore tromba del mio dolore, aura lieve e muto vagante forier di taciturno amante. Vanne al rigido seno, che sol di gelo [è] pieno, e co tuoi fiati ardenti, stempra le nevi sue fredde e algenti. E se nel centro mai di quel petto entrerai, non quindi uscir se pria non scaldi di pietà la Donna mia.

Giovanni Antonio Rigatti Filli mia vita – dialogo a doi Tirsi Filli mia vita Già pien d’odori Bacciar l’erba fiorita Rimira fiori Veggio l’Acanto Danzar sul prato E l’Edra in tanto In tronco amato Con le nodo se braccia Stringe et allaccia. Filli, Tirsi Dunque ancor noi bacianci Mentr’il vino cinabro De l’un e l’altro labro À i bacci si dissera Ò che soave guerra. Filli Tirsi ben mio Già veggio l’onde Del fugitivo rio Baciar le sponde

E inamorati i Pessci À schiera Lieti è beati La Primavera Stà i mobili Cristalli Goder coi balli. Filli, Tirsi Dunque ancor noi bacianci… Tirsi Sù dunque à i baci Filli mio core. Filli À i scherzi mordaci Tirsi mio amore. Filli, Tirsi Corra ad unirsi Con gran diletto Filli con Tirsi, Petto con petto E coi baci scherzando, Scherzin baciando.

Claudio Monteverdi Vi ricorda o boschi ombrosi Vi ricorda o bosch’ombrosi De miei lungh’aspri tormenti Quando i sassi ai miei lamenti Rispondean fatti pietosi? Dite: all’hor non vi sembrai Più d’ogn’altro sconsolato? Hor fortuna ha stil cangiato Ed ha volto in festa i guai. Vissi già mesto e dolente; Hor gioisco, e quegli affanni Che sofferti hò per tant’anni Fan più caro il ben presente. Sol per te, bella Euridice, Benedico il mio tormento; Dopo’l duol viè più contento, Dopo’l mal viè più felice.

Die Kunst der Fuge 10.09.2017, Sunday, 7:00 pm

Oleśnica, Prince’s Castle, Hall of the Knights (Zamek Książęcy, Sala Rycerska), ul. Zamkowa 4

PERFORMERS:

ProgramME:

TIME 80' For programme note, see concert on 8.09, 7:00 pm in Wrocław on page 40.

La Morte della Ragione 10.09.2017, Sunday, 8:00 pm

Wrocław, White Stork Synagogue (Synagoga pod Białym Bocianem), ul. Włodkowica 7 PERFORMERS: Il Giardino Armonico: Giovanni Antonini – music direction, flutes, dulcian Giulia Genini – flutes, dulcian Andrea Inghisciano – cornett Gawain Glenton – cornett, flutes Alberto Guerra – dulcian Emily White – trombone Stefano Barneschi, Liana Mosca – violins, fiddle Paolo Beschi – cello Giancarlo De Frenza – violone Riccardo Doni – organ, harpsichord Margret Köll – harps

ProgramME: Anonymous (Italy, 16th c.) La Morte della Ragione – pavana (Ms. British Library, c. 1560) Giorgio Mainerio (c. 1535–1582) Gagliarda from Primo libro de’ balli (Venice, 1578) Christopher Tye (c. 1505–before 1573) In Nomine ‘Crye’ Hayne van Ghizeghem (c. 1445–1476/97) De tous biens plaine (Henry VIII Ms., c. 1510–1520) Alexander Agricola (1445/6–1506) De tous biens plaine (two versions) Josquin des Prez (1450–1521) De tous biens playne from Harmonice Musices Odhecaton A (Venice, 1501)

Alexander Agricola De tous biens plaine John Dunstable (c. 1390–1453) Puzzle canon (Henry VIII Ms., c. 1510–1520) Josquin des Prez La déploration de la mort de Johannes Ockeghem (c. 1497) Anonymous (Italy, 16th c.) La Battaglia (Ms. British Library, c. 1560) Giovanni Pietro Del Buono (?–before 1657) LXXVII: Obligho di dui Zoppi e dui Ciechi sull’Ave Maris Stella from Canoni, obblighi et sonate Canoni, obblighi et sonate (Palermo, 1641) Anonymous (16th c.) Uppon la mi re Giorgio Mainerio Schiarazula marazula, Ungarescha and Saltarello from Primo libro de’ balli (Venice, 1578) Vincenzo Ruffo (c. 1508–1587) Dormendo un giorno from Capricci in musica (Milan, 1564) Anonymous La Gamba Giovanni Gabrieli (c. 1554/57–1612) Sonata XIII a otto voci from Canzoni e Sonate (Venice, 1615)

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TIME 130' For programme note, see concert on 8.09, 7:30 pm in Kalisz on page 50.

Et exspecto resurrectionem

11.09.2017, Monday, 7:00 pm

Wrocław, NFM, Main Hall (Sala Główna), pl. Wolności 1

PERFORMERS:

ProgramME:

Marzena Diakun – conductor Nicholas Sharratt – tenor Choir of the Karol Szymanowski Philharmonic in Kraków Teresa Majka-Pacanek – artistic direction NFM Wrocław Philharmonic

Olivier Messiaen (1908–1992) Et exspecto resurrectionem mortuorum I Des profondeurs de l’abîme, je crie vers toi, Seigneur: Seigneur, écoute ma voix! II Le Christ, ressuscité des morts, ne meurt plus; la mort n’a plus sur lui d’empire III L’heure vient où les morts entendront la voix du Fils de Dieu… IV Ils ressusciteront, glorieux, avec un nom nouveau – dans le concert joyeux des étoiles et les acclamations es fils du ciel V Et j’entendis la voix d’une foule immense

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Grażyna Pstrokońska-Nawratil (*1947) Uru Anna / Light of the Sky I Luminaria magna… (archaico) II Lux caelestium (cosmico) III Lumen Christi (quotidiano)

TIME 90'

Programme note

One of Olivier Messiaen’s most famous sacred works coupled with Grażyna Pstrokońska-Nawratil’s opus magnum dedicated to John Paul II – the concept behind tonight’s concert programme seems pretty clear. On the one hand we have a composer, who at the heart of musical modernism redefined Western traditions of sacred music, and on the other – his pupil from a country where the revival of sacred music at the end of 20th century became its international cultural calling-card. Hence we are dealing with key canonical principles of interpretation: the master-pupil relationship, the Paris provenance of Polish musical inspirations and the postmodernist idea of synthesis between tradition and modernity.

Michał Mendyk

Both Et exspecto resurrectionem mortuorum and Uru Anna / Light of the Sky fortunately give rise to many interesting questions. For example, about the social and cultural inner needs, which determined the development of religious music in an era of an universal desacralisation of cultural discourse. Or, about the actual meaning of sacred art in view of challenges posed by multiculturalism and ecumenical postulates. And finally about gender in music at a time when female composers are at last becoming fully fledged participants of musical life. Perhaps it is worth considering why the three Polish students of Olivier Messiaen – arguably the most influential teacher of the 20th century – were exclusively women. Joanna Bruzdowicz, Marta Ptaszyńska and last but not least, Grażyna Pstrokońska-Nawratil, share almost nothing in common, but are united however in their non-dogmatic compositional approach, their ability and desire for a synthesis between diverse values and traditions. Not an obvious alternative – made however following Zhdanov’s and Sokorski’s proclamations about the only rightful musical aesthetics, after Pierre Boulez’s postulations about burning opera theatres and after Krzysztof Penderecki’s announcements about the avant-garde’s betrayal of music. More importantly, Olivier Messiaen – who after all was a teacher of a postwar, masculinized avant-garde – himself remained free of his ‘vanguard’ students’ dogmatism. Sharing their tendency for modernist constructivism and their faith in the creative potential of theoretical speculation, he supported the famous declaration ‘my music sings my faith’. His scores could simultaneously be perceived as theological treatises, naturalistic tonal studies (famous transcriptions of bird songs) and laboratories of erotic sensuality. Though a stickler for the doctrinal correctness of his works, Messiaen was also partial to the charms of international syncretism (among others exploiting exotic scales or the accomplishments of Hindu rhythmic systems).

The French composer was always an ardent supporter of the ecumenical movement, which in the field of music he de facto implemented and even preceded. So when in 1963 he accepted a commission from the French Minister of Culture for a work commemorating the victims of two World Wars, he quickly abandoned the idea of composing a conventional oratorio. Consequently, the audience (among them General Charles de Gaulle) gathered on 7 May 1965 at Paris’ Sainte-Chapelle heard a series of five symbolic tone-paintings for wind orchestra and extended percussion section. Each movement is provided with biblical quotes that clearly steer the listener’s imagination towards apocalyptic events, particularly towards the titular promise of universal resurrection. At the same time, however, the work’s purely instrumental character allows the listener enormous interpretive freedom. Hence the commemoration of the victims of two World Wars was received – in a period of nuclear threat – as a warning against an injudicious ‘repeat of history’. The work’s specific instrumentation corresponds of course with the popular topos of ‘the Seven Trumpets of the Apocalypse’ yet also transports one into a sphere of ‘inhumane’ (deprived of vocal and lyrical attributes), mystical and lastly abstract, hence universal, illustration. Could it be that the wealth of exotic percussion instruments – apart from representing the awesome nature of the ‘time of the Apocalypse’ – was intended as a means of building bridges with the Far East (by the same token alluding to the still recent memories of the Hiroshima and Nagasaki tragedy)? A no less complex and ambiguous symbolic structure we find in Grażyna Pstrokońska-Nawratil’s Uru Anna / Light of the Sky. No one should be mislead by the author’s dedication ‘To the greatest Pole of my life, His Holiness John Paul II, on the Twentieth Anniversary of his Pontificate.’ The composer’s work definitely does not belong to a tradition of musical monuments to the Polish Pope like Beatus vir and Totus Tuus by Henryk Mikołaj Górecki, or Wojciech Kilar’s Victoria and Krzysztof Penderecki’s Te Deum and Chaconne. The enormous suggestiveness and emotional power of these works came at a cost of a certain literalness and rigidity of expression. No wonder, since most were composed as a reaction to the urgent need of strengthening the cultural foundations of an oppressed community. In Uru Anna / Light of the Sky echoes of this famous Polish religiosity – not so much authentic as naïve – return only in moderation in the third movement. Ideologically, this movement of Pstrokońska-Nawratil’s work is the most deeply embedded in Catholic traditions, and is in essence a hymn of praise to the titular Light of Christ. No wonder that musically speaking this movement – reaching back in some measure to Karol Szymanowski’s Stabat Mater and Litany to the Virgin Mary – belongs to a Polish tradition of

modern monumental songs of as much devotional as Romantic provenance. However the Great Lights... (Archaic) – which constitutes the theme of the first movement of Pstrokońska-Nawratil’s ‘fresco of light’ – alludes to an archetype far more ancient than that of Catholic or indeed Christian tradition. The text, though drawn from description of the Creation according to Genesis, in essence evokes elements of cosmogonic myth common to many Mediterranean traditions as well as contemporary esoteric currents. In terms of sound, the work is a musical cathedral with limpid, vertical architecture immersed in an archaic ‘timelessness’. If one were to seek analogies for PstrokońskaNawratil’s vision, it would be among Górecki’s most outstanding works of the 1970s, particularly his ‘cosmological’ Symphony No. 2 (‘Copernican’).

Joanna Bruzdowicz, Marta Ptaszyńska and last but not least, Grażyna Pstrokońska-Nawratil, share almost nothing in common, but are united however in their non-dogmatic compositional approach, their ability and desire for a synthesis between diverse values and traditions. Not an obvious alternative – made however following Zhdanov’s and Sokorski’s proclamations about the only rightful musical aesthetics, after Pierre Boulez’s postulations about burning opera theatres and after Krzysztof Penderecki’s announcements about the avant-garde’s betrayal of music. 85

Grażyna Pstrokońska-Nawratil Uru Anna / Light of the Sky* Hence, in both cases we are also dealing with a completely new genre of sacred music unaffiliated with any liturgical sphere or concert domain, which arises from a specifically contemporary – yet simultaneously archaic and perhaps the most profound – artistic mission. It concerns a ritual, which in an extraordinary manner – beyond the sphere of discourse and the domain of cohesive doctrines – reconciles seemingly irrefutable contradictions. Music is ideally suited to such a mission. And always has been.

On the other hand, in the second movement of Uru Anna / Light of the Sky – entitled the Light of Heavenly Bodies (Cosmic) – clear references to Messiaen’s music are far easier to find. The pictorial character of this ‘astronomic landscape’, its measured ‘panoramic rhythm’ and finally its wealth of polysemous illustrative effects of a mainly percussive provenance, are reminiscent of the monumental naturalistic masterpieces of the French maestro, if only to mention From the Canyons to the Stars. Here Pstrokońska-Nawratil definitely refrains from offering prayers to a catechetical God, does not build a local community around sound totems and does not resurrect its spirit by erecting monuments to its heroes. Were one to try encapsulating the sense of this multidimensional fresco in a single sentence, one would have to talk about an ambitious attempt, made on the threshold of the millennium (the work having been completed in 1999), to define the place of the individual in an increasingly complex Cosmos, to reconcile the local with the universal, intuition with logos. The prospect of a symbolic breakthrough was also probably tackled – though from a completely different and far darker perspective – by Olivier Messiaen in Et exspecto resurrectionen mortuorum, where the palpable spectre of historical extermination demanded mystical interpretation as well as ritual ‘detonation’. Hence, in both cases we are also dealing with a completely new genre of sacred music unaffiliated with any liturgical sphere or concert domain, which arises from a specifically contemporary – yet simultaneously archaic and perhaps the most profound – artistic mission. It concerns a ritual, which in an extraordinary manner – beyond the sphere of discourse and the domain of cohesive doctrines – reconciles seemingly irrefutable contradictions. Music is ideally suited to such a mission. And always has been.

I Luminaria magna… (archaico) Domine, Dona nobis Lucem in Caelis, Dona nobis Lucem in Terris, Dona nobis Lucem Aeternam… Domine! Fecitque Deus duo Luminaria magna: Luminare magnus, ut presset diei, et Lumiare minus, ut presset nocti, et stellas (…) Gen 1:16-17 II Lux caelestium (cosmico) Saiph Heka, Rigel! Betelgeuse, Bellatrix! Mintaka, Alnilam, Alnitak URU ANNA III Lumen Christi (quotidiano) Exaudi Domine orationem meam (…) utinam suspirem, ante abeam et non ero (…) Omnis homo veraciter et solum spiramen (…) Te sustimei tota die. Ps 38 (excerpts)

populus qui sedebat in tenebris, vidit Lucem magnam: et sedebintus in regione et umbrae mortis Lux orta est eis. …appropinquavit enim Regnum Caelorum. Matt 4:16; 3:2

Biographies of artists and ensembles are provided in an alphabetical order on pages 170–215.

Exaudivit Deus orationem meam! Lumen Christi – Lux in Terris… Lumen Christi – Lux in Caelis… Jesus Christus – Lux Aeterna!

*The ancient name of the Orion constellation in Mesopotamia, meaning light of the sky.

Rosa del ciel – musical treasures of Wrocław University Library

11.09.2017, Monday, 7:30 pm Krotoszyn, Church of St John the Baptist (kościół pw. św. Jana Chrzciciela), ul. Farna 10 PERFORMERS: Tomáš Král – baritone Judith Pacquier – cornett, recorder Maximilian Ehrhardt – arpa doppia a tre registri Jan Krejča – theorbo Massimiliano Toni – harpsichord, chest organ

TIME 65' For programme note, see concert on 10.09, 5:00 pm in Wrocław on page 70.

Moniuszko – Phantoms

12.09.2017, Tuesday, 7:00 pm Wrocław, NFM, Main Hall (Sala Główna), pl. Wolności 1

PERFORMERS: Andrzej Kosendiak – conductor, music director Jarosław Bręk – bass-baritone (Guślarz) Aleksandra Kubas-Kruk – soprano (Zosia) Antoni Szuszkiewicz, Mikołaj Szuszkiewicz (Aniołek / Staś) – soloists of the NFM Boys' Choir Małgorzata Podzielny – tutor to boy soloists Jerzy Butryn – baritone (Zły Pan) Bogan Makal – bass (Starzec) Mariola Cierpioł – mezzo-soprano (Sowa) Michał Ziemak – baritone (Kruk) Mariusz Bonaszewski, Paweł Janyst, Przemysław Wasilkowski, Beata Passini – actors Franciszka Kierc-Franik, Iga Załęczna – dancers Emilia Górnisiewicz, Jan Grządziela, Paweł Boczkowski – stilt walkers Anna Wieczorek, Anna Zachciał, Weronika Pawlik, Martyna Matoliniec, Magdalena Zabel, Piotr Michalczuk, Paweł Bernadowski, Jacek Schmidt, Krzysztof Paździora, Jakub Mieszała, Wojciech Zygmunt – students of Puppet Department of the State Superior Theatre School in Kraków, Wrocław Division – actors

TIME 90'

NFM Choir Agnieszka Franków-Żelazny – artistic direction Wrocław Baroque Orchestra Jarosław Thiel – artistic direction Paweł Passini – director Aleksandra Konarska, Paweł Janyst – assistant directors Zuzanna Srebrna – scenography and costumes Katarzyna Leks – assistant production designer Katarzyna Łuszczyk – lighting Agata Konarska – visualisations

ProgramME: Stanisław Moniuszko (1819–1872) Widma (Phantoms) – cantata Stanisław Moniuszko’s original score reconstruction – Maciej Prochaska.

The performance was produced in collaboration with the State Superior Theatre School in Kraków, Wrocław Division

Programme note

‘He who has never tasted bitterness, will never taste the sweetness of heaven. / For he who has never been a human being, no man will ever help. / He who has never touched the earth can never be in heaven’ warned the protagonists of Adam Mickiewicz’s Dziady (Forefather’s Eve) Part Two. ‘All around is dark, all around is silent, what will now be, what will now be?’

Agata Adamczyk

On the eve of All Saints’ Day which precedes the feast of the Day of the Dead, the ghosts of Józio and Rózia, the Evil Lord and the beautiful Zosia conjured up by the Sorcerer, would impart a handful of cautionary advice, interpreted in folklore as the basis for a moral code. These ghosts whose deeds committed in life were classed in turn as light, deadly or medium sins, would warn ordinary mortals about the consequences of their misdeeds. To be a complete human being it was necessary to understand the essence of existence – abandon levity and alongside joy start experiencing pain and suffering that ennobles the soul. Every display of pride and cruelty deserved punishment, while a show of love and mercy would be rewarded in heaven. The first folk rituals of Dziady go back to pagan times. Twice a year – in spring and autumn – meetings were held in deserted cult venues, i.e. on hills or elevated ground regarded as sacred; during successive centuries the said meetings were gradually transferred to chapels and cemeteries. The role of master of ceremonies was presided over by the sorcerer, who would deliver a ritual formula summoning the troubled souls. The latter, giving an account of their transgressions, imparted lessons in morality to those gathered. The aim of these ritual proceedings was to curry favour with the dead and help them attain peace in the afterlife. The apparitions were feted with food and drink – vodka, honey, porridge, eggs and kutia. To enable the wandering souls to spend this night with their loved ones, their homeward paths were illuminated by bonfires lit at crossroads. Fire also fulfilled another function – it blocked the path back to the world for the revenants – namely the souls of beings who had died a sudden death or committed suicide. The atmosphere of this ritual was imbued with mystery and awe. In his work Mickiewicz exploited a certain type of stylization – by combining ancient pagan rites with elements of the Christian religion, evidence of which can be seen in such terms as ‘purgatory’ or ‘redemption’. Through his artistic treatment of folklore he created an original image, which to this day continues to intrigue, interest and artistically inspire. The individual parts of Dziady were written at various times: Part Two and Four were the first to be written between 1820–23. Part Three was created almost a decade later (1832), while Part One was never completed. In the history of 19th-century Polish culture the period between the November Uprising (1830) and the January Uprising (1863) was exceptionally difficult. Although the Kingdom of Poland was not an independent state, it

nevertheless enjoyed widespread administrative, and to a large extent cultural autonomy. With the failure of the November Uprising all privileges were withdrawn. Under the repression the choice of repertoire in theatres and operas was significantly curtailed and the Music Conservatory (where earlier Fryderyk Chopin had studied) closed, which contributed to a mass emigration of artists. To those who decided to stay fell the duty of serving Polish society by nurturing the element of national identity. They took over as it were, the functions of institutions liquidated by the occupying powers, thus keeping up the nation’s morale. Their activities were keenly watched by the censor – the more intense their activities became the greater were the restrictions and repression imposed by the censor; in turn the greater the repression the greater the defiance. Isolation from the latest Western cultural trends and difficulties in getting access to Polish works created abroad by among others Mickiewicz, Chopin or Słowacki became, as described by Paweł Jasienica, a ‘backwater nightmare’. Such were the circumstances in which Stanisław Moniuszko, born into a family of landed gentry and patriotic traditions, author of the best known 19th-century Polish operas, composed his works for the purposes of ‘raising the spirits’ of the people. The majority of his artistic output consists of songs intended for home musicmaking, collected in successive volumes of the Home Songbook. As Stefan Kisielewski once stated: ‘He (Moniuszko) appealed not only to the landed gentry and homeowners but also to «the masses»’ while his melodies ‘became second nature, an integral part of the climate, atmosphere and style of Polish life, that is now collective property (...).’ Moniuszko composed music understood by Poles, which was exactly what he intended. He did not seek a new, universal European language, since he was prevented from doing so by the difficult political situation. In an idealised portrayal of the composer, Kisielewski did not hide his admiration for the composer, describing him as: ‘an ideal man and father, a solid, moral, serious and religious, ardent patriot, a hardworking musician, in a word – a flawless citizen, artist and human being. Such a life (…) may to some have come across as overly ideal, dutiful, conventional, why – even modest, had it not been brightened by a single glow: a spark of genius.’ Moniuszko had for some time entertained the idea of setting Dziady to music. The failure of Halka had for a while lessened the composer’s enthusiasm for opera, nonetheless his interest was aroused by the oratorio form, far easier to perform and far more brilliant. Moniuszko intended to exploit only those sections of Mickiewicz’s drama capable of eliciting powerful musical impressions. Put together they form a cantata described by the composer as ‘lyrical scenes’.

Phantoms set to texts from Part Two of Dziady was composed circa 1852 (before 1859) with the premiere taking place on 22 January 1865 at the Grand Theatre in Warsaw. A day later the Dziennik Warszawski assessed the work as: ‘Phantoms is to music what Dziady is to literature.’ The work brought its composer recognition – not only in Warsaw, but also in Kraków, Vilnius, Moscow and St Petersburg – as well as sizeable financial gain. Giving an account of one of its premieres Moniuszko reported: ‘The choir consisted of forty members. I had an excellent female singer. I have nothing to say about the braying ox of a baritone.’ For several months the success of the cantata continued unabated, however it failed to defend itself against oblivion. Though Phantoms had brought fame to the composer, the work would soon be overshadowed by The Haunted Manor. The cantata’s title of Phantoms, contrary to the composer’s intentions, was provided by the censors, whose intention was to erase from human consciousness the contributions of the national bard. In his composition Moniuszko included elements of Slavic melodic formulae and harmony, remaining faithful to the dramaturgical intentions of the poet whose pagancum-folk lyrical text complement the work as a whole. The first tones of Phantoms usher in a reverential, contemplative and mystical atmosphere. The musical motifs of the phantoms – two children running towards their mother, the ghost of an evil man pursued by ravens and an owl as well as the ghost of Zosia – are already present in the overture. Moniuszko was writing the music with a concert performance in mind, disregarding any theatrical requirements that might hamper his compositional inventiveness. The text’s 93

DIRECTOR’S NOTE Paweł Passini Moniuszko had for some time entertained the idea of setting Dziady to music. The failure of Halka had for a while lessened the composer’s enthusiasm for opera, nonetheless his interest was aroused by the oratorio form, far easier to perform and far more effective. Moniuszko intended to exploit only those sections of Mickiewicz’s drama capable of eliciting powerful musical impressions. Put together they form a cantata described by the composer as ‘lyrical scenes’. dramaturgy however, imposed upon him certain elements appropriate to theatrical works, hence the cantata can be performed in two different ways. In 1878 Jan Dobrzański, director of the Lviv Theatre, came up with the idea of staging Phantoms. The experiment proved a resounding success and the work took its place among the ranks of European secular cantatas of the late Romantic era. According to Kisielewski ‘Moniuszko did not play as important a role in the evolution of European music as Chopin, neither did he open new perspectives in Polish art as did Szymanowski. Instead his role in Polish history was seminal, in which he single-handedly disclosed the truth that a nation even when torn to pieces, deprived of statehood, armed forces and a right to develop – lives and endures when its culture, being the mightiest weapon of national spirit and unity, continues to endure.’ The struggle concerned both the battlefield and the arts.

Stanisław Moniuszko’s Phantoms are an attempt to introduce parts of Adam Mickiewicz’s drama Dziady to the canon of Europe’s musical heritage. The composer seeks a universal language of music for one of the most hermetic texts of our tradition. For this purpose, he chooses Part Two, i.e. ‘a sacrilegious ritual full of sorcery’ – spirits are called up by pheasants in a secret rite conducted in a cemetery chapel. Despite his own heavy editing of the text – through which a new performance is born – Moniuszko resolves to include Mickiewicz’s note in the score: ‘DZIADY is a name of a ritual so far celebrated among commoners in many districts of Lithuania, Prussia and Courland in memory of dziady, i.e. in general the deceased ancestors. The celebration dates to pagan times, and it used to be called a billy goat’s feast, whose master of ceremony was called Koźlarz, Huslar, Guślarz, a priest and a poet (gusli player) in one. (...) What is specific about our dziady is mixing pagan rituals with Christian imagery, especially as All Souls’ Day falls around the time when the celebration is held. Commoners understand that by offering food, drink and song to the dead, they bring respite to souls in Purgatory. The godly aim of the celebration, the secluded places, the night time and the fantastic rituals once spoke very strongly to my imagination; I listened to fairy stories, tales and songs about the dead returning with pleas or warnings; and in all this monstrous fiction you could discern a certain moral pursuit and moral teaching, shown in the sensuous way of folk lore. This poem will present images in a similar vein, and the ritual songs, sorcery and incantations are in most part faithfully represented, sometimes literally taken from folk poetry.' Mickiewicz and Moniuszko seek in the folk ritual of evoking spirits of the dead an invigorating source of spirituality. At the same time, they seem to point out to its reality and purposefulness. They tell us we need a conversation with our dead, because – contrary to appearances – it is the living who walk out of this ritual nourished and consoled. The souls of two children come to their parents to tell them that they ‘tasted no bitterness’ in their short lives, that they are almost in Paradise and only a grain of bitterness separates them from salvation. The Evil Lord appears to convince us – his victims – that all crimes shall be punished; if not in this, then surely in the other world. And the Virgin (Zosia), who appears in the darkness of the old chapel to tell the story of her mysterious death, her life she could not live fully and a passionate longing that allows her ‘neither to soar up to Heaven, nor to touch the ground’. Finally, the silent Phantom who escapes the Sorcerer’s agency and does not want or cannot leave, thus forcing the participants to re-enact the ritual a year from now.

We asked ourselves a question in our own, personal darkness of today – what phantoms could appear to us. And victims of the war came, of the last war in Syria, but also of previous wars, equally atrocious and unreasonable. Therefore, we juxtapose the singing phrases of Moniuszko with the poignancy of vibrant human body. In choreographic expression, in a post-apocalyptic aesthetic of human sculptures hailing from the works of Beksiński, Kantor and Wróblewski, in the offering of the body made on stage by the actor and the dancer – in them we seek counterpoint and complementar ity. And we pose the question: can we still participate in a ritual, or are we just a group of masked observers? Are we ready to hear the voices of our dead?

‘For Passini the text of Dziady is a kind of sorcerer’s spell, a composition of words charged with extraordinary power of recalling, awakening, and exciting what has been forgotten, latent, frozen in the consciousness or imagination of contemporary people. He is interested in the spiritual dimension and the agency of the text whose author is Mickiewicz, but whose primeval source seems to be a deity or indeed national community. (…) Angels and devils in Dziady are thus not only a theatrical quotation. Rather, they are a convention signalling the true dimension of events and experiences of dramatis personae. Passini recognises it superbly, but he is one of those artists who, like Mickiewicz, treat the crisis of rationalised spirituality of western Europe very seriously and seek in theatre adequate ways to revive it. Mickiewicz used the pagan dziady, still practised by commoners at his time, to revive the power of Christian All Saints’ Day celebrations in Part Three of the drama, and thus let the whole drama turn into a mystery play. Passini, almost two centuries on, uses theatre as such to excite the sacred anamnesis. He has learnt this from his masters: Artaud, Kantor, and Grotowski.’

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Students of the fourth year in the Puppet Department of the State Superior Theatre School in Kraków, Wrocław Division, have been invited to participate in the Phantoms show. The crowning our work together on Part Two of Dziady and on excerpts from a drama by Euripides, will be their diploma performance entitled Teraz wszystkie dusze razem… (Now All Souls Together…) directed by Paweł Passini, to be premiered on 29 September 2017 on the big stage of the PWST in Wrocław. It will be a one-of-a-kind continuation and development of the visual and choreographic threads that we have woven while working on Stanisław Moniuszko’s Phantoms. Come and join us!

Jacek Kopciński, The Return of Dziady

Biographies of artists and ensembles are provided in an alphabetical order on pages 170–215. 95

Stanisław Moniuszko Widma Guślarz – Starzec z Chóru – Chór wieśniaków – Kaplica, wieczór

CHÓR Ciemno wszędzie, głucho wszędzie, Co to będzie, co to będzie? GUŚLARZ Zamknijcie drzwi od kaplicy, I stańcie dokoła truny; Żadnej lampy, żadnej świecy, W oknach zawieście całuny. Niech księżyca jasność blada Szczelinami tu nie wpada. Tylko żwawo, tylko śmiało. STARZEC Jak kazałeś, tak się stało! CHÓR Ciemno wszędzie, głucho wszędzie, Co to będzie? Co to będzie? GUŚLARZ Czyścowe duszeczki! W jakiejkolwiek świata stronie; Czyli która w smole płonie, Czyli marznie na dnie rzeczki, Czyli dla dotkliwej kary W surowem wszczepiona drewnie, Gdy ją w piecu gryzą żary, I piszczy, i płacze, płacze rzewnie; Każda spieszcie do gromady! Gromada niech się tu zbierze! Oto obchodzimy Dziady! Zstępujcie w święty przybytek! Jest jałmużna, są pacierze, I jedzenie, i napitek. CHÓR Ciemno wszędzie, głucho wszędzie, Ciemno wszędzie, głucho wszędzie. GUŚLARZ Podajcie mi garść kądzieli. Zapalam ją; wy z pośpiechem, Skoro płomyk w górę strzeli, Pędźcie go z lekkim oddechem. O tak! o tak! dalej! dalej! Niech się na powietrzu spali.

GUŚLARZ Naprzód wy z lekkiemi duchy, Coście śród tego padołu Ciemnoty i zawieruchy, Nędzy, płaczu i mozołu Zabłysnęli i spłonęli Jako ta garstka kądzieli. Kto z was wietrznym błądzi szlakiem, O niebieskie nie wzleciał bramy, Tego lekkim, jasnym znakiem Przyzywamy, zaklinamy.

ANIOŁEK i CHÓR Wszystkiego w raju dostatek, Co dzień to inna zabawka: Gdzie stąpim, wypływa trawka, Gdzie dotkniem, rozkwita kwiatek.

CHÓR Bo słuchajmy i zważmy u siebie, Że według Bożego rozkazu: Kto nie doznał goryczy ni razu, Ten nie dozna słodyczy w niebie.

ANIOŁEK Lecz choć wszystkiego dostatek, Dręczy nas nuda i trwoga. Ach, mamo! dla twoich dziatek Zamknięta do nieba droga!

CHÓR Mówcie, komu czego braknie, Kto z was pragnie, kto z was łaknie. Co to będzie? Co to będzie?

ANIOŁEK i CHÓR Ach, matko, ach, matko, Zamknięta do nieba droga. Dla twoich dziatek, o matko.

GUŚLARZ Aniołku, duszeczko! Czego chciałeś, macie obie. To ziarneczko, to ziarneczko, Teraz z Bogiem idźcie sobie. A kto prośby nie posłucha, W imię Ojca, Syna, Ducha. Widzicie Pański krzyż? Nie chcecie jadła, napoju, Zostawcież nas w pokoju! A kysz, a kysz, a kysz!

GUŚLARZ Patrzcie! ach, patrzcie do góry, Cóż tam pod sklepieniem świeci? Oto złocistemi pióry Trzepocze się dwoje dzieci. Jak listek z listkiem w powiewie, Kręcą się pod cerkwi wierzchołkiem; Jak gołąbek z gołąbkiem na drzewie, Jak aniołek igra z aniołkiem.

GUŚLARZ Czego potrzebujesz, duszeczko, Żeby się dostać do nieba? Czy prosisz o chwałę Boga? Czyli o przysmaczek słodki? Są tu pączki, ciasta, mleczko I owoce, i jagodki. Czego potrzebujesz, duszeczko, Żeby się dostać do nieba?

ANIOŁEK (do jednej z wieśniaczek) Do mamy lecim, do mamy. Cóż to, mamo, nie znasz Józia? Ja to Józio, ja ten samy, A to siostra moja Rózia.

ANIOŁEK Nic nam, nic nam nie potrzeba. Zbytkiem słodyczy na ziemi Jesteśmy nieszczęśliwemi. Ach, ja w życiu mojem całem Nic gorzkiego nie doznałem. Pieszczoty, łakotki, swawole, A co zrobię, wszystko caca. Śpiewać, skakać, wybiec w pole, Urwać kwiatków dla Rozalki, Oto była moja praca, A jej praca stroić lalki. Przylatujemy na Dziady Nie dla modłów i biesiady, Niepotrzebna msza ofiarna; Nie o pączki, mleczka, chrusty, Prosim gorczycy dwa ziarna; A ta usługa tak marna Stanie za wszystkie odpusty. Bo słuchajcie i zważcie u siebie, Że według Bożego rozkazu: Kto nie doznał goryczy ni razu, Ten nie dozna słodyczy w niebie.

CHÓR Do mamy lecą, do mamy! Cóż to matko? Nie znasz Józia? To Józio, ten samy, To siostra, to Rózia! ANIOŁEK My teraz w raju latamy, Tam nam lepiej niż u mamy. Patrz, jakie główki w promieniu, A ubiór z jutrzenki światełka. ANIOŁEK i CHÓR Patrz! jakie główki w promieniu, Ubiór jutrzenki światełka, A na obojem ramieniu Jak u motylka skrzydełka. Już teraz w raju latają, Tam lepiej niż u mamy.

CHÓR A kto prośby nie posłucha, W imię Ojca, Syna, Ducha. Widzicie Pański krzyż? Nie chcecie jadła, napoju, Zostawcież nas w pokoju; A kysz, a kysz, a kysz! (Widmo znika) GUŚLARZ Już straszna północ przybywa, Zamykajcie drzwi na kłódki; Weźcie smolny pęk łuczywa, Stawcie w środku kocioł wódki. A gdy laską skinę z dala, Niechaj się wódka zapala. Tylko żwawo, tylko śmiało. STARZEC Jużem gotów. GUŚLARZ Daję hasło. STARZEC Buchnęło, zawrzało I zgasło. GUŚLARZ Dalej wy z najcięższym duchem, Coście do tego padołu Przykuci zbrodni łańcuchem Z ciałem i duszą pospołu.

Text Choć zgon lepiankę rozkruszy, Choć was anioł śmierci woła, Żywot z cielesnej katuszy Dotąd wydrzeć się nie zdoła. Jeżeli karę tak srogą Ludzie nieco zwolnić mogą I zbawić z piekielnej jamy, Której tak jesteście blisko: Was wzywamy, zaklinamy Przez żywioł wasz, przez ognisko! CHÓR Mówcie, komu czego braknie, Kto z was pragnie, kto z was łaknie? Ciemno wszędzie, co to będzie? GŁOS (za oknem) Hej, kruki, sowy, orlice! O wy przeklęte żarłoki! Puśćcie mnie tu pod kaplicę, Puśćcie mnie choć na dwa kroki. GUŚLARZ I CHÓR Wszelki duch! jakaż potwora! Widzicie w oknie upiora? Jak kość na polu wybladły; Patrzcie! patrzcie, jakie lice! W gębie dym i błyskawice, Oczy na głowę wysiadły, Świecą jak węgle w popiele. Włos rozczochrany na czele. A jak suchy snop cierniowy, Płonąc miotłę ognia ciska, Tak od potępieńca głowy Z trzaskiem sypią się iskrzyska. WIDMO Dzieci! nie znacież mnie, dzieci? Przypatrzcie się tylko z bliska, Przypomnijcie tylko sobie! Ja nieboszczyk pan wasz, dzieci! Dzieci, poznajcie mnie! Wszak to moja była wioska! Dziś rok ledwo mija trzeci, Jak mnie złożyliście w grobie. Ach, zbyt ciężka kara boska! Jestem w złego ducha mocy, Okropne czuję męczarnie. Kędy noc ziemię ogarnie, Idę tam, szukając nocy;

A uciekając od słońca Tak pędzę żywot tułaczy, A nie znajdę mękom końca! Wiecznych głodów jestem pastwą; A któż nakarmić mię raczy? Szarpie mię żarłoczne ptastwo; A któż będzie mój obrońca? A nie masz! nie masz, nie masz mękom końca! Poznajcie mnie. GUŚLARZ i CHÓR Szarpie go żarłoczne ptastwo, Kto będzie mu obrońca? Nie masz, nie masz mękom końca! GUŚLARZ A czegoż potrzeba dla duszy, Aby uniknąć katuszy? Czy prosisz o chwałę nieba? Czy o poświęcone gody? Jest dostatkiem mleka, chleba, Są owoce i jagody. Mów, czego trzeba dla duszy, Aby się dostać do nieba? WIDMO Do nieba?… bluźnisz daremnie… O nie! ja nie chcę do nieba! Ja tylko chcę, żeby ze mnie Prędzej się dusza wywlekła. Stokroć wolę pójść do piekła, Wszystkie męki zniosę snadnie; Wolę jęczeć w piekle na dnie, Niż z duchami nieczystemi Błąkać się wiecznie po ziemi, Widzieć dawnych uciech ślady, Pamiątki dawnej szkarady; Od wschodu aż do zachodu, Od zachodu aż do wschodu Umierać z pragnienia, z głodu I karmić drapieżne ptaki. Lecz niestety! wyrok taki, Że dopóty w ciele muszę Potępioną włóczyć duszę, Nim kto z was, poddani moi, Pożywi mię i napoi. Ach, jak mnie pragnienie pali; Gdyby mała wody miarka! Ach! gdybyście mnie podali Choćby dwa pszenicy ziarka!

CHÓR PTAKÓW NOCNYCH Darmo żebrze, darmo płacze: My tu czarnym korowodem, Sowy, kruki i puchacze, Niegdyś, panku, sługi twoje, Któreś ty pomorzył głodem, Zjemy pokarmy, wypijem napoje. Hej, sowy, puchacze, kruki! Szponami, krzywemi dzioby Szarpajmy jadło w sztuki! Choćby już trzymał w gębie, I tam szponę zagłębię; Dostanę aż do wątroby. Nie znałeś litości, panie! I my nie znajmy litości: A kiedy już jadła nie stanie, Szarpajmy ciało na sztuki, Niechaj nagie świecą kości, Szarpajmy bez litości, Gdy jadła już nie stanie, Nie znałeś litości, panie! Niechaj nagie świecą kości. Sowy, kruki i puchacze, Darmo żebrze, darmo płacze! KRUK Nie lubisz umierać z głodu? A pomnisz, jak raz w jesieni Wszedłem do twego ogrodu? Gruszka dojrzewa, jabłko się czerwieni; Trzy dni nic nie miałem w ustach, Otrząsnąłem jabłek kilka. Lecz ogrodnik skryty w chrustach Zaraz narobił hałasu I poszczuł psami jak wilka. Nie przeskoczyłem tarasu, Dopędziła mnie obława; Przed panem toczy się sprawa, O co? o owoce z lasu, Które na wspólną wygodę Bóg dał jak ogień i wodę. Ale pan gniewny zawoła: „Potrzeba dać przykład grozy”. Zbiegł się lud z całego sioła, Przywiązano mię do sochy, Zbito dziesięć pęków łozy. Każdą kość jak z kłosa żyto, Jak od suchych strąków grochy, Od skóry mojej odbito! Nie znałeś litości, panie!

CHÓR PTAKÓW Nie znałeś litości, panie! Darmo żebrze, darmo płacze: My tu czarnym korowodem, Sowy, kruki i puchacze, Niegdyś, panku, sługi twoje, Któreś ty pomorzył głodem, Zjemy pokarmy, wypijem napoje. Hej, sowy, puchacze, kruki, Szponami, krzywemi dzioby Choćby już trzymał w gębie, I tam szponę zagłębię; Dostanę aż do wątroby. SOWA Nie lubisz umierać z głodu? Pomnisz, jak w kucyją samą, Pośród najtęższego chłodu, Stałam z dziecięciem pod bramą. Panie! wołałam ze łzami, Zlituj się nad sierotami! Mąż mój już na tamtym świecie, Córkę zabrałeś do dwora, Matka w chacie leży chora, Przy piersiach maleńkie dziecię. Panie, daj nam zapomogę, Bo dalej wyżyć nie mogę! Ale ty, panie, bez duszy! Hulając w pjanej ochocie, Przewalając się po złocie, Hajdukowi rzekłeś z cicha: „Kto tam gościom trąbi w uszy? Wypędź żebraczkę, do licha”. Posłuchał hajduk niecnota, Za włosy wywlekł za wrota! Wepchnął mnie z dzieckiem do śniegu! Zbita i przeziębła srodze, Nie mogłam znaleźć noclegu; Zmarzłam z dziecięciem na drodze. Nie znałeś litości, panie! CHÓR PTAKÓW Nie znałeś litości, panie! I my nie znajmy litości! A kiedy już jadła nie stanie, Szarpajmy ciało na sztuki, Niechaj nagie świecą kości! Szarpajmy bez litości, Gdy jadła już nie stanie, Nie znałeś litości, panie! Niechaj nagie świecą kości. Sowy, kruki i puchacze, Darmo żebrze, darmo płacze. 99

Text WIDMO Nie ma, nie ma dla mnie rady! Darmo podajesz talerze, Co dasz, to ptastwo zabierze. Nie dla mnie, nie dla mnie Dziady! Tak, muszę dręczyć się wiek wiekiem, Sprawiedliwe zrządzenia Boże! Bo kto nie był ni razu człowiekiem, Temu człowiek nic nie pomoże. CHÓR Tak, musisz dręczyć się wiek wiekiem, Sprawiedliwe zrządzenia Boże! Bo kto nie był ni razu człowiekiem, Temu człowiek nic nie pomoże. GUŚLARZ Gdy nic tobie nie pomoże, Idźże sobie precz, nieboże! A kto prośby nie posłucha, W imię Ojca, Syna, Ducha! CHÓR Czy widzisz Pański krzyż? Nie bierzesz jadła, napoju? Zostawże nas w pokoju! A kysz, a kysz, a kysz! (Widmo znika) GUŚLARZ Podajcie mi, przyjaciele, Ten wianek na koniec laski. Zapalam święcone ziele, W górę dymy, w górę blaski! Teraz wy, pośrednie duchy, Coście u tego padołu Ciemnoty, zawieruchy Żyłyście z ludźmi pospołu; Lecz, od ludzkiej wolne skazy, Żyłyście nie nam, nie światu, Jako cząbry te i ślazy, Ni z nich owocu, ni kwiatu. Ani się ukarmi zwierzę, Ani człowiek się ubierze; Lecz w wonne skręcone wianki Na ścianie wiszą wysoko. Tak wysoko, o ziemianki! Była wasza pierś i oko! Która dotąd czystem skrzydłem Niebieskiej nie przeszła bramy, Was tem światłem i kadzidłem Zapraszamy, zaklinamy. 100

STARZEC Która dotąd czystem skrzydłem Niebieskiej nie przeszła bramy, Was tem światłem i kadzidłem Zapraszamy, zaklinamy.

GUŚLARZ, DZIEWCZYNA i CHÓR GUŚLARZ Motylka rózeczką goni I już, już trzyma go w dłoni; Motylek zawsze ucieka.

CHÓR I i II Która dotąd czystem skrzydłem Niebieskiej nie przeszła bramy, I tem światłem, i kadzidłem Zapraszamy, zaklinamy.

DZIEWCZYNA Motylka rózeczką gonię I już, już chwytam go w dłonie; Motylek zawsze ucieka.

GUŚLARZ A toż czy obraz Bogarodzicy? Czyli anielska postać? Jak lekkim rzutem obręcza Po obłokach zbiega tęcza, By z jeziora wody dostać, Jak ona świeci w kaplicy. Do nóg biała spływa szata, Włos z wietrzykami swawoli, Po jagodach uśmiech lata, Ale w oczach łza niedoli. GUŚLARZ i DZIEWCZYNA GUŚLARZ Na głowie ma kraśny wianek, A w ręku zielony badylek, A przed nią bieży baranek, A nad nią leci motylek. Na baranka bez ustanku Woła: baś, baś, mój baranku! Baranek zawsze z daleka. DZIEWCZYNA Na głowie mam kraśny wianek. W ręku zielony badylek, Przede mną bieży baranek, Nade mną leci motylek. Na baranka bez ustanku Wołam: baś, baś, mój baranku, Baranek zawsze z daleka. Motylka rózeczką gonię I już, już chwytam go w dłonie; Motylek zawsze ucieka. CHÓR Woła: baś, baś, mój baranku! Baranek zawsze z daleka. Na głowie ma kraśny wianek, W ręku zielony badylek, A przed nią bieży baranek, Nad nią leci motylek. Na baranka bez ustanku Woła: baś, baś, mój baranku!

CHÓR Motylka rózeczką goni I już, już trzyma go w dłoni; Motylek zawsze ucieka. DZIEWCZYNA Tu niegdyś w wiosny poranki Najpiękniejsza z tego sioła, Zosia, pasając baranki, Skacze i śpiewa wesoła. La, la, la, la. Oleś za gołąbków parę Chciał raz pocałować w usta; Lecz i prośbę, i ofiarę Wyśmiała dziewczyna pusta. La, la, la, la. Józio dał wstążkę pasterce, Antoś oddał swoje serce; Lecz i z Józia, i z Antosia Śmieje się pierzchliwa Zosia! La, la, la, la. Tak, Zosią byłam, dziewczyną z tej wioski, Imię moje u was głośne, Że chociaż piękna, nie chciałam zamęścia I dziewiętnastą przeigrawszy wiosnę, Umarłam, nie znając troski Ani prawdziwego szczęścia. Żyłam na świecie; lecz, ach! nie dla świata! Myśl moja, nazbyt skrzydlata, Nigdy na ziemskiej nie spoczęła błoni. Za lekkim zefirkiem goni, Za muszką, za kraśnym wiankiem, Za motylkiem, za barankiem; Ale nigdy za kochankiem. Pieśni i fletów słuchałam rada: Często, kiedy sama pasę, Do tych pasterzy goniłam stada, Którzy mą wielbili krasę; Lecz żadnego nie kochałam. Za to po śmierci nie wiem, co się ze mną dzieje, Nieznajomym ogniem pałam!

Choć sobie igram do woli, Latam, gdzie wietrzyk zawieje, Nic mię nie smuci, nic mię nie boli, Jakie chcę, wyrabiam cuda. Przędę sobie z tęczy rąbki, Z przezroczystych łez poranku Tworzę motylki, gołąbki. Przecież nie wiem, skąd ta nuda: Wyglądam kogoś za każdym szelestem, Ach, i zawsze sama jestem! Przykro mi, że bez ustanku Wiatr mną jak piórkiem pomiata. Nie wiem, czy jestem z tego czy z tamtego świata. Gdzie się przybliżam, zaraz wiatr oddali, Pędzi w górę, w dół, z ukosa: Tak pośród pierzchliwej fali, Wieczną przelatując drogę, Ani wzbić się pod niebiosa, Ani ziemi dotknąć nie mogę. CHÓR Tak śród pierzchliwej fali, Przez wieczne lecąc bezdroże, Ani wzbić się pod niebiosa, Ani ziemi tknąć nie może. GUŚLARZ Czego potrzebujesz, duszeczko, Żeby się dostać do nieba? Czy prosisz o chwałę Boga, Czy o przysmaczek słodki? Są tu pączki, ciasta, mleczko, I owoce, i jagodki. Czego potrzebujesz, duszeczko, Żeby się dostać do nieba? DZIEWCZYNA Nic mnie, nic mnie nie potrzeba! Niechaj podbiegą młodzieńce, Niech mię pochwycą za ręce, Niechaj przyciągną do ziemi, Niech poigram chwilkę z niemi. Bo słuchajcie i zważcie u siebie, Że według Bożego rozkazu: Kto nie dotknął ziemi ni razu, Ten nigdy nie może być w niebie. CHÓR Bo słuchajmy i zważmy u siebie, Że według Bożego rozkazu: Kto nie dotknął tu ziemi ni razu, Ten nie może być nigdy w niebie.

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Text GUŚLARZ (do kilku wieśniaków) Darmo bieżycie: to są marne cienie; Darmo rączki ściąga biedna, Wraz ją spędzi wiatru tchnienie. Lecz nie płacz, piękna dziewico! Oto przed moją źrzenicą Odkryto przyszłe wyroki: Jeszcze musisz sama jedna Latać z wiatrem przez dwa roki, A potem staniesz za niebieskim progiem. Dziś modlitwa nic nie zjedna. Lećże sobie z Panem Bogiem. A kto prośby nie posłucha, W imię Ojca, Syna, Ducha! Czy widzisz Pański krzyż? CHÓR Nie chciałaś jadła, napoju? Zostawże nas w pokoju. A kysz, a kysz, a kysz! (Widmo znika) GUŚLARZ Teraz wszystkie dusze razem, Wszystkie i każdą z osobna, Ostatnim wołam rozkazem! Dla was ta biesiada drobna; Garście maku, soczewicy Rzucam w każdy róg kaplicy. Bierzcie, czego której braknie. CHÓR Bierzcie, czego której braknie, Która pragnie, która łaknie. Ciemno wszędzie, głucho wszędzie, Co to będzie, co to będzie. GUŚLARZ Czas odemknąć drzwi kaplicy. Zapalcie lampy i świecy. Przeszła północ, kogut pieje, Skończona straszna ofiara, Czas przypomnieć ojców dzieje. Stójcie… CHÓR Cóż to?

GUŚLARZ Jeszcze mara! (do jednej z wieśniaczek) Pasterko, ot tam w żałobie… Wstań, bo czy mi się wydaje, Czy ty usiadłaś na grobie? Dziatki! patrzajcie, dla Boga! Wszak to zapada podłoga I blade widmo powstaje; Zwraca stopy ku pasterce, I stanęło tuż przy boku. Zwraca lice ku pasterce, Białe lice i obsłony, Jako śnieg po nowym roku. Wzrok dziki i zasępiony Utopił całkiem w jej oku. Patrzcie, ach, patrzcie na serce! Jaka to pąsowa pręga, Tak jakby pąsowa wstęga Albo jak sznurkiem korale, Od piersi aż do nóg sięga. Co to jest, nie zgadnę wcale! STARZEC Pokazał ręką na serce, Lecz nic nie mówi pasterce. GUŚLARZ Czego potrzebujesz, duchu młody? Czy prosisz o chwałę nieba? Czyli o święcone gody? Jest dostatkiem mleka, chleba, Są owoce i jagody. Czego potrzebujesz, duchu młody, Żeby się dostać do nieba? (Widmo milczy) Odpowiadaj, maro blada! Cóż to, nic nie odpowiada? (Widmo milczy) Gdy gardzisz mszą i pierogiem, Idźże sobie z Panem Bogiem! CHÓR A kto prośby nie posłucha, W imię Ojca, Syna, Ducha! Czy widzisz Pański krzyż? (Widmo stoi) GUŚLARZ Nie odchodzi i nie gada!

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CHÓR Duszo przeklęta czy błoga, Opuszczaj święte obrzędy! Oto roztwarta podłoga, Kędy wszedłeś, wychodź tędy. Bo cię przeklniem w imię Boga. (po pauzie) Precz stąd na lasy, precz na rzeki, Przebóg! cóż to za szkarada? Nie odchodzi i nie gada. Zgiń, przepadnij na wieki! I milczy, i nie przepada!

CHÓR Co to będzie, co to będzie? Gdzie my z nią, on za nią wszędzie. A kysz, a kysz! Co to będzie, co to będzie? After Dziady Part Two by Adam Mickiewicz

GUŚLARZ Darmo proszę, darmo gromię, On przekleństwa się nie boi. Dajcie kropidło z ołtarza. CHÓR Nie pomaga i kropidło! Bo utrapione straszydło Jak stanęło, tak i stoi, Niemo, głucho, nieruchomie, Jakby kamień śród cmentarza. Precz stąd na lasy, precz na rzeki, Przebóg! cóż to za szkarada? Nie odchodzi, nie gada. Giń! Przepadnij na wieki! GUŚLARZ To jest nad rozum człowieczy! Pasterko! znasz tę osobę? W tym są jakieś straszne rzeczy. Po kim ty nosisz żałobę? Wszak mąż i rodzina zdrowa? Spojrzyj, odezwij się przecie! Czyś ty martwa, moje dziecię? Czegoż uśmiechasz się, czego? Co w nim widzisz wesołego? (do Starca) Daj mnie stułę i gromnicę, Zapalę, jeszcze poświęcę... Próżno palę, próżno święcę, Nie znika przeklęta dusza. Weźcie pasterkę pod ręce, Wyprowadźcie za kaplicę. Czegoż uśmiechasz się, czego? Co w nim widzisz powabnego? Przebóg, widmo kroku rusza! Gdzie my z nią, on za nią wszędzie…

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Stabat Mater

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13.09.2017, Wednesday, 7:00 pm

Bolesławiec, Church of Our Lady of Perpetual Help (kościół pw. Matki Bożej Nieustającej Pomocy), pl. Zamkowy 1 PERFORMERS:

ProgramME:

Graciela Gibelli – soprano Carlos Mena – countertenor Cyril Auvity – tenor

Libera me, Domine (Sardinian tradition)

Il Suonar Parlante: Rodney Prada – viola da gamba Cristiano Contadin – viola da gamba Vittorio Ghielmi – viola da gamba, artistic direction Luca Pianca – lute Cuncordu de Orosei: Giovanni Rosu – voche Paolo Burrai – mesu voche Martino Corimbi – cronta Franco Sannai – bassu

Diego Ortiz (c. 1510–c. 1570) Recercada (arr. V. Ghielmi) Anonymous (16th c.) Uppon la mi re Virginem mire pulchritudinis (Buxheimer Orgelbuch, 1450–1470) Divina Consoladora (Sardinian tradition, arr. V. Ghielmi) La passion de Jèsus Crist (Gascoigne tradition arr. V. Ghielmi) Stabat Mater (Sardinian tradition) Josquin des Prez (c. 1450–1521) Stabat Mater

***

Gotzos de su nefressariu (Sardinian tradition) Santino Garsi da Parma (1542–1604) La Mutia La ne mente per la gola Corrente Orazio Bassani da Parma (1550–1615) ‘Vergine bella che di sol vestita’ alla bastarda

TIME 120'

Arvo Pärt (*1935) Stabat Mater for three solo voices and three viols

PROGRAMME NOTE

Stabat Mater dolorosa, the medieval text depicting the pain of the Mother weeping at the foot of the cross over the death of the Son of God, has enjoyed many musical settings both among professional composers and traditional cultures. During today’s concert listeners will go on a fascinating musical journey, the main stations of which will be performances of three versions of the Stabat Mater: a Renaissance version by Josquin des Prez, a contemporary by Arvo Pärt and a Sardinian passed down by word of mouth. The audience will be taken on this journey by Vittorio Ghielmi and his ensemble Il Suonar Parlante, appearing with three soloists and the remarkable vocal quartet from Sardinia – Cuncordu de Orosei.

Bożena Muszkalska

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Il Suonar Parlante will perform Josquin’s and Pärt’s Stabat Mater, interwoven with works from 15th- and 16th-century manuscripts as well as a passion based on Gascony’s oral traditions. A counterpoint to Vittorio Ghielmi’s vocal and instrumental arrangements will be the singing of Cuncordu de Orosei, who represent the unique polyphonic traditions that have survived in archaic form on the island of Sardinia. In Orosei, an area on the Eastern part of the island and home to the members of the Sardinian ensemble, two types of part singing (modi di cantare) survive to this day. They include sacred songs performed by ensembles called cuncordu and secular songs that comprise the repertoire of the so-called tenors (canti a tenori), in 2008 entered into UNESCO’s Representative List of Intangible Cultural Heritage of Humanity. In Sardinia the name ‘tenor’ is used not only to describe a single voice but also with reference to the fourpart ensemble as a whole. The presence of both mentioned Orosei traditions is indicated by the ensemble’s original name of Cuncordu e tenore de Orosei. The ensemble consists of four voices: sa mesu voche (‘half voice’), the highest voice sa voche (voice), singing the main melody, sa cronta (‘contra’) and su bassu (bass). While the performances of sacred songs dominated by parallel movement of voices have an almost natural tone-colour, the canti a tenore performances are characterized by a specific guttural sound generated by the two lower voices intoning a double drone. The Sardinian part singing sacred repertoire, examples of which are featured in tonight’s concert, includes gotzos, in other words, hymns in the Sardinian language dedicated to the Mother of God, saints and souls suffering in purgatory, and songs to Latin texts many of which constitute an important element of sacre rappresentazioni (sacred plays) thematically linked to Christ’s Passion and the Resurrection. The climactic moments of these performances, namely the crucifixion of Christ, His removal from the cross and entombment, fall on specific days of Holy Week with Miserere and Stabat Mater sung at designated moments of the action. In keeping with

tradition their message is passed on by members of a confraternity of which in Orosei there are three: San Animas (of the ‘Souls’), Santa Rughe (of the ‘Holy Cross’) and Su Rosariu (of the ‘Holy Rosary’). In these songs text treatment and voice leading practices are reminiscent of Renaissance compositions in falsobordone style. This coincidence is not random. In Italy the style was propagated as a direct result of decisions taken by the Council of Trent, according to which there was to be a complete unification of liturgy and music as its component part, a premise also applicable to churches in the peripheries. Works considered as exemplary, were those of the Roman school headed by Giovanni Pierluigi da Palestrina. Implementation of the Council’s instructions were assigned to the confraternities and monasteries, whose centuries-old activities on Sardinia are well documented. Libera me, Domine is a traditional song in Latin performed during the morning service for souls suffering purgatory, celebrated on the octave of All Souls’ Day at the Holy Cross Oratory in Orosei. Divina Consoladora on the other hand is sung during the novena to Our Lady of Consolation and is a song of the gotzos genre. Stabat Mater, a traditional part singing song is performed in Orosei during Holy Week as well as Good Friday during the procession following Christ’s crucifixion. Gotzos de su nefressariu is a fixed musical setting of an afternoon mass for the dead suffering purgatory, celebrated on the octave of All Souls’ Day at Orosei’s Holy Cross Oratory. Recercada comes from the Italian word recercare – to study. Diego Oritz exploits it with reference to works contained in Trattado de glosas, a manual on playing the viola da gamba, published in Rome in 1553. Uppon la mi re is an anonymous work often attributed to the English composer and organist, Thomas Preston (?–1563). Virginem mire pulchritudinis, is a composition derived from an organ tablature, arranged by Vittorio Ghielmi for three viols da gamba. Its title comes from a Latin incipit to the texts of a ballad, which in France was sung to the words A disco sondesir. La passion de Jèsus Crist is a traditional song from the Landes region sung in a Gascon dialect. Josquin’s Stabat Mater composed in 1500 is scored in the form of a five-part motet, which Vittorio Ghielmi arranged for two solo voices and instruments. During the Renaissance, the practice of substituting vocal parts with instrumental accompaniment was common, as witnessed in numerous texts and iconographic sources. The cantus firmus of this composition comes from the song Comme femme desconfortée by Gilles Binchois. The works of Santino Garsi da Parma often carry symbolic titles related to important personages at the Court of Parma, with which the composer was affiliated. The work La Mutia is a musical portrait of a noble and generous lady of Arab origin.

The Sardinian part singing sacred repertoire, examples of which are featured in tonight’s concert, includes gotzos, in other words, hymns in the Sardinian language dedicated to the Mother of God, saints and souls suffering in purgatory, and songs to Latin texts many of which constitute an important element of sacre rappresentazioni (sacred plays) thematically linked to Christ’s Passion and the Resurrection.

Orazio Bassani da Parma was a virtuoso of the viola bastarda and a master in the art of diminution, namely the embellishment of music with improvised or written-down ornaments. The prototype for his Vergine bella che di sol vestita was a madrigal by Cipriano de Rore. Arvo Pärt’s Stabat Mater is a work written in the composer’s characteristic tintinnabuli (‘little bells’) style, governed by a contemplative mood of peace and harmony. Here the composer combines early tonal systems with innovatory solutions in his search for new means of musical expression. The work will be performed in a version for three solo voices and three viols, authorised by Arvo Pärt.

Biographies of artists and ensembles are provided in an alphabetical order on pages 170–215. 107

Texts Libera me, Domine

La passion de Jèsus Crist

Libera me, Domine, de morte aeterna in die illa tremenda. Quando coeli movendi sunt et terra, dum veneris iudicare saeculum per ignem. Tremens factus sum ego et timeo, dum discussio venerit atque ventura ira; dum veneris iudicare saeculum per ignem. Dies illa, dies irae, calamitatis et miseriae, dies magna, et amara valde. Requiem eternam dona eis, Domine, et lux perpetua luceat eis. Libera me, Domine, de morte aeterna in die illa tremenda. Quando coeli movendi sunt et terra, dum veneris iudicare saeculum per ignem.

I a la passion de Jèsus Crist Be’n es bera e dolenta. Eth n’a marchat set ans pè(i)-nus Per dessus la niu blanca. Eth n’a junat sons cranta jorns Shet de prener assistança. Vos veiratz la mia sang colar Tot de long de ma cama.. Vos veiratz lo pijon volar Per dessus la humada Vos que querd(e)ratz que sii un pijon Be’n s(e)ra la mia prauba amna.

Recercada

Stabat Mater dolorosa iuxta crucem lacrimosa, dum pendebat Filius.

Sancta Maria, ora pro nobis.

Divina Consoladora Divina Consoladora de sos aflitos mortales dainos remediu in sos males de su Remediu Segnora, Aurora risplendente de soveranos candores chi dissipas sos errores, de su peccatu insolente; faghe totu custa zente de grassias mereschidora. Dainos remediu in sos males de su Remediu Segnora. Remediu totus petimus remediu ti dimandamus, pro su remediu giamamus, a su remediu venimus, pro chi tzertamente ischimus essere de remediu aurora. Dainos remediu in sos males de su Remediu Segnora.

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Stabat Mater

Cuius animam gementem, contristatam et dolentem, pertransivit gladius. O quam tristis et afflicta fuit illa benedicta Mater Unigeniti. Quae moerebat et dolebat, Pia Mater cum videbat Nati poenas incliti. Quis est homo qui non fleret, Matrem Christi si videret in tanto supplicio? Quis non posset contristari, Christi Matrem contemplari dolentem cum Filio? Pro peccatis suae gentis vidit Iesum in tormentis et flagellis subditum.

Eia Mater, fons amoris, me sentire vim doloris fac, ut tecum lugeam. Fac ut ardeat cor meum in amando Christum Deum, ut sibi complaceam. Sancta Mater, istud agas, crucifixi fige plagas cordi meo valide. Tui nati vulnerati, tam dignati pro me pati, poenas mecum divide. Fac me vere tecum flere, crucifixo condolere, donec ego vixero. Iuxta crucem tecum stare, et me tibi sociare in planctu desidero. Virgo virginum praeclara, mihi iam non sis amara: fac me tecum plangere.

Gotzos de su nefressariu Artissimu criadore, de animas s’ajutoriu. Misericordia Segnore pro sas de su Prugatoriu. Miradelas chin clementzia, sas chi brujan in sa vramma, chin plenaria indulentzia, a fizos, babbos e mamas, Cristos chi tantu los amas, dàilis prontu s’ajutoriu. Misericordia Segnore Pro sas de su Prugatoriu. Frades chi obligados semus, a sa Santa corfarìa, pro sas animas preghemus, a Deus e a Maria, cramandhe chin voche pia, in custu Santu oratoriu. Misericordia Segnore, pro sas de su Prugatoriu.

Fac ut portem Christi mortem, passionis fac consortem, et plagas recolere. Fac me plagis vulnerari, fac me cruce inebriari, et cruore Filii. Flammis ne urar succensus per te, Virgo, sim defensus in die iudicii. Christe, cum sit hinc exire, da per matrem me venire ad palmam victoriae. Quando corpus morietur, fac ut animae donetur Paradisi gloria. Amen.

Vidit suum dulcem natum moriendo desolatum, dum emisit spiritum.

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500 Years of Reformation

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13.09.2017, Wednesday, 8:00 pm

Wrocław, Basilica Minor of St Elizabeth (bazylika mniejsza pw. św. Elżbiety), ul. św. Elżbiety 1/2 PERFORMERS:

ProgramME:

Daniel Reuss – conductor Vocalconsort Berlin

Josquin des Prez (c. 1450–1521) Credo from Missa Gaudeamus Johann Walter (1496–1570) Wir glauben all’ an einen Gott Hans Leo Hassler (1564–1612) Wir glauben all’ an einen Gott Josquin des Prez Victimae paschali laudes Johann Walter Christ lag in Todesbanden Johann Hermann Schein (1586–1630) Christ lag in Todesbanden Gregor Lange (c. 1540–1587) Velum templi Josquin des Prez Agnus Dei from Missa Gaudeamus Johann Walter Verleih uns Frieden Samuel Besler (1574–1625) Patris sapientia Heinrich Schütz (1585–1672) Verleih uns Frieden / Gib unsern Fürsten Josquin des Prez Miserere Gregor Lange Benedicat tibi Johann Hermann Schein Erbarm’ dich mein, o Herre Gott Samuel Besler Ich bitt o Herr Johann Walter Erbarm’ dich mein, o Herre Gott

TIME 80'

Programme note

When in 1517 Martin Luther nailed his theses to Wittenberg’s All Saints’ Church, thus initiating his parting from the Catholic Church, no one could have foreseen what magnificent rewards would be yielded by the reformer’s love of music and his seemingly modest demand for the congregation to sing chorales in its national language. During the 1520s a series of songbooks providing suitable repertoire were published. Many of today’s best known chorales were composed by Luther himself and his close collaborator – Johann Walter. The next 250 years (and more) would show the enormous potential of these verse songs (generally in duple metre, starting with an upbeat and repeating the opening section), initially conceived for single voice, then harmonised for four voices and still later exploited as the cantus firmus in large-scale cantatas and oratorios or arranged as chorale preludes and chorale variations for organ. The Protestant chorale’s material is particularly amenable to settings in varied musical styles, while the rhythmically irregular and modal Gregorian chant of the Catholic Church has no such advantage, hence was exploited as a stretched cantus firmus and not until the 19th and 20th century were composers able to convey its true nature.

Barbara Świderska

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The fact that the German reformer was a musical man (when in school he received board and lodging from an elderly woman who liked his voice, he also played the flute and lute) was to determine the course of the illustrious art of Bach, Buxtehude, Schütz, and many others. In contrast to Calvin, who treated music as a sinful temptation and decreed that only monodic psalms with no instrumental accompaniment be sung in churches, Luther regarded music as ‘a precious gift from God’ and treated it on par with theology. Music was introduced to the school curriculum, albeit not in the form conceived by the medieval quadrivium as a preparation for the study of theology and a tool for research (together with geometry, astronomy and arithmetic) but rather the emphasis was on its practical usage, thus producing qualified performers and recipients of sacred music that in time became equivalent to ‘a musical sermon’ no less significant than its spoken counterpart. Liturgical reform did not mean a complete break with the past. A fair amount of chorales were based on earlier Latin plainchant, as for example the paschal sequence Victimae paschali laudes, which well before the Reformation came to be the German song Christ ist erstanden, which in turn was used by Martin Luther as the basis of his composition Christ lag in

Todesbanden (in Poland translated as the beautiful song Chrystus zmartwychstan jest – Christ is risen). The chorale Wir glauben all’ an einen Gott is Luther’s paraphrase of the Latin Credo, while Verleih uns Frieden is a translation of Da pacem Domine with a melody also based on a Latin chant, and the chorale Erbarm’ dich mein, o Herre Gott is a paraphrase of Psalm 51, Miserere. Latin a cappella polyphony in the form of motets continued to comprise an important part of religious services while libraries of German cantors were filled with compositions by FrancoFlemish and Italian composers. According to Luther, the greatest composer was Josquin about whom he allegedly said: ‘He is the master of notes. They must do as he wills; as for other composers, they must do as the notes will.’ Josquin des Prez – composer, singer and priest born on the Franco-Flemish borders – enjoyed great renown during his lifetime. He worked mainly in Italy (where he was in the service of the Sforza family in Milan, the Borgia pope Alexander VI in Rome and the d’Este family in Ferrara), only returning to France during the last two decades of his life. His Missa Gaudeamus is based on the Gregorian introit for the feast of the Assumption – which constitutes the work’s point of reference, often indiscernible to the listener, considering that its melodic motifs (not only its opening) provide the thematic stimulus for the imitative openings of successive movements, which also appear in the tenor’s long-note cantus firmus. In the Credo, divided into contrasting sections in terms of voice numbers, from the outset we hear the chorale melody as the cantus firmus in the tenor (Patrem); the three-part Et incarnatus is a section in imitation, the four-part Et in spiritum has a further section of the melody in extended rhythmic values in its tenor cantus firmus, further sections of the chorale are exploited in the final section Et unam sanctam. In the Agnus Dei we have a return of the chorale’s melodic motif, which becomes a subject for imitation in I Agnus and an ostinato repetition in the tenor and soprano in III Agnus. The paschal sequence Victimae paschali laudes Josquin sets to a plainchant, which appears – sometimes in somewhat altered form – as a cantus firmus migrans (i.e. wandering from voice to voice), albeit heard predominantly in the tenor. Miserere, namely a setting of Psalm 51, is conceived in the form of a motet which poignant expression is generated by repeated notes on the opening words, that reappear like an epistrophe after each of the verses. Such a structure not only provides a powerful element of expression, but also – as discovered by researchers of the composer’s works – corroborates the existence of a connection between the work and the execution of Savonarola. The composer’s employer in Ferrara, Duke Ercole d’Este, was strongly influenced by the teachings of his one-time subject, arrested and sentenced in Florence in 1498, and it was probably the Duke who commissioned

Josquin to compose a work modelled on Savonarola’s meditations on a psalm written in prison (Infelix ego) in which the word ‘Miserere’ is repeatedly featured. Luther’s close collaborator, Johann Walter, was a singer in the chapel of the Elector of Saxony and editor of the first Protestant hymnal in 1524, and towards the end of his life director of Dresden’s Hofkapelle. Apart from chorales, he also composed large-scale sacred works (passions, motets, numerous Magnificat settings). In his four-part chorale settings the melody is placed in the tenor rather than the highest voice, in keeping with the German tradition of Tenorlied.

In contrast to Calvin, who treated music as a sinful temptation and decreed that only monodic psalms with no instrumental accompaniment be sung in churches, Luther regarded music as ‘a precious gift from God’ and treated it on par with theology. Music was introduced to the school curriculum, albeit not in the form conceived by the medieval quadrivium as a preparation for the study of theology and a tool for research (together with geometry, astronomy and arithmetic) but rather the emphasis was on its practical usage, thus producing qualified performers and recipients of sacred music that in time became equivalent to ‘a musical sermon’ no less significant than its spoken counterpart. 113

Texts Liturgical reform did not mean a complete break with the past. A fair amount of chorales were based on earlier Latin plainchant, as for example the paschal sequence Victimae paschali laudes, which well before the Reformation came to be the German song Christ ist erstanden, which in turn was used by Martin Luther as the basis of his composition Christ lag in Todesbanden.

The next generation of Protestant composers included Gregor Lange, author of Latin motets and threepart German songs, cantor at the university in Frankfurt am Oder and later a musician in Wrocław. The last years of his somewhat short life were spent in a Wrocław hospital (he was paralysed) thanks to the generous support of the town council to whom he dedicated Volume II of his Cantiones sacrae published in 1584 in Nuremberg. The collection’s setting of Psalm 127

Nisi Dominus (for two four-part choirs) and six-part Velum templi to text of a Good Friday responsory are motets based on throughimitation, i.e. without a cantus firmus, where each new section of text opens with an imitation. In the second work, which describes the shaking of the earth and finishes with the promise given to the thief ‘Today you will be with me in paradise,’ the words about the temple veil being torn are illustrated with minor rhythmic values. Born in Nuremberg, Hans Leo Hassler studied in Venice with Andrea Gabrieli. A highly valued organist, he left behind an enormous contribution of secular, sacred and instrumental compositions. His four-part harmonisation of the chorale Wir glauben all’ an einen Gott with the melody in the highest voice, comes from the collection Kirchengesäng: Psalmen und geistliche Lieder, auff die gemeinen Melodeyen published in Nuremberg in 1608. Samuel Besler was another Silesian – born in Brzeg, he was a cantor at St Bernardine Church in Wrocław and one of the leading figures of the city’s musical life. Numerous prints of his passion music, carols and incidental music survive to this day in Wrocław. Heinrich Schütz, the greatest German composer of the early Baroque, was active in Dresden and twice travelled to Venice in order to study. He first went there aged 24 and for four years studied with Giovanni Gabrieli. More than a decade later, when aged 43, he decided to refresh his knowledge by studying with Monteverdi. His music combines resplendent Venetian vocal polyphony with early baroque musica poetica. Johann Hermann Schein was one of Bach’s predecessors as cantor in Leipzig. His prolific contribution includes settings of chorales of both the ‘hymnal’ genre as well as those in keeping with the new fashion – intended for voice and continuo with an independent bass line.

Biographies of artists and ensembles are provided in an alphabetical order on pages 170–215.

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Josquin des Prez Credo from Missa Gaudeamus Credo in unum Deum, Patrem Oomnipotentem, factorem coeli et terrae, visibilium omnium et invisibilium. Et in unum Dominum, Iesum Christum, Filium Dei unigenitum, et ex Patre natum ante omnia saecula. Deum de Deo, lumen de lumine, Deum verum de Deo vero, Genitum, non factum, consubstantialem Patri, per quem omnia facta sunt. Qui propter nos homines, et propter nostram salutem descendit de coelis. Et incarnatus est de Spiritu Sancto ex Maria Virgine: et homo factus est. Crucifixus etiam pro nobis; sub Pontio Pilato passus, et sepultus est. Et resurrexit tertia die, secundum Scripturas. Et ascendit in coelum: sedet ad dexteram Patris. Et iterum venturus est cum gloria iudicare vivos et mortuos. cuius regni non erit finis. Et in Spiritum Sanctum, Dominum et vivificantem: qui ex Patre Filioque procedit. Qui cum Patre, et Filio simul adoratur et conglorificatur; qui locutus est per Prophetas. Et unam sanctam, catholicam et apostolicam Ecclesiam. Confiteor unum baptisma in remissionem peccatorum. Et exspecto resurrectionem mortuorum. Et vitam venturi saeculi. Amen.

Johann Walter Wir glauben all’ an einen Gott Hans Leo Hassler Wir glauben all’ an einen Gott Wir glauben all’ an einen Gott, Schöpfer Himmels und der Erden, Der sich zum Vater geben hat, Dass wir seine Kinder werden. Er will uns allzeit ernähren, Leib und Seel’ auch wohl bewahren; Allem Unfall will er wehren, Kein Leid soll uns widerfahren. Er sorget für uns, hüt’ und wacht; Es steht alles in seiner Macht. Wir glauben auch an Jesum Christ, Seinen Sohn und unsern Herren, Der ewig bei dem Vater ist, Gleicher Gott von Macht und Ehren, Von Maria, der Jungfrauen, Ist ein wahrer Mensch geboren Durch den Heil’gen Geist im Glauben; Für uns, die wir war’n verloren, Am Kreuz gestorben und vom Tod Wieder auferstanden durch Gott. Wir glauben an den Heil’gen Geist, Gott mit Vater und dem Sohne, Der aller Schwachen Tröster heißt Und mit Gaben zieret schöne, Die ganz’ Christenheit auf Erden Hält in einem Sinn gar eben; Hier all’ Sünd’ vergeben werden, Das Fleisch soll auch wieder leben. Nach diesem Elend ist bereit’ Uns ein Leben in Ewigkeit. Martin Luther, 1524

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Texts Josquin des Prez Victimae paschali laudes

Gregor Lange Velum templi

Victimae paschali laudes immolent Christiani.

Velum templi scissum est, et omnis terra tremuit, latro de cruce clamabat, dicens: Memento mei, Domine, dum veneris in regnum tuum. Amen dico tibi, hodie mecum eris in paradiso.

Agnus redemit oves: Christus innocens Patri reconciliavit peccatores. Mors et vita duello conflixere mirando: dux vitae mortuus, regnat vivus. Dic nobis Maria, quid vidisti in via? Sepulcrum Christi viventis, et gloriam vidi resurgentis: Angelicos testes, sudarium, et vestes. Surrexit Christus spes mea: praecedet suos in Galilaeam. Scimus Christum surrexisse a mortuis vere: tu nobis, victor Rex, miserere. Amen. Alleluja.

Responsory for Good Friday

Josquin des Prez Agnus Dei from Missa Gaudeamus Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, dona nobis pacem.

Johann Walter Verleih uns Frieden Verleih uns Frieden gnädiglich, Herr Gott, zu unsern Zeiten. Es ist doch ja kein andrer nicht, Der für uns könnte streiten, Denn du, unser Gott, alleine. Martin Luther, 1529

Sequence for Easter

Johann Walter Christ lag in Todesbanden Johann Hermann Schein Christ lag in Todesbanden Christ lag in Todesbanden Für unsre Sünd’ gegeben, Er ist wieder erstanden Und hat uns bracht das Leben. Des wir sollen fröhlich sein, Gott loben und ihm dankbar sein Und singen: halleluja, Halleluja!

Samuel Besler Patris sapientia Patris sapientia veritas divina, Christus homo captus est hora matutina, A suis discipulis notis derelictus, Judaeis est venditus, traditus, afflictus. Hymnus

Heinrich Schütz Verleih uns Frieden / Gib unsern Fürsten Verleih uns Frieden gnädiglich, Herr Gott, zu unsern Zeiten. Es ist doch ja kein andrer nicht, Der für uns könnte streiten, Denn du, unser Gott, alleine. Gib unsern Fürsten und aller Obrigkeit Fried und gut Regiment, Daß wir unter ihnen Ein geruhig und stilles Leben führen mögen In aller Gottseligkeit und Ehrbarkeit. Amen. 1st verse Martin Luther, 1531; 2nd verse after 1 Tim 2:2 Johann Walter, 1566

Josquin des Prez Miserere Miserere mei, Deus, secundum magnam misericordiam tuam; et secundum multitudinem miserationum tuarum, dele iniquitatem meam. Amplius lava me ab iniquitate mea, et a peccato meo munda me. Quoniam iniquitatem meam ego cognosco, et peccatum meum contra me est semper. Tibi soli peccavi, et malum coram te feci; ut iustificeris in sermonibus tuis, et vincas cum iudicaris. Ecce enim in iniquitatibus conceptus sum, et in peccatis concepit me mater mea. Ecce enim veritatem dilexisti; incerta et occulta sapientiae tuae manifestasti mihi. Asperges me, Domine, hyssopo, et mundabor; lavabis me, et super nivem dealbabor.

Gregor Lange Benedicat tibi Benedicat tibi Dominus et custodiat te, Ostendat Dominus faciem suam tibi et misereatur tui. Convertat Dominus vultum suum ad te et det tibi pacem. Num 6:24-26

Johann Hermann Schein Erbarm’ dich mein, o Herre Gott Johann Walter Erbarm’ dich mein, o Herre Gott Erbarm’ dich mein, o Herre Gott Nach deiner gross’n Barmherzigkeit, Wasch’ ab, mach’ rein mein’ Missethat, Ich kenn’ mein’ Sünd’ und ist mir leid. Allein ich dir gesündigt hab, Das ist wider mich stetiglich; Das Bös’ vor dir nicht mag bestah’n, Du bleibst gerecht, ob man urtheile dich. Erhart Hegenwalt, after Ps 51

Samuel Besler Ich bitt o Herr Ich bitt o Herr, aus Herzensgrund, Du wollst nicht von mir nehmen Dein heiligs Wort aus meinem Mund, So wird mich nicht beschämen Mein Sünd und Schuld, denn in dein Huld, Setz ich all mein Vertrauen; Wer sich nur fest darauf verläßt, Der wird den Tod nicht schauen. Lazarus Spengler from Durch Adams Fall (verse 8)

Ps 51 (excerpt)

Martin Luther, 1524

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Young Masters

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14.09.2017, Thursday, 7:30 pm

Bielawa, Church of the Assumption of the Blessed Virgin Mary (kościół pw. Wniebowzięcia NMP), pl. Wyszyńskiego 1 PERFORMERS:

ProgramME:

Aleksandra Rupocińska – artistic direction, harpsichord Soloists – Participants of the 42nd Oratorio and Cantata Music Interpretation Course

Alessandro Scarlatti (1660–1725) San Casimiro, re di Polonia

Festival Orchestra: Radosław Kamieniarz, Noemi Kuśnierz, Magdalena Borkowska – 1st violins Kornelia Korecka-Karbownik, Anna Koszel – 2nd violins Michał Mazur – viola Radosław Dembiński, Elżbieta Kaluchiewicz – violas da gamba Bartosz Kokosza, Szczepan Dembiński, Magdalena Wypych – cellos Tomasz Iwanek – double bass Michele Cinquina – theorbo Karolina Przybylska – harpsichord

Sonet 23: Spójrz, co tu ciche serce wypisało... (org. W. Shakespeare O! learn to read what silent love hath writ…) Sonet 91: Drwię, mając ciebie, z całej ludzkiej pychy... (org. W. Shakespeare Having thee, of all men's pride I boast…) Sonet 56: Słodka miłości... (org. W. Shakespeare Sweet love…) Sonet 97: Jakże podobna zimie jest rozłąka... (org. W. Shakespeare How like a winter hath my absence been…)

TIME 80'

Tadeusz Baird (1928–1981) Cztery sonety miłosne (Four Love Sonnets)

Co-Organiser: The Karol Lipiński Academy of Music in Wrocław

Programme note

St Casimir (1458–1484) was the son of Casimir IV Jagiellon, King of Poland and the Grand Duke of Lithuania. He died young, remembered as a prince with great potential: an educated, intelligent, conscientious heir to the throne (despite his ailing health), pious and an ardent believer in Mary. Casimir’s canonization was initiated by his brother King Sigismund I the Old. Due to the chaos, which reigned in Rome during the plague, the Bull of Canonization issued in 1521 was lost. A further request for canonisation was put forward by King Sigismund III Vasa – a descendent of the Jagiellonian dynasty on the distaff side. In 1602 the Apostolic See issued the appropriate documentation.

Anna Ryszka-Komarnicka

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Sigismund’s son, Prince Władysław, when visiting the Apennine Peninsula during his Grand Tour (1624–25) spared no expense in propagating the cult of St Casimir. In 17th-century Italy interest in Casimir as Patron Saint of Poland and Lithuania went in tandem with eagerly anticipated news concerning the course of the Republic’s erstwhile wars waged against the enemies of Catholicism – Orthodox Russia, Protestant Sweden and Islamic Turkey. As a result, the saint and his life – depicted in a hagio graphic legend enhanced by his adamant decision to remain celibate thus putting an end to any marriage plans, and proposals to save his life (doctors of the day allegedly suggested sex with a young girl as medication for his tuberculosis) – were particularly well known in Rome as well as in Naples and Sicily. Several biographies, panegyric poetry and sermons dedicated to him as well as a theatrical drama and several oratorios appeared in print. San Casimiro, re di Polonia by Alessandro Scarlatti is one of several Italian oratorios concerning St Casimir to which both music and text have survived. Two manuscript scores, almost identical in content, are housed in the National Libraries of Madrid and Vienna. We know today of two erstwhile performances of the oratorio. One took place on the occasion of the feast of Purification of the Blessed Virgin Mary on 2 February 1706 in Florence at the Confraternity and Ospedale of Jesus, Mary, St Joseph and the Holy Trinity of the San Marco Fraternity (the print of the libretto is marked 1705, however in Tuscany the start of the year fell at the beginning of March). At the time the proponent of the centre’s continuing presence of Scarlatti’s operatic and oratorio output was Ferdinando de’ Medici, patron of the confraternity. Moreover, Florence was the proud owner of the saint’s relics brought to the city in the 1670s by Grand Duke Cosimo III. The second performance took place in 1713 at the court of Emperor Charles VI in Vienna. Here Scarlatti’s music was well known and admired and relationships between the composer and

this centre were revived when the Kingdom of Naples, where from 1683 Scarlatti had been court kapellmeister, changed hands from Spanish to Austrian (1707) during the Spanish War of Succession. The fact that the oratorio’s performance was given in the Austrian capital in 1713 on the 40th anniversary of the Battle of Vienna may have had a hidden context. It may well be that the commemoration of a Polish saint by the Habsburgs was a gesture of recognition towards the Republic whose armies under King John III Sobieski had played such a crucial part in the struggle. When musicologists began to take an interest in the oratorio San Casimiro, re di Polonia they immediately questioned whether it was commissioned by the Florentine confraternity, considering that no other of Scarlatti’s works in the genre (of the many performed in Florence) was written by the composer for this city. Researchers tend to indicate Rome as the centre where the commission for an oratorio in praise of the Polish saint may have originated. It was in Rome that Scarlatti had spent his youth acquiring his compositional skills and in which city he had patrons with whom he kept in touch despite his travels to Naples – among them the cardinals Pietro Ottoboni and Benedetto Pamphili, Rome’s lay aristocrats and ambassadors ad Sedem Sanctam. The Madrid score almost certainly comes from there, probably copied at the request of some Spanish aristocrat resident in Rome or Naples. At the beginning of the 18th century interest in the services of Scarlatti was also shown by the widowed Queen Marie Casimire Sobieski (Marysieńka), resident in the Eternal City between 1699–1714. Consequently, despite a lack of any archival documentation a hypothesis was widely spread that Scarlatti’s San Casimiro was commissioned by Marysieńka. Another plausible explanation could be – that the work was commissioned by a Roman patron eager to honour the widowed Queen. The discovery of some unequivocal written evidence confirming a connection (be it direct or indirect) between the work and Marie Casimire, would indeed be a tremendous coup. Identifying the author of the libretto would also be helpful. San Casimiro represents a specific genre of hagiographic oratorio where the saint accompanied by allegoric characters, illustrates the inner battle between good and evil in the soul of man. Here Earthly Love (Amor Profano) wrestles with Chastity (Castità), while Regal Splendour (Regio Fasto) grapples with Humility (Umiltà). The characters are musically portrayed to perfection through contrast on various levels. Wicked suggestions are represented by sonorous sopranos, whose arias are generally maintained in fast tempi and major keys and distinguished by pronounced rhythms musically symbolising the persistence with which evil attacks man; the only exception being the pastoral, siciliana duet Al serto le rose between Earthly Love and Regal Splendour. The latter concludes the first part of the oratorio in an expression of sweet intoxication which

accompanies their vision of victory over Casimir’s virtues. Chastity and Humility are sung by static and rather opaque-sounding altos whose arias are distinguished by greater melodiousness and calmer progression, which Scarlatti achieves by applying measured and slow tempi, less strident rhythms and minor keys. The saintly protagonist sung with dignity – as recommended by canon Arcangelo Spagna in his 1706 treatise on the oratorio – by the tenor, appears only in the second part. At this juncture only Regal Splendour and Humility are left on the battlefield to vie for the hero’s soul; here Scarlatti’s oratorio differs from earlier Italian works dedicated to St Casimir, which concentrate on his battle with chastity. The battle ahead for the protagonist is far more difficult – Regio Fasto in his aria Che ti giova

In 17th-century Italy interest in Casimir as Patron Saint of Poland and Lithuania went in tandem with eagerly anticipated news concerning the course of the Republic’s erstwhile wars waged against the enemies of Catholicism – Orthodox Russia, Protestant Sweden and Islamic Turkey. As a result, the saint and his life – depicted in a hagiographic legend enhanced by his adamant decision to remain celibate thus putting an end to any marriage plans, and proposals to save his life (doctors of the day allegedly suggested sex with a young girl as medication for his tuberculosis) – were particularly well known in Rome as well as in Naples and Sicily. 121

Alessandro Scarlatti San Casimiro, re di Polonia o Prence invitto and in his duet Mira pur gli antichi allori with Umiltà puts forward some rational arguments: is the young man prepared to negate the endeavours of his predecessors who had worked tirelessly for the good of the nation by relinquishing power in the name of humility? Will he be a coward and wastrel unworthy of their memory? Humility however points out that all that remains of proud kings and their victories is a handful of ashes. Only Humility guarantees participation in eternal heavenly glory. In the oratorio, the emphasis placed on overcoming Polish-Sarmatian royal pride in Casimir’s heart is reminiscent of the image Marie Casimire tried to build following her arrival in Rome. Admittedly it was the Republic which had turned its back on the Sobieskis (following the death of John III none of his sons was elected as King), however the widowed Queen – like her famous predecessor resident in the Eternal City, Christina Queen of Sweden – wanted to be regarded as someone who intentionally abandoned regal dignity to dedicate her life to the will of God. Her son Alexander, who during the Great Northern War was offered the Polish crown (1704), also abandoned her – paradoxically for the same reasons Regal Splendour accused Casimir of, i.e. love of a comfortable life, in Alexander’s case not particularly virtuous and dedicated to fulfilling his artistic passions. Justification of this act was later found in another work sponsored by Marie Casimire and her son – the opera Tolomeo et Alessandro overo la corona disprezzata staged in Rome in 1711 to music by Alessandro Scarlatti’s son – Domenico. *** Four Love Sonnets by Tadeusz Baird were conceived as some of the movements of stage music for William Shakespeare’s Romeo & Juliet. In 1956 the composer arranged them for baritone and orchestra, while in 1969 he further rescored the accompaniment for strings and harpsichord. The delicate, refined music, archaized in character, is a fine example of Baird’s lyricism – a characteristic feature of his output.

Biographies of artists and ensembles are provided in an alphabetical order on pages 170–215. 122

Prima Parte Amor Profano Aria Miei spirti guerieri, L’ardire destate: E i dardi più fieri, Sull’arco apprestate. Recitativo – Arioso Con Casimiro il forte, Che superbo disprezza L’armi della bellezza, Io vuò provarmi, e la Sarmatia tutta Fia delle Glorie mie Teatro, e Campo. Di questa face al Lampo Vedrò se cederan suoi vanti alteri. Aria L’ardire, l’ardire destate, Miei spirti guerieri. Recitativo Mà nò, deh cessi omai Di marzial fragore Il folgorante suono Non si sgomenti nò, che con la fuga Con cui si vince amor, forz’ è che tenti Tutti spuntar gli strali miei pungenti. Di dolci voci al canto, Di molli Cetre al suono Trà l’ozio, e tra'l riposo S’incontri il Valoroso; Cosi provi il valor del Nume alato, Vilipeso, e sprezzato. Aria Se non alletto, Io non so vincere Rigido cor: Chi disprezza il mio diletto, Sa sprezzar l’armi d’amor.

Regio Fasto Recitativo Folle garzon che tenti? Di Casimiro il petto Non cede à vile affetto. Io, che son de Regnanti Compagno in ogn’ impresa, il Regio Fasto Di Sarmatia lo scettro Saprò regger superbo, e questa destra Ben trionfar saprà, d’un’ imbelle, imbelle umiltà. Aria Mal sicuro è un regio Soglio, Se nol regge Fasto altero: Sol se vanta un alto orgoglio Formidabile è un Impero. Amor Profano Recitativo Ascolta Amico, ascolta: Ben ti rammenti, quante volte, e quante Inchinossi ad Amore, il Regio Fasto. Pure fido Compagno, Ti voglio all’alta impresa: Che resister non può, d’un’ Rege il core, Trà gl’agi, è i fasti al saettar d’amore. Regio Fasto Recitativo All’armi, all’armi dunque, Amor Profano Recitativo E se il trionfo è certo L’inimico si vinca in campo aperto. Regio Fasto Aria È viltade, e non è gloria, Trionfar con cieca frode: E se nome ha, di vittoria, Non ha lode. Castità Recitativo Frenate omai l’ardire: Di Casimiro al fianco La Castitade accorre Potrò ben’ io d’un vil Fanciullo audace Spuntar gli strali, et ammorzar la face.

Aria Franto hai l’arco Arcier alato, La tua face è senza ardor: Casimiro disarmato Fugge, e abbatte il tuo valor. Altra face, et altro strale Del suo petto impiaga il cor: Piaga sì, ma non mortale, Cerca, e brama il santo ardor. Umiltà Recitativo – Arioso Ed io, che mille volte Ti fui compagna a i perigliosi assalti, Coraggiosa Umiltade T’assisterò fedele. Io del Fasto superbo, Unita al Prence invitto Abbatterò l’orgoglio, Che Umiltà contro il Fasto è un saldo scoglio. Aria A che fonda uman pensiero Su vasto Impero La fua speranza: Se qual nebbia esposta al vento Si dilegna in un momento Ogni possanza. Cerca in darno uman desio, Fuor che in Dio, Trovar sua pace: Che da lui, che è il sommo Bene Se va lungi la sua speme, È ognor fallace. Regio Fasto, Amor Profano Recitativo E tanto ardire imbelli? Contro Amore? Contro me? Castità, Umiltà Recitativo Or vedrete qual sia il mio valore. Regio Fasto Recitativo A che si tarda all’armi.

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Text Regio Fasto, Amor Profano Recitativo Del Sarmato Regnante A questo braccio forte De miei strali al rigore. Vedrò se caderanno i vanti alteri. Amor Profano Aria L’ardire destate Miei spiriti guerieri. Regio Fasto Recitativo La vittoria è sicura, che ogni core forza Non ha contro lo stral d’Amore. Regio Fasto, Amor Profano Aria Al serto le rose Unite agl’allori, O come più belle M’appresta il valor: E in cielo le stelle Coi loro fulgori Non sparser vezzose Più lieto splendor.

Seconda Parte S. Casimiro Aria Alma mia, che fai, che pensi? Se gl’ostri, se gl’ori Son finti splendori. Tu saggia non dar fede, agl’occhi, à i sensi. Recitativo Quanto, quanto s’inganna Uman pensier, cui falsa luce ingombra Non s’accorge infelice, Che non fu mai vero piacer nel Mondo. Crescan gl’agi, e le pompe. Le Corone, e i Tesori. Son per tormenti, oh Dio! Se più cresce co i fasti uman desio.

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Aria In te solo o sommo Nume Il desio s’aggiri, e posi: E godendo eterno lume Goda eterni i miei riposi. Di te sol fete ha quest’alma Puro, dolce immenso mar: Si in te trova, e porto, e calma Non paventa naufragar. Regio Fasto Recitativo Dunque vile, e negletto Incognito à mortali, et a se stesso, Vivrai tu, che nascesti agl’Ostri, a i Troni? O d’un alma real, d’un nobil core, Ignominia, e rossore? Aria Che ti giova o Prence invitto, Forza, ardir, senno, e valor? Se poi nel petto Chiudi negletto Il reggio cor. Torna in te stesso le glorie, che à superar d’ ogn’altro eroe. Le glorie ti prepara Il tuo brando alte vittorie. A che serve o Duce altero, Grazia, e brio, spirto, e beltà? Se in vile calma La tua grand’alma Codara stà. Torna in te stesso le glorie… Umiltà Recitativo Che glorie, che trofei, Nubbi che’l vento sgombra Ombra caduche, e frali, Che il Mondo addita a i miseri mortali: Felice te, se ti sarà concesso con armi di virtù vincer te stesso.

S. Casimiro Recitativo Si, si, ch’altro non curo, E ben folle è il consiglio Portar le stragi altrove, E mille aver fieri nemici in seno, I sensi, che van sempre all’alma accanto Minaccion morte, e ottengon spesso il vanto. Regio Fasto Aria De sensi all’incanto Se cede il tuo core Avrai solo il vanto D’un’ alto valore. S. Casimiro Aria De sensi alla guerra Combate quest’ alma E spera qui in terra Si nobile palma. Regio Fasto Recitativo Casimirio t’inganni: Se quella che lontana Dall’armi, e da trionfi, Dagli agi, e dalle pompe Chiami santa Umiltade, A chi ben dritto mira Sembra stolta viltade. Umiltà Recitativo E del tuo cor la salda, e forte rocca, Del volgo insano errante, All’aura lieve, e vana Vacillerà incostante?

Regio Fasto Recitativo Pur da maggiori tuoi, da tanti Regi Eroi Or lontano n’anderai? Casimiro che fai. Regio Fasto, Umiltà Aria Mira pur gl’antichi allori, L’alte imprese in tante Soglie. Pure scettri, e fasti, e onori Poca terra in seno accoglie. S. Casimiro Recitativo Fra contrari pensieri Ancor l’alma contrasta. Tu Sovrano Signor, cui già più cara Fu mia salute, o Dio col proprio sangue, Tu mie tenebre folte apri, e rischiara, E tu avvalorá la virtù, che langue, Fa che discerna omai La mente d’ogni error libera, e sgombra, Che quanto il Mondo apprezza, e fumo, ed ombra. Aria Già, già di fede, Amor speranza, Tutta accesa é l’alma mia. Or disprezza questo core Fral diletto Sdegna il fasto, e i sensi oblia. Regio Fasto Aria e Coro finale L’Umiltà di Casimiro Già trionfa dell’Inferno, E di gloria in sull’Empiro Se gl’intreccia un serto eterno.

Aria Al Mondo vano, Nò, nò, non prestar fede: Ei sempre affanna, E’l core inganna Di chi li crede. Il cieco Mondo Fuggi ad ognora, Questo crudele Sempre è infedele A chi l’adora.

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Tadeusz Baird Cztery sonety miłosne (Four Love Sonnets)

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Sonet 23: Spójrz, co tu ciche serce wypisało...

Sonnet 23: O! learn to read what silent love hath writ…

Sonet 56: Słodka miłości...

Sonnet 56: Sweet love…

Jak lichy aktor, co stojąc na scenie, Zapomniał z trwogi słów do swojej roli, Lub ogarnięte wściekłością stworzenie, Któremu gniew się ruszyć nie pozwoli, Tak ja, nie wierząc, bym umiał wysłowić Nadmiar miłości, straciłem już wiarę I tonę w uczuć wezbranych powodzi Pod namiętności zbyt wielkim ciężarem. O, niech więc za mnie mówią księgi moje, Milczący serca mojego posłowie, Które o miłość błaga i nagrodę, Chociaż słowami tego nie wypowie. Chciej pojąć, co tu ciche serce głosi: Słuchać oczyma to mądrość miłości.

As an unperfect actor on the stage, Who with his fear is put beside his part, Or some fierce thing replete with too much rage, Whose strength's abundance weakens his own heart; So I, for fear of trust, forget to say The perfect ceremony of love's rite, And in mine own love's strength seem to decay, O'ercharg'd with burthen of mine own love's might. O! let my looks be then the eloquence And dumb presagers of my speaking breast, Who plead for love, and look for recompense, More than that tongue that more hath more express'd. O! learn to read what silent love hath writ: To hear with eyes belongs to love's fine wit.

Słodka miłości, wróć, by nie mówiono, Że siły twoje od twych pragnień słabsze, Pragnienia, choć je dzisiaj nakarmiono, Jutro powrócą, tak ostre jak zawsze. Więc wróć! Choć dzisiaj twoje głodne oczy Mrużą się, ciężkie sennym nasyceniem, Jutro spójrz znowu i ducha miłości Nie chciej zabijać zbyt długim znużeniem. Niech odpoczynek będzie oceanem Dzielącym brzegi, na które przybyło Dwoje kochanków młodych, by nad ranem Pobłogosławić wracającą miłość. Lub zwij to zimą, której mroźna szata Po trzykroć każe oczekiwać lata.

Sweet love, renew thy force; be it not said Thy edge should blunter be than appetite, Which but to-day by feeding is allay'd, To-morrow sharpened in his former might: So, love, be thou, although to-day thou fill Thy hungry eyes, even till they wink with fulness, To-morrow see again, and do not kill The spirit of love, with a perpetual dulness. Let this sad interim like the ocean be Which parts the shore, where two contracted new Come daily to the banks, that when they see Return of love, more blest may be the view; Or call it winter, which being full of care, Makes summer's welcome, thrice more wished, more rare.

Sonet 91: Drwię, mając ciebie, z całej ludzkiej pychy...

Sonnet 91: Having thee, of all men's pride I boast…

Sonet 97: Jakże podobna zimie jest rozłąka...

Sonnet 97: How like a winter hath my absence been…

Jedni ród sławią, inni zręczność swoją, Inni swe skarby, inni ciała siłę, Inni strój modny, choć im źle go skroją, Inni sokoły, psy i konie miłe. I każdy jedno ma upodobanie, Które najwięcej radości mu sprawia, Lecz nie chcę z nimi wchodzić w porównanie; Nad wszystko dobre moje lepsze stawiam. Dla mnie twa miłość lepsza niż ród stary, Droższa niż skarby i strojów przepychy, Milsza niż sokół, konie i ogary. Drwię, mając ciebie, z całej ludzkiej pychy. Lecz wynędzniałem od tego zarazem, Drżąc, że odejdziesz, czyniąc mnie nędzarzem.

Some glory in their birth, some in their skill, Some in their wealth, some in their body's force, Some in their garments though new-fangled ill; Some in their hawks and hounds, some in their horse; And every humour hath his adjunct pleasure, Wherein it finds a joy above the rest: But these particulars are not my measure, All these I better in one general best. Thy love is better than high birth to me, Richer than wealth, prouder than garments' costs, Of more delight than hawks and horses be; And having thee, of all men's pride I boast: Wretched in this alone, that thou mayst take All this away, and me most wretched make.

Jakże podobna zimie jest rozłąka Z tobą, radości przelotnego roku! Jakiż chłód czułem, w jakich żyłem mrokach! Jaka grudniowa pustka była wokół! A przecież właśnie przechodziło lato I jesień płodna, cała w drogich plonach, Niosąca wiosny urodzaj bogaty Jak owdowiała i brzemienna żona. Lecz dla mnie były te plony dojrzałe Gorzkim owocem mego smutku tylko, Bo czym bez ciebie jest lato wspaniałe? Gdy ciebie nie ma, nawet ptaki milkną Lub taki smutek rozbrzmiewa w ich śpiewie, Że drżąc przed zimą, liść blednie na drzewie.

How like a winter hath my absence been From thee, the pleasure of the fleeting year! What freezings have I felt, what dark days seen! What old December's bareness everywhere! And yet this time remov'd was summer's time, The teeming autumn, big with rich increase, Bearing the wanton burthen of the prime, Like widow'd wombs after their lords' decease: Yet this abundant issue seem'd to me But hope of orphans and unfather'd fruit; For summer and his pleasures wait on thee, And, thou away, the very birds are mute; Or, if they sing, 'tis with so dull a cheer That leaves look pale, dreading the winter's near.

Translation – Maciej Słomczyński

William Shakespeare

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42nd ORATORIO AND CANTATA MUSIC INTERPRETATION COURSE

WROCŁAW, 4–17 September 2017

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The Oratorio and Cantata Music Interpretation Course is an event with a very long tradition. Since 1976, it has been organised annually during the International Festival Wratislavia Cantans. The course is presented by the Vocal Department of the Karol Lipiński Academy of Music in Wrocław and the Polish Association of Teachers of Singing. The organisers of the Course are willing to create opportunities for students of singing to develop their interests and hone their skills in combining their performance with the research on historical performance giving them more and more insight into how to read historical scores. Thanks to the friendly attitude of the management of International Festival Wratislavia Cantans, the best participants can present their talents at a festival concert. Thus every course is crowned with a performance by the young singers during a great international event. The Course participants are given an opportunity to present their skills to a demanding audience at a top-tier music festival. The vocal workshops are open to the general public and run by renowned artists. Classes and lectures contribute greatly to musical training and formation of young singers. During this year’s Festival, the young performers will present two works: a little-known oratorio San Casimiro, re di Polonia by Alessandro Scarlatti, and Four Love Sonnets by Tadeusz Baird, a setting of selected Shakespeare sonnets, translated by Maciej Słomczyński, for voice and string orchestra. The latter, though a modern work, will also be performed on historical instruments as a genius example of contemporary work stylised as early music. Participants of the course will receive the tutelage of Ewa Iżykowska-Lipińska, Maria Czechowska-Królicka, Olga Ksenicz, Luca Giordano, Jerzy Knetig, Piotr Łykowski, Bogdan Makal, Eugeniusz Sąsiadek and Aleksandra Rupocińska, Artistic Director of the two concerts.

For many years now, an accompanying event of the Wratislavia Cantans Festival has been a symposium devoted to oratorio and cantata music. It is held under the tutelage of Prof Barbara Ewa Werner, and Olga Ksenicz PhD is Secretary of the Symposium. The symposium is presented by the Vocal Department of K. Lipiński Academy of Music in Wrocław (where it is also taking place) and the Polish Association of Teachers of Singing.

15.09.2017, 10:00 am

44th SYMPOSIUM ON ORATORIO AND CANTATA MUSIC AND PERFORMANCE PRACTICE

Andrzej Wolański PhD (Academy of Music, Wrocław) – Great Oratorios of Felix Mendelssohn Prof Stanisław Dąbek (F. Chopin University of Music, Warsaw) – Litanies of Ostra Brama – Great Music of the Young Moniuszko Maria Zawartko PhD (Academy of Music, Wrocław) – Stabat Mater in Music History Prof Ewa Iżykowska-Lipińska (F. Chopin University of Music, Warsaw) – Around Handel’s Theodora – a Work of Love and Death

16.09.2017, 10:00 am

WROCŁAW, 15–16 September 2017

Olga Ksenicz PhD (Academy of Music, Wrocław) – Historical and Modern Performance of Early Music Father Zbigniew Stępniak PhD (University of Warmia and Mazury, Olsztyn) – Liturgy in Music Prof Eugeniusz Sąsiadek (Academy of Music, Wrocław) – French Oratorium

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Stabat Mater

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14.09.2017, Thursday, 8:00 pm

Wrocław, Collegiate Church of the Holy Cross and St Bartholomew (kolegiata Świętego Krzyża i św. Bartłomieja), pl. Kościelny 1 PERFORMERS:

ProgramME:

Graciela Gibelli – soprano Carlos Mena – countertenor Cyril Auvity – tenor

Libera me, Domine (Sardinian tradition)

***

TIME 120'

Arvo Pärt (*1935) Stabat Mater for three solo voices and three viols

For programme note, see concert on 13.09, 7:00 pm in Bolesławiec on page 104.

Masters of Italian Polyphony

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15.09.2017, Friday, 7:00 pm

Wrocław, Church of St Mary Magdalene, Polish National Catholic Cathedral (kościół pw. św. Marii Magdaleny, katedra Kościoła polskokatolickiego), ul. Szewska 10 PERFORMERS:

ProgramME:

Hervé Niquet – conductor Le Concert Spirituel

Procession: Aeterna Christi munera – plainchant Claudio Monteverdi (1567–1643) Cantate Domino – motet Orazio Benevolo (1605–1672) Kyrie from mass Si Deus pro nobis Giovanni Pierluigi da Palestrina (1525–1594) Beata es, Virgo Maria – motet Orazio Benevolo Gloria from mass Si Deus pro nobis Graduał: Et ne avertas faciem tuam a puero tuo – plainchant Orazio Benevolo Credo from mass Si Deus pro nobis Girolamo Frescobaldi (1583–1643) Canzon Vigesimanona a 8 Orazio Benevolo Sanctus from mass Si Deus pro nobis Benedictus qui venit in nomine Domini – plainchant Orazio Benevolo Regna terrae – motet Giovanni Pierluigi da Palestrina Peccavimus – motet Orazio Benevolo Agnus Dei from mass Si Deus pro nobis Giovanni Pierluigi da Palestrina Pater noster Orazio Benevolo Magnificat tertii toni

TIME 75'

Programme note

When admiring the magnificent interiors of Rome’s many churches and contemplating the grand and expressive works by Bernini and Borromini, it is easy to imagine how full of pomp and splendour the music must have sounded in these interiors. In the middle of 17th century every major church of the Eternal City boasted its own musical ensemble, generally comprising of a kapellmeister, organist, several adult singers and a few choirboys. It was a time of the unwavering cult of Giovanni Pierluigi da Palestrina’s polyphony, however those kapellmeisters fluent in the art of composition, albeit still infatuated by the style of Palestrina, tried to imbue their works with new elements better able to reflect the spirit of the age. One of them was Orazio Benevolo (1605–1672).

Paweł Gancarczyk

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The life of Benevolo was inextricably linked with Rome even though he was of French descent, the son of a confectioner who had settled in Italy. Aged twelve he became a choirboy at the Church of St Louis of the French (San Luigi dei Francesi), a place of worship renowned for its works by Caravaggio, frequented by the French community resident in Rome. There he studied music under the keen eye of Vincenzo Ugolini, at the age of 18 embarking on an independent career of kapellmeister first at the church of Santa Maria in Trastevere, then for several years at Santo Spirito in Sassia. In 1638 – following the death of Ugolini – he returned to the place of his musical beginnings and took up the post of kapellmeister of San Luigi dei Francesi. In 1644 he left for Vienna where for two years he served as a kapellmeister at the court of Archduke Leopold Wilhelm, brother of Emperor Ferdinand III. On his return to Rome, Benevolo worked at the church of Santa Maria Maggiore and in 1646 was placed at the helm of the Cappella Giulia of the St Peter’s Basilica, joining the ranks of successors to the great Palestrina. He remained in this prestigious post until his death. It cannot be said that Orazio Benevolo suffered a lack of varied career experiences; similar career paths were followed by many of Rome’s musicians – including those seeking work north of the Alps. There was no shortage of talented composers in the Eternal City, where singers also moved freely between various chapels. Lavishly celebrated festivities – for example feast days of patron saints of given churches – required far greater forces than local chapels could muster. Additional singers and instrumentalists were engaged, who – in the major churches – performed polychoral works requiring the spatial placement of several choirs. To this end special platforms were built, enabling the placement of performers in various parts of the church.

Only the largest chapels had an adequate number of musicians for this type of performance. Apart from the Cappella Sistina ensemble – which numbered around 30 members and enjoyed the greatest renown in Rome – the latter included the Cappella Giulia, which permanently employed 12 adult singers and 12 soprano choirboys as well as an organist. With this chapel in mind Benevolo composed most of his extant works, including his Mass Si Deus pro nobis dated 1660. The performance forces of the Cappella Giulia were also ideally suited to the motet Regna terrae for 12 sopranos and Magnificat tertii toni for 16 voices. Audiences were greatly impressed by polychoral performances. The spatial distribution of several, usually four-part, choirs had exceptional dynamic possibilities. Sound enveloped the listener from every side, while a skilful use of the choirs generated an effect of relocation and a constant change of musical colour. According to Laurence Feininger – publisher of Benevolo’s works – the composer’s four-choir masses were intended for the interiors of the St Peter’s Basilica and generated through musical means the equivalent of perspective in paintings. The choirs were placed around 25 metres above the audience, in the galleries of the four pillars supporting the impressive dome of the papal basilica and were separated from each other by around 40 metres. The central feature of this spatial composition was the altar from which each choir was positioned at a similar distance, an arrangement that had both acoustic and symbolic relevance. The vocal performance was accompanied by organ only, though we know from other sources that in these types of productions doubling of vocal parts with instruments was possible. However, Rome’s polychorality differed in principle from polychorality practiced in Venice, as seen for example in the works of Giovanni Gabrieli where every choir has a different arrangement and where the vocal parts (solo or choral) are accompanied by trombones, cornetts and trumpets. In Rome, the choirs were identical in terms of forces, while instrumental participation was confined to the basso continuo generally performed on the organ. Despite these differences, polychoral music created in Rome was no less effective than that of other Italian centres. This is confirmed by a report written in 1639 by the French viol virtuoso André Maugars describing a concert given at the church of Santa Maria sopra Minerva: ‘This church is quite long and vast; it has two enormous organs built on two sides of the main altar. This is where two musical choirs were positioned. Along the nave were eight other choirs, four on one side and four on the other, placed on raised platforms, eight to ten feet high; the choirs were positioned at equal distances from each other and within sight of each other. Each choir had a small portative organ (…). The kapellmeister-composer beat time in the first choir, which comprised the most beautiful voices.

It cannot be said that Orazio Benevolo suffered a lack of varied career experiences; similar career paths were followed by many of Rome’s musicians – including those seeking work north of the Alps. There was no shortage of talented composers in the Eternal City, where singers also moved freely between various chapels. Lavishly celebrated festivities – for example feast days of patron saints of given churches – required far greater forces than local chapels could muster. Additional singers and instrumentalists were engaged, who – in the major churches – performed polychoral works requiring the spatial placement of several choirs.

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Texts Orazio Benevolo’s mass is set to invariable texts of the mass (ordinarium missae) – needless to say with the addition of settings of variable sections (proprium missae) which could sometimes be replaced by motets suitable to the liturgical occasion. In St Peter’s Basilica this option was served by Palestrina’s compositions, although in Rome works by masters of the early Baroque – Claudio Monteverdi and Girolamo Frescobaldi – were also exploited. In this respect it becomes necessary to rely on the imaginativeness of performers, since there are numerous gaps in Rome’s source material and many works by the then kappellmeisters have not survived. All the more reason to take note of Orazio Benevolo’s contribution which – unjustly forgotten – seems to perfectly complement the greatly admired art of Bernini and the magnificent interiors of St Peter’s Basilica or the St Louis of the French Church.

In each remaining choir there was a man constantly watching the beat of the leader in order to be in line with his, hence all the choirs sang in the same tempo with no delays. (…) Occasionally two, three, four and five voices from various choirs sang together, while at other times voices from all the choirs sang in turn, in competition with each other. Then again two choirs would be juxtaposed and two others would reply. Then three, four and five choirs sang together, followed by one, two, three, four and five solo voices, while in the Gloria Patri all ten choirs sang together. I must admit I have never been so delighted.’ The mass Si Deus pro nobis – compared to the work described by Maugars – is intended for a ‘mere’ 16 voices (four four-voice choirs), however the principles of its construction are similar. The composer handles the respective voices with subtlety, treating each individually and leading their assigned melodies according to the principles of Palestrinian counterpoint. The choirs generally enter one after the other resulting in the imitation of entire choral sections; sometimes successive choral voices undergo imitation, most frequently in a soprano-to-bass succession. Sixteen-voice climaxes are often reached, and amid the dense contrapuntal textures it is sometimes possible to extract the lengthy tones of the cantus firmus, namely a melody that winds its way through the entire mass, which despite exhibiting characteristics of a chorale, as yet has not been identified. The work’s title Si Deus pro nobis quis contra nos (If God is with us who is against us) is taken from St Paul’s Letter to the Romans. Orazio Benevolo’s mass is set to invariable texts of the mass (ordinarium missae) – needless to say with the addition of settings of variable sections (proprium missae) which could sometimes be replaced by motets suitable to the liturgical occasion. In St Peter’s Basilica this option was served by Palestrina’s compositions, although in Rome works by masters of the early Baroque – Claudio Monteverdi and Girolamo Frescobaldi – were also exploited. In this respect it becomes necessary to rely on the imaginativeness of performers, since there are numerous gaps in Rome’s source material and many works by the then kappellmeisters have not survived. All the more reason to take note of Orazio Benevolo’s contribution which – unjustly forgotten – seems to perfectly complement the greatly admired art of Bernini and the magnificent interiors of St Peter’s Basilica or the St Louis of the French Church.

Aeterna Christi munera Hymnus Aeterna Christi munera Et Martyrum victorias Laudes ferentes debitas Laetis canamus mentibus. Ecclesiarum principes, Belli triumphales duces, Caelestis aulae milites Et vera mundi lumina. Terrore victo saeculi Poenisque spretis corporis Mortis sacrae compendio Lucem beatam possident. Traduntur igni martyres Et bestiarum dentibus, Armata saevit ungulis Tortoris insani manus. Nudata pendent viscera, Sanguis sacratus funditur, Sed permanent immobiles. Vitae perennis gratia. Devota sanctorum fides, Invicta spes credentium, Perfecta Christi caritas Mundi triumphat principem. In his paterna gloria, In his voluntas Spiritus, Exsultat in his filius. Caelum repletur gaudio. Te nunc, Redemptor, quaesumus, Ut martyrum consortio Iungas precantes servulos In sempiterna saecula.

Claudio Monteverdi Cantate Domino Cantate Domino canticum novum, Cantate et benedicite nomini eius: Quia mirabilia fecit. Cantate et exultate et psallite in cythara et voce psalmi: Quia mirabilia fecit. Ps 96:1-2; Ps 98:1.5

Orazio Benevolo Kyrie from mass Si Deus pro nobis Kyrie eleison. Christe eleison. Kyrie eleison.

Orazio Benevolo Gloria from mass Si Deus pro nobis Gloria in excelsis Deo et in terra pax hominibus bonae voluntatis. Laudamus te. Benedicimus te. Adoramus te. Glorificamus te. Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, Rex caelestis, Deus Pater omnipotens. Domine Fili unigenite, Jesu Christe. Domine Deus, Agnus Dei, Filius Patris. Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis. Quoniam tu solus sanctus, tu solus Dominus, tu solus Altissimus, Jesu Christe, cum Sancto Spiritu in gloria Dei Patris. Amen.

Biographies of artists and ensembles are provided in an alphabetical order on pages 170–215. 136

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Texts Et ne avertas faciem tuam a puero tuo Graduale Et ne avertas faciem tuam a puero tuo, quoniam tribulor, velociter exaudi me. Ps 69:18

Orazio Benevolo Credo from mass Si Deus pro nobis Credo in unum Deum Patrem omnipotentem, factorem caeli et terrae visibilium omnium et invisibilium. Et in unum Dominum, Jesum Christum, Filium Dei unigenitum, et ex Patre natum ante omnia saecula. Deum de Deo, lumen de lumine, Deum verum de Deo vero, genitum, non factum, consubstantialem Patri, per quem omnia facta sunt. Qui, propter nos homines, et propter nostram salutem, descendit de caelis. Et incarnatus est de Spiritu Sancto ex Maria virgine, et homo factus est. Crucifixus etiam pro nobis sub Pontio Pilato; passus et sepultus est. Et resurrexit tertia die, secundum scripturas; et ascendit in caelum, sedet ad dexteram Patris. Et iterum venturus est cum gloria iudicare vivos et mortuos, cuius regni non erit finis. Et in Spiritum Sanctum Dominum et vivificantem, qui ex Patre Filioque procedit; qui cum Patre et Filio simul adoratur et conglorificatur; qui locutus est per Prophetas. Et unam sanctam catholicam et apostolicam ecclesiam. Confiteor unum baptisma in remissionem peccatorum. Et exspecto resurrectionem mortuorum et vitam venturi saeculi. Amen. 138

Orazio Benevolo Sanctus from mass Si Deus pro nobis Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt caeli et terra gloria tua. Hosanna in excelsis.

Benedictus Benedictus qui venit in nomine Domini. Hosanna in excelsis.

Orazio Benevolo Regna terrae Regna terrae, cantate Deo, psallite Domino, Psallite Deo nostro qui ascendit super coelum ad Orientem, quia magnificata sunt opera eius et in voluntate eius universa sunt posita. Alleluia

Orazio Benevolo Magnificat Magnificat anima mea Dominum, et exsultavit spiritus meus in Deo salutari meo. Quia respexit humilitatem ancillae suae: ecce enim ex hoc beatam me dicent omnes generationes. Quia fecit mihi magna qui potens est, et sanctum nomen ejus. Et misericordia ejus a progenie in progenies timentibus eum. Fecit potentiam in brachio suo: dispersit superbos mente cordis sui. Deposuit potentes de sede, et exaltavit humiles. Esurientes implevit bonis: et divites dimisit inanes. Suscepit Israel puerum suum, recordatus misericordiae suae. Sicut locutus est ad patres nostros, Abraham et semini ejus in saecula. Gloria Patri, et Filio, et Spiritui Sancto. Sicut erat in principio, et nunc et semper, et in saecula saeculorum. Amen. Luke 1:46-55

Ps 68; Ps 104 (excerpts)

Orazio Benevolo Agnus Dei from mass Si Deus pro nobis Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, dona nobis pacem.

Giovanni Pierluigi da Palestrina Pater noster Pater noster, qui es in caelis, sanctificetur nomen Tuum, adveniat regnum Tuum, fiat voluntas Tua sicut in caelo et in terra. Panem nostrum quotidianum da nobis hodie; et dimitte nobis debita nostra, sicut et nos dimittimus debitoribus nostris, et ne nos inducas in tentationem, sed libera nos a malo. Amen.

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Telemann – Brockes-Passion 15.09.2017, Friday, 7:30 pm

Kłodzko, Church of the Assumption of the Blessed Virgin Mary (kościół pw. Wniebowzięcia NMP), pl. Kościelny 9 PERFORMERS:

ProgramME:

Giovanni Antonini – conductor Il Giardino Armonico

Georg Philipp Telemann (1681–1767) Brockes-Passion, TWV 5:1

Katja Stuber – soprano (1. Tochter Zion, 1. Gläubige Seele, Maria, 3. Magd) Lydia Teuscher – soprano (2. Tochter Zion, 2. Gläubige Seele, 2. Magd) Marie Henriette Reinhold – mezzo-soprano (Judas, 3. Gläubige Seele, 1. Magd) Samuel Boden – tenor (Petrus, Pilatus, Hauptmann) Robin Tritschler – tenor (Evangelist) Johannes Weisser – baritone (Jesus, 4. Gläubige Seele) Michał Pytlewski – bass (Johannes, Kriegsknecht) Jerzy Butryn – bass (Jakobus, Caiphas) NFM Choir Agnieszka Franków-Żelazny – artistic direction NFM Boys’ Choir Małgorzata Podzielny – artistic direction

TIME 180'

The concert has a 20-minute intermission.

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Programme note

The extraordinary contribution of Georg Philipp Telemann, one of the most prolific composers in history, includes over three thousand works that constitute an antho logy of forms and genres (solo, chamber and vocal-instrumental pieces of the late Baroque and stile galante) for the like of which, finding a precedent borders on the impossible. Even in terms of 18th-century standards, Telemann was exceptional. He was a composer-scholar, fully conversant with the specifics of national styles of the then Europe and its universal, ‘cosmopolitan’ musical language, never failing to take into account the theoretical and academic aspects of composition.

Marcin Majchrowski

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In Telemann’s output, knowledge of which is still deficient and only ‘skin deep’, deserving of particular attention are his works on the Passion theme. From 1712 as Kapellmeister of the Barefoot Brothers Church in Frankfurt and from 1721 as cantor and director of church music in Hamburg, he wrote 46 Passions (of which only 23 survive) and 5 Passion oratorios. The earliest of these, set to the poetry of Barthold Heinrich Brockes published in Hamburg in 1712, was: Der für die Sünden der Welt gemarterte und sterbende Jesus. No other libretto was as popular among composers as the poetry of Hamburg’s consul and later senator. Apart from Telemann, other composers who set his text to music include Reinhard Keiser (1712), George Frideric Handel (1716), Johann Mattheson (1718), Johann Friedrich Fasch (1723), and Gottfried Heinrich Stölzel. Large sections of his poetry were also exploited by Johann Sebastian Bach in his St John Passion. Telemann became familiar with Brockes’ work in 1716, maintaining that it was ‘considered by all connoisseurs as unsurpassable’. He had very little time to compose a great deal of music – the first performances taking place on 2 and 3 April 1716 at the Barfüsserkirche in Frankfurt am Main. The performance of Telemann’s work was attended by town councillors and church dignitaries, by local patriarchs as well as Landgrave Ernst Louis of Hesse-Darmstadt – whose Hofkapelle lent its support to the performance forces of Telemann’s Collegium Musicum and specially engaged artists. In Frankfurt itself there was no single ensemble capable of performing the new oratorio. The demanding solo parts also required the engagement of several stars: oboist Peter Glösch from Berlin, the famous prima donna and future director of Hamburg Opera – Margaretha Susanna Kayser (performing the part of the Daughter of Sion), renowned singer Anna Maria Schober, the bass Gottfried Grünewald (as Jesus) and castrato Antonio Gualandi known as ‘Campioli’ (as Judas). The oratorio performed in front of an ‘indescribable crowd of listeners‘ was conducted by the banker Heinrich Remigius Bartels, whom Telemann considered an ‘exceptional connoisseur and lover

of music’. It may be that the composer himself participated in the performance as a singer and instrumentalist; apart from numerous minor parts requiring considerable skill, several concertante parts for solo instruments also had to be performed. Telemann’s orchestra is richly scored: apart from strings, the composer exploits a pair of transverse flutes (at the time flauti traversi were a novelty, and they can be heard already in the first aria!), three recorders, two oboes and a pair of trumpets, two horns, a solo violin, a viola d’amore, three violettas and a bassoon. Individual instruments not only guaranteed a diversified palette of tone-colour but were also used symbolically to emphasise the affects contained in the text. Horns enter in moments when the text speaks of sin, death or devilish intrigues (e.g. in Judas’ aria Lasst diese Tat nicht ungerochen). The dulcet tones of the oboe and cantilena underline the message about the redeeming role of Christ’s death (in the Believing Souls’ aria O seligs Wort). Finally the piercingly clear trumpets serve as a symbol of Christianity’s most important message – redemption, overcoming death and the promise of eternal life. Their tonal colouration materialises in the final sections – the aria Wisch ab der Tränen scharfe Lauge and the last chorus: Ich bin Glied an deinem Leib. The joyous ending stands in opposition to the Passion’s dark and dreary opening. The large-scale Sinfonia emerges from silence. The static chords of the strings and the dissonant tones of the oboe create an impression of disquiet. Then come poignant exclamations interwoven with delicate and lyrical phrases, while the sound volume grows in an unusual, innovatory orchestral crescendo. From the outset Telemann announces that throughout the oratorio there will be an interaction between darkness and light, and that dramatic events will proceed from sorrow towards hope and joy – a commendable message. The work’s inner structure is highly diversified. The whole piece is conceived as two massive parts. The first consists of: The Last Supper, Jesus at prayer, the scene of Peter’s denial, the examination of Jesus by the archdeacons and the death of Judas; the second describes the sentencing, crucifixion and death of the Redeemer. The musical edifice is built from tiny bricks: 117 numbers made up of over thirty arias (only eight being da capo arias, the rest irregular, adapted to suit the text), an aria with choir (to the famous words known primarily from Bach’s St John Passion: ‘Eilt, ihr angefochtne Seelen/Wohin?’), an arioso, several refined duets, a trio, a quartet, a dozen or so choral numbers (of which twelve are dramatically turbulent turbae), four chorales (one obligatory in the finale) and finally fourteen recitativi accompagnati as well as a sizeable number of secchi. The work’s wealth of form, whose variety and colour cannot be matched by many other compositions, is breathtaking. It was important to Telemann that the listener

Telemann became familiar with Brockes' work in 1716, maintaining that it was ‘considered by all connoisseurs as unsurpassable’. He had very little time to compose a great deal of music – the first performances taking place on 2 and 3 April 1716 at the Barfüsserkirche in Frankfurt am Main. The performance of Telemann’s work was attended by town councillors and church dignitaries, by local patriarchs as well as Landgrave Ernst Louis of Hesse-Darmstadt – whose Hofkapelle lent its support to the performance forces of Telemann’s Collegium Musicum and specially engaged artists. In Frankfurt itself there was no single ensemble capable of performing the new oratorio.

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Georg Philipp Telemann Brockes-Passion Telemann’s music is able to skilfully convey such emotions as fear (Jesus praying in the Garden of Gethsemane) or remorse (chromaticism in Peter’s aria Heul, du Schaum der Menschenkinder). Judas (castrato part) is also treated in an unusual manner: his temperamental nature and suicidal demise is illustrated by intensely dissonant musical material. On the other hand, the thorns lacerating Jesus’ head are utterly naturalistic, marked by a special tone-colour in the strings’ staccato (at the time an innovatory technique of playing near the bridge – sul ponticello). Moreover, the nearer to the tragic end of the Passion’s events the more colourful and heated the music becomes, as if Telemann was particularly intent on escalating the effects of theatrical exaggeration.

experiences extreme emotions bordering almost on the cathartic. The composer exploits the theatrical potential of inner dialogues with their subsequent theological considerations. One part is however exceptional. The allegorical character of the Daughter of Zion is privileged in every sense and since it comes across as crucial from a point of view of moral and theological contemplation, Telemann composed for her no less than sixteen arias and two duets (including a contemplative duet with Jesus – Sprichst du denn auf dies Verklagen). This part in particular he imbued with virtuosity and coloraturas (Was Bärentatzen, Löwenklauen, Lowenklauen or Dein Bärenherz ist felsenhart) as the text often oozes petulance and anger (Schäumest du, du Schaum der Welt). Telemann’s music is able to skilfully convey such emotions as fear (Jesus praying in the Garden of Gethsemane) or remorse (chromaticism in Peter’s aria Heul, du Schaum der Menschenkinder). Judas (castrato part) is also treated in an unusual manner: his temperamental nature and suicidal demise is illustrated by intensely dissonant musical material. On the other hand, the thorns lacerating Jesus’ head are utterly naturalistic, marked by a special tone-colour in the strings’ staccato (at the time an innovatory technique of playing near the bridge – sul ponticello). Moreover, the nearer to the tragic end of the Passion’s events the more colourful and heated the music becomes, as if Telemann was particularly intent on escalating the effects of theatrical exaggeration. Georg Philipp Telemann’s Brockes-Passion was already highly regarded during the composer’s lifetime. Following the premiere concerts of 1716, the oratorio was later also performed in Hamburg. In 1722 Telemann revised the work, among others skilfully developing the turbae choral sections, which in the original version were syllabically declaimed recitatives. In his first composition on the passion theme, the 35-year-old composer comes across as a master of sound and rhetorical virtuosity. While taking care over a wealth of detail, Telemann never lost sight of the work in its entirety. Neither did he hesitate to exploit the then avant-garde means of musical expression. No wonder that in 1729 Barthold Heinrich Brockes compared Hamburg’s director of church music to the mythical Orpheus (Sonett auf den berühmtesten Komponisten der Zeit).

Biographies of artists and ensembles are provided in an alphabetical order on pages 170–215.

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ERSTER TEIL 1. Sinfonia 2. Coro: Chor gläubiger Seelen Mich vom Stricke meiner Sünden zu entbinden, wird mein Gott gebunden. Von der Laster Eiterbeulen mich zu heilen, lässt er sich verwunden. Es muss, meiner Sünden Flecken zu bedecken, eignes Blut ihn färben. Ja, es will, ein ewig Leben mir zu geben, selbst das Leben sterben. 3. Recitativo Evangelist Als Jesus nun zu Tische saß und er das Osterlamm, das Bild von seinem Tod, mit seinem Jüngern aße, nahm er das Brot, und wie er es, dem Höchsten dankend, brach, gab er es ihnen hin und sprach: 4. Accompagnato Jesus Das ist mein Leib: Kommt, nehmet, esset, damit ihr meiner nicht vergesset. 5. Aria Tochter Zion Der Gott, dem alle Himmelskreise, dem aller Raum zum Raum zu klein, ist hier auf unerforschte Weise, in, mit und unter Brot und Wein. Und will der Sünder Seelenspeise, o Lieb’, o Gnad’, o Wunder sein. 6. Recitativo Evangelist Und bald hernach nahm er den Kelch und dankte, gab ihn ihnen und sprach:

7. Accompagnato Jesus Das ist mein Blut im Neuen Testament, das ich für euch und viele will vergießen. Es wird dem, der es wird genießen, zur Tilgung seiner Sünden dienen. Auf dass ihr dieses recht erkennt, will ich, dass jeder sich mit diesem Blute tränke, damit er meiner stets gedenke. 8. Aria Tochter Zion Gott selbst, der Brunnquell alles Guten, ein unerschöpflich Gnadenmeer, fängt für die Sünder an zu bluten, bis er von allem Blute leer, und reicht aus diesen Gnadenfluten uns selbst sein Blut zu trinken her. 9. Choral Ach, wie hungert mein Gemüte, Menschenfreund, nach deiner Güte! Ach, wie pfleg’ ich oft mit Tränen mich nach dieser Kost zu sehnen! Ach, wie pfleget mich zu dürsten nach dem Trank des Lebensfürsten, wünsche stets, dass mein Gebeine sich durch Gott mit Gott vereine! 10. Recitativo Evangelist Drauf sagten sie dem Höchsten Dank, und nach gesprochenem Lobgesang ging Jesus über Kidrons Bach zum Ölberg, da er dann zu seinen Jüngern sprach: 11. Accompagnato Jesus Ihr werdet all in dieser Nacht euch an mir ärgern, ja mich gar verlassen. 12. Coro: Chor der Jünger Wir wollen alle eh’ erblassen, als durch solch Untreu’ dich betrüben.

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Text 13. Accompagnato Jesus Es ist gewiss, denn also steht geschrieben: 14. Accompagnato Jesus Weil ich den Hirten schlagen werde, zerstreut sich die ganze Herde. 15. Recitativo Petrus Aufs wenigste will ich trotz allen Unglücksfällen, ja sollte durch die Macht der Höllen die ganze Welt zu Trümmern gehn, dir stets zur Seite stehn. Jesus Dir sag’ ich: Ehe noch der Hahn wird zweimal krähn, wirst du schon dreimal mich verleugnet haben. Petrus Eh’ soll man mich mit dir erwürgen und begraben, ja zehnmal will ich eh’ erblassen, eh’ ich dich will verleugnen und verlassen. Jesus Verziehet hier, ich will zu meinem Vater treten; schlaft aber nicht, denn es ist Zeit zu beten. 16. Aria Jesus Mein Vater, mein Vater! Schau, wie ich mich quäle! Erbarme Dich ob meiner Not! Mein Herze bricht, und meine Seele betrübet sich bis an den Tod.

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17. Accompagnato Jesus Mich drückt der Sünden Zentnerlast, mich ängstiget des Abgrunds Schrecken; mich will ein schlammiger Morast, der grundlos ist, bedecken; mir presst der Höllen wilde Glut aus Bein und Adern Mark und Blut. Und weil ich noch zu allen Plagen muss deinen Grimm, o Vater, tragen, vor welchem alle Marter leicht, so ist kein Schmerz, der meinem gleicht.

18. Aria Jesus Ist’s möglich, dass dein Zorn sich stille, so lass den Kelch vorübergehn, doch müsse, Vater, nicht mein Wille, dein Wille nur allein geschehn. 19. Arioso Tochter Zion Sünder, schaut mit Furcht und Zagen eurer Sünden Scheusal an, da derselben Straf’ und Plagen Gottes Sohn kaum tragen kann. 20. Recitativo Evangelist Die Pein vermehrte sich mit grausamem Erschüttern, so dass er kaum vor Schmerzen röcheln kunt. Man sah die schwachen Glieder zittern, kaum atmete sein trockner Mund; das bange Herz fing an so stark zu klopfen, dass blut’ger Schweiß in ungezählten Tropfen aus seinen Adern drang, bis er zuletzt, bis auf den Tod gequält, voll Angst, zermartert, halb entseelt, fast mit dem Tode rang. 21. Aria Tochter Zion Brich, mein Herz, zerfließ in Tränen, Jesus’ Leib zerfließt in Blut. Hör sein jämmerliches Ächzen, schau, wie Zung’ und Lippen lechzen, hör sein Wimmern, Seufzen, Sehnen, schau, wie ängstlich er tut. 22. Recitativo Evangelist Ein Engel aber kam von den gestirnten Bühnen, in diesem Jammer um zu dienen, und stärket ihn. Darauf ging er, wo die Schar der müden Jünger war, und fand sie insgesamt in süßer Ruh’; drum rief er ihnen ängstlich zu: 23. Arioso Jesus Erwachet doch! Petrus Wer ruft?

Johannes Ja, Herr! Jakobus Ja, Herr! Jesus Erwacht! Könnt ihr in dieser Schreckensnacht, da ich sink’ in des Todes Rachen, nicht eine Stunde mit mir wachen? Ermuntert euch! Johannes, Jakobus, Petrus Ja! Ja! Jesus Ach, steht doch auf! Der mich verrät, ist da. 24. Recitativo Evangelist Und eh’ die Rede noch geendigt war, kam Judas schon hinein und mit ihm eine große Schar mit Schwertern und mit Stangen. 25. Coro: Chor der Kriegsknechte Greift zu, schlagt tot! Doch nein, ihr müsset ihn lebendig fangen! 26. Recitativo Evangelist Und der Verräter hatte dieses ihnen zum Zeichen lassen dienen: Judas Dass ihr, wer Jesus sei, recht möget wissen, will ich ihn küssen, und dann dringt auf ihn zu mit hellen Haufen! 27. Coro: Chor der Kriegsknechte Er soll uns nicht entlaufen. 28. Recitativo Judas Nimm, Rabbi, diesen Kuss von mir. Jesus Mein Freund, sag, warum kommst du hier?

29. Aria Petrus Gift und Glut, Strahl und Flut, ersticke, verbrenne, zerschmettre, versenke den falschen Verräter voll mörd’rischer Ränke! Man fesselt Jesum jämmerlich, Und keine Wetter regen sich? Auf denn, mein unverzagter Mut, vergieß das frevelhafte Blut, weil es nicht tut Gift und Glut, Strahl und Flut! 30. Recitativo Evangelist Petrus zog gleich sein Schwert hervor Und hieb das rechte Ohr Dem Knecht des Hohenpriesters ab. Jesus Steck nur das Schwert an seine Ort; denn wer das Schwert ergreift, wird durch das Schwert erkalten. Wie, oder glaubst du nicht, dass ich sofort von meinem Vater in der Höhe der Engel Hülfe könn erhalten? Allein, es will die Schrift, dass es also geschehe. Ihr kommt mit Schwertern und mit Stangen, als einen Mörder mich zu fangen, da ihr doch, wie ich euch gelehrt, im Tempel täglich angehört; und keiner hat sich je gelüsten lassen, mich anzufassen. Allein es muss nunmehr geschehen, was die Propheten längst vorhergesehn. 31. Coro: Chor der Jünger O weh, sie binden ihn mit Strick und Ketten! Auf, auf, lasst uns fliehen! Und unser Leben retten! 32. Accompagnato Petrus Wo flieht ihr hin? Verzagte, bleibt! Doch ach, sie sind schon fort! Was fang’ ich an? Folg’ ich den andern nach, weil ich allein ihm doch nicht helfen kann?

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Text Nein, feiges Herz, nein, nein! Ich lass’ ihn nicht allein, und sollt’ ich auch mein Leben gleich verlieren, will ich doch sehn, wohin sie Jesum führen. 33. Aria Petrus Nehmt mich mit, verzagte Scharen, hier ist Petrus ohne Schwert! Lasst, was Jesus widerfährt, mir auch widerfahren. 34. Recitativo Evangelist Und Jesus ward zum Palast Caiphas’, woselbst der Priesterrat versammelt saß, mehr hingerissen als geführet; und Petrus, bald vom Grimm und bald von Furcht gerühret, folgt’ ihm von ferne nach. Indessen war der Rat, doch nur umsonst geflissen, durch falsche Zeugen ihn zu fangen; derhalben Caiphas also zu Jesus sprach: Caiphas Wir wollen hier von dem, was du begangen, und deiner Lehre Nachricht wissen. Jesus Was ich gelehrt, ist öffentlich geschehn, und darf ich es ja dir nicht hier erst sagen; du kannst nur die, so mich gehöret, fragen. Kriegsknecht Du Ketzer, willst dich unterstehn, zum Hohenpriester so zu sprechen! Wart, dieser Schlag soll deinen Frevel rächen! 35. Aria Tochter Zion Was Bärentatzen, Löwenklauen trotz ihrer Wut sich nicht getrauen, tust du, verruchte Menschenhand! Was Wunder, dass in höchster Eile der wilden Wetter Blitz und Keile dich Teufelswerkzeug nicht verbrannt! 148

36. Recitativo Evangelist Dies sahe Petrus an, der draußen bei dem Feuer sich heimlich hingesetzt. Indem kam eine Magd, die gleich, sobald sie ihn erblickte, sagt: 1. Magd Ich schwöre hoch und teuer, dass dieser auch von Jesus’ Schar! Petrus Wer? Ich? Nein, wahrlich nein, du irrest dich. Evangelist Nicht lang hernach fing noch ein’ andre an: 2. Magd Soviel ich mich erinnern kann, bist du mit dem, der hier gefangen, viel umgegangen; drum wundr’ ich mich, dass du dich hier wagst. Petrus Welch toll Geschwätz! Ich weiß nicht, was du sagst; ich kenne wahrlich seine nicht. Evangelist Gleich drauf sagt ihm ein’ andre ins Gesicht: 3. Magd Du bist fürwahr von seinem Leuten und suchst umsonst dich weiß zu brennen. Im Garten warst du ihm zur Seiten, auch gibt die Sprach’ dich zu erkennen. 37. Aria Petrus Ich will versinken und vergehn, mich stürz’ des Wetters Blitz und Strahl, wo ich auch nur ein einzig Mal hier diesen Menschen sonst gesehn!

38. Recitativo Evangelist Drauf krähete der Hahn. Sobald der heisre Klang durch Petrus’ Ohren drang, zersprang sein Felsenherz, und alsbald lief, wie Moses’ Fels dort Wasser gab, ein Tränenbach von seinen Wangen ab, wobei er trostlos rief: 39. Accompagnato Petrus Welch ungeheurer Schmerz bestürmet mein Gemüt! Ein kalter Schauder schreckt die Seele; die wilde Glut der dunklen Marterhöhle entzündet schon mein zischendes Geblüt; mein Eingeweide kreischt auf glimmen Kohlen. Wer löschet diesen Brand, wo soll ich Rettung holen?

43. Choral Ach, Gott und Herr, wie groß und schwer sind mein’ begangnen Sünden! Da ist niemand, der helfen kann, in dieser Welt zu finden. Zu dir flieh’ ich, verstoß mich nicht, wie ich’s wohl hab’ verdienet. Ach, Gott, zürn nicht, nicht ins Gericht, Dein Sohn hat mich gesühnet. 44. Recitativo Evangelist Als Jesus nun, wie hart man ihn verklagte, doch nichts zu allem sagte, da fuhr ihn Caiphas mit diesen Worten an: Caiphas Weil man nichts aus dir bringen kann und du nur auf die Aussag’ aller Zeugen antwortest mit verstocktem Schweigen, beschwör’ ich dich bei Gott, uns zu gestehn, ob du seist Christus, Gottes Sohn?

40. Aria Petrus Heul, du Schaum der Menschenkinder! Winsle, Zittre, wilder Sündenknecht! Tränenwasser ist zu schlecht, Weine Blut, verstockte Sünder.

Jesus Ich bin’s! Von nun an werdet ihr zur rechten Hand der Kraft und auf der Wolken Thron mich kommen sehn.

41. Recitativo Petrus Doch wie, will ich verzweifelnd untergehn? Nein, mein beklemmtes Herz, mein schüchternes Gemüte soll meines Jesu Wundergüte um Gnad’ anflehn.

Caiphas O Lästerer! Was dürfen wir nun weiter Zeugnis führen? Ihn könnt es jetzo selber spüren, was er sich hat erkühnt. Was dünket euch?

42. Aria Petrus Schau, ich fall’ in strenger Busse, Sündentilger, dir zu Fuße, lass mir deine Gnad’ erscheinen, dass der Fürst der dunklen Nacht, der, da ich gefehlt, gelacht, mög’ ob meinen Tränen weinen!

Evangelist Drauf rief der ganze Rat sogleich: 45. Coro: Chor des hohen Rates Er hat den Tod verdient! 46. Aria Eine gläubige Seele Erwäg, ergrimmte Natterbrut, was deine Wut und Rachgier tut! Den Schöpfer will ein Wurm verderben, ein Mensch bricht über Gott den Stab! Dem Leben sprecht ihr’s Leben ab, der Todes Tod soll durch euch sterben! 149

Text 47. Recitativo Evangelist Die Nacht war kaum vorbei, die müde Welt lag noch im Schlaf versenkt, als Jesus abermals, in Ketten eingeschränkt und mit abscheulichem Geschrei, ward nach Pilatus hingerissen. Tochter Zion Hat dies mein Heiland leiden müssen? Für wen, ach Gott, für wen? Für wessen Sünden lasst er sich binden? Für welche Fehler, was für Schulden muss er der Schergen Frevel dulden? Wer hat, was Jesus büßt, getan? Nur ich bin schuld daran. 48. Aria Tochter Zion Meine Laster sind die Stricke, seine Ketten meine Tücke, meine Sünden binden ihn. Diese trägt er, mich zu retten, damit ich der Höllen Ketten mög’ entfliehen. 49. Recitativo Judas Oh, was hab’ ich, verfluchter Mensch, getan! Rührt mich kein Strahl, will mich kein Donner fällen? Brich, Abgrund, brich, eröffne mir die düstre Bahn zur Höllen! Doch ach, die Höll’ erstaunt ob meinen Taten, die Teufel selber schämen sich! Ich Hund hab’ meinen Gott verraten. 50. Aria Judas Lasst diese Tat nicht ungerochen, zerreißt mein Fleisch, zerquetscht die Knochen, ihn Larven jener Marterhöhle! Straft mit Flammen, Pech und Schwefel meine Frevel, dass sich die verdammte Seele ewig quäle.

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51. Accompagnato Judas Unsäglich ist mein Schmerz, unzählbar meine Plagen! Die Luft beseufzt, dass sie mich hat genährt; die Welt, die weil sie mich getragen, ist bloß darum verbrennenswert; die Sterne werden zu Kometen, mich, Scheusal der Natur, zu töten; dem Körper schlägt die Erd’ ein Grab, der Himmel meiner Seel’ den Wohnplatz ab. Was fängst du denn, Verzweifelter, verdammter Mörder, an? Eh’ ich mich soll so unerträglich kränken, will ich mich henken! 52. Aria Tochter Zion Die ihr Gottes Gnad’ versäumet und mit Sünden Sünden häuft, denket, dass die Straf’ schon keimet, wann die Frucht der Sünden reift.

Evangelist Er aber sagte nichts mehr. 56. Duetto Tochter Zion Sprichst du denn auf dies Verklagen und das spöttische Befragen, ewig Wort, kein einzig Wort? Jesus Nein, ich will euch jetzo zeigen, wie ich wiederbring’ durch Schweigen, was ihr durchs Geschwätz verlort. 57. Recitativo Evangelist Pilatus wunderte sich sehr, und weil von den Gefangenen auf das Fest er einen pflegte loszuzählen, bemüht er sich aufs best’, dass sie von ihm und Barrabas, der wegen eines Mords gefangen saß, doch möchte Jesum wählen, Allein der Haufe rief mit grässlichem Geschrei: 58. Coro: Chor der Juden Nein, diesen nicht, den Barrabas gib frei!

ZWEITER TEIL 53. Recitativo Evangelist Wie nun Pilatus Jesum fragt, ob er der Judenkönig wär, sprach er: Jesus Du hast’s gesagt. 54. Coro: Chor des hohen Rates Bestrafe diesen Übeltäter, den Feind des Kaisers, den Verräter! 55. Recitativo Pilatus Hast du denn kein Gehör? Vernimmst du nicht, wie hart sie dich verklagen? Und willst du nichts zu deiner Rettung sagen?

59. Recitativo Pilatus Was fang’ ich denn mit eurem sogenannten König an? 60. Coro: Chor der Juden Weg, weg, weg! Lass ihn kreuzigen! 61. Recitativo Pilatus Was hat er denn getan? 62. Coro: Chor der Juden Weg, weg, weg! Lass ihn kreuzigen! 63. Recitativo Evangelist Wie er nun sah, dass dies Getümmel nicht zu stillen, so rief er endlich "ja" und übergab ihn ihrem Willen.

64. Recitativo Tochter Zion Besinne dich, Pilatus, schweigt, halt ein! Vermeide doch der Höllen Schwefelflammen! Soll Gottes Sohn von dir verurteilt sein? Willst du, Verdammter, Gott verdammen? Will deine freche Grausamkeit der toten Welt ihn Leben, der Engel Lust, den Herrn der Herrlichkeit verworfnen Schergen übergeben? 65. Aria Tochter Zion Dein Bärenherz ist felsenhart, solch Urteil abzufassen! Soll Gott erblassen? Ich wundre mich, du Zucht der Drachen, Dass dir in dem verfluchten Rachen die Zunge nicht erschwarzet und erstarrt! 66. Recitativo Evangelist Drauf zerrten die Kriegsknecht’ ihn hinein und riefen, ihre Wut mehr anzuflammen, die ganze Schar zusammen; die banden ihn an einen Stein und geißelten den zarten rücken mit nägelvollen Stricken. 67. Arioso Gläubige Seele Ich seh’, an einen Stein gebunden, den Eckstein, der ein Feuerstein der ewigen Liebe scheint zu sein. Denn aus den Ritzen seiner Wunden, weil er die Glut im Busen trägt, seh’ ich, sooft man auf ihn schlägt, sooft mit Strick und Stahl die Schergen auf ihn dringen, aus jedem Tropfen Blut der Liebe Funken springen. 68. Recitativo Gläubige Seele Drum, Seele, schau mit ängstlichem Vergnügen, mit bittrer Lust und mit beklemmtem Herzen, dein Himmelreich in seinen Schmerzen, wie dir auf Dornen, die ihn stechen, des Himmels Schlüsselblumen blühn! Du kannst der Freuden Frucht von seiner Wehmut brechen. 151

Text Schau, wie die Mörder ihn auf seiner Rücken pflügen, wie tief, wie grausam tief sie ihre Furchen ziehn, die er mit seinem Blut begießet, woraus der toten Welt des Lebens Ernt’ entsprießet! Ja, ja, aus Jesus’ Striemen fließet ein Balsam, dessen Wunderkraft von solcher selten Eigenschaft, dass er sein’ eigne nicht, nur fremde Wunden heilet, uns Leben, Lust und Trost, ihm selbst den Tod erteilet. 69. Aria Gläubige Seele Dem Himmel gleicht sein buntgestriemter Rücken, den Regenbögen ohne Zahl als lauter Gnadenzeichen schmücken, die (da die Sündflut unser Schuld versieget) der holden Liebe Sonnenstrahl in seines Blutes Wolken zeiget. 70. Recitativo Evangelist Wie nun das Blut mit Strömen von ihm rann, da zogen sie ihm einem Purpur an und krönten ihn, zu desto größerm Hohn, mit einer Dornenkron’. 71. Aria Tochter Zion Die Rosen krönen sonst der rauhen Dornen Spitzen; wie kommt’s, dass hier ein Dorn die Saronsrose krönt? Da auf den Rosen sonst Aurora Perlen tränt, fängt hier die Rose selbst Rubinen an zu schwitzen, jawohl, erbärmliche Rubinen, die aus geronnen Blut aus Jesus’ Stirne stehn! Ich weiß, ihr werdet mir zum Schmuck der Seelen dienen, und dennoch kann ich euch nicht ohne Schrecken sehn.

72. Accompagnato Tochter Zion Verwegner Dorn, barbarsche Spitzen, verwildert Mordgesträuch, halt ein! Soll dieses Hauptes Elfenbein dein spröder Stachel ganz zerritzen? Verwandelt euch vielmehr in Stahl und Klingen, durch dieser Mörder Herz zu dringen, die Tiger, keine Menschen sein! Doch der verfluchte Strauch ist taub, hör, wie mit knirschendem Geräusch sein Drachenzähnen gleiches Laub durchdringt Sehnen, Adern, Fleisch! 73. Aria Tochter Zion Lass doch diese herbe Schmerzen, frecher Sünder, dir zu Herzen, ja durch Mark und Seele gehn! Selbst die Natur fühlt Schmerz und Grauen, ja sie empfindet jeden Stich, da sie der Dornen starre Klauen so jämmerlich in ihres Schöpfers Haupt sieht eingedrücket stehn. 74. Recitativo Tochter Zion Die zarten Schläfen sind bis ans Gehirne durchlöchert und durchbohrt. Schau, Seele, schau, wie von der göttlich schönen Stirne gleich einem purpurfarbnen Tau, der vom gestirnten Himmel sich ergießt, ein lautrer Bach von blut’ gem Purpur fließt! 75. Aria Tochter Zion: Jesu! Jesu, dich mit unsern Seelen zu vermählen, schmilzt dein liebend Herz vor Liebe; ja, du gießest in die Glut statt des Öls für heiße Triebe dein vor Liebe wallend Blut. 76. Recitativo Evangelist Drauf beugten sie aus Spott vor ihm die Knie und fingen lachend an zu schreien:

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77. Coro: Chor der Kriegsknechte Ein jeder sei ihm untertänig! Gegrüßet seist du, Judenkönig!

und zog ihm drauf sein’ eignen Kleider an, und endlich führeten sie hin, dass sie ihn kreuzigten, zur Schädelstätte hin.

78. Aria Evangelist Ja, scheueten sich nicht, ihm ins Gesicht zu speien.

84. Aria e Coro Eine gläubige Seele Eilt, ihr angefochtne Seelen, geht aus Achsaphs Mörderhöhlen, kommt!

79. Aria Tochter Zion Schäumest du, du Schaum der Welt, speit dein Basiliskenrachen, Brut der Drachen, dem, der alle Ding’ erhält, Schleim und Geifer ins Gesicht und die Höll’ verschlingt dich nicht? 80. Recitativo Evangelist Worauf sie mit dem Rohr, das seine Hände trugen, sein schon blutrünstig Haupt zerschlugen.

Chor der gläubigen Seelen Wohin? Eine gläubige Seele Kommt! Chor der gläubigen Seelen Wohin? Eine gläubige Seele Nach Golgatha. Nehmt des Glaubens Taubenflügel, fliegt!

81. Recitativo Tochter Zion Bestürzter Sünder, nimm in acht des Heilands Schmerzen! Komm, erwäge, wie durch die Heftigkeit der Schläge der beulenvolle Scheitel kracht; wie sie sein heil’ges Hirn zerschellen, wie seine Taubenaugen schwellen! Schau, sein zerrauftes Haar, das vor mit Tau gesalbt und voller Locken war, ist jetzt von Eiter nass und klebt von dickem Blut! Dies alles duldet er bloß dir zu gut.

Chor der gläubigen Seelen Wohin?

82. Aria Tochter Zion Heil der Welt, dein schmerzlich Leiden schreckt die Seel’ und bringt ihr Freunden, du bist ihr erbärmlich schön; durch die Marter, die dich drücket, wird sie ewiglich erquicket, und ihr graut, dich anzusehn.

85. Recitativo Maria Ach Gott, ach Gott! Mein Sohn wird fortgeschleppt, wird weggerissen! Wo führt ihr ihn, verruchte Mörder, hin? Zum Tode, wie ich merke. Hab’ ich denn seinen Tod erleben müssen, gekränkte Mutter, die ich bin? Wie schwer ist meines Jammers Last! Es dringt ein Schwert durch meine Seele, mein Kind, mein Herr, mein Gott erblasst! Ist denn für so viel Wunderwerke nunmehr das Kreuz sein Lohn? Ach Gott, ach Gott, mein Sohn!

83. Recitativo Evangelist Wie man ihm nun genug Verspottung, Qual und Schmach hatt’ angetan, riss man ihm ab den Purpur, den er trug,

Eine gläubige Seele Zum Schädelhügel, eure Wohlfahrt blühet da! Kommt! Chor der gläubigen Seelen Wohin? Eine gläubige Seele Kommt! Nach Golgatha.

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Text 86. Duetto Maria Soll mein Kind, mein Leben, sterben, und vergiesst mein Sohn sein Blut? Jesus Ja, ich sterbe dir zugut, dir den Himmel zu erwerben. 87. Recitativo Evangelist Und er trug selbst sein Kreuz. Tochter Zion Ach, herbe Plagen, ach Marter, die man nicht erwägen kann! Musst du, mein Heiland, dann das Holz, das dich bald tragen soll, selbst tragen? Du tragst es, ja, und niemand hört dich klagen 88. Aria Tochter Zion Es scheint, da den zerkerbten Rücken des Kreuzes Last, der Schergen Ungestüm zu Boden drücken, er danke mit gebeugten Knien dem großen Vater, dass er ihm das lang verlangte Kreuz verliehn. 89. Recitativo Evangelist Wie sie nun an die Stätte, Golgatha mit Namen, mit Jesus kamen, ward er mit Gall’ und Wein getränkt und endlich gar ans Kreuz gehenkt. 90. Aria Gläubige Seele Hier erstarrt mein Herz und Blut, hier erstaunen Seel’ und Sinnen! Himmel, was wollt ihr beginnen? Wisst ihr, Mörder, was ihr tut? Dürft ihr Hund’, ihr Teufel wagen, Gottes Sohn ans Kreuz zu schlagen?

91. Accompagnato Gläubige Seele O Anblick, o entsetzliches Gesicht! Wie scheußlich wird mein Seelenbräutigam von diesen Bütteln zugericht’t! Jetzt reißen sie das unbefleckte Lamm wie Tiger voller Wut zur Erden. Ach schau! Jetzt fängt man an, mit grässlichen Gebärden, ihm Hand und Fuß, ihm Arm und Sehnen erbärmlich auszudehnen, mit Stricken ausszuzerren, mit Nageln auszupflöcken, dass man an ihm fast alle Beine zählt! Ach Gott, ich sterbe schier vor Schrecken und werde fast durchs bloße Sehn entseelt! 92. Choral O Menschenkind, nur deine Sünd’ hat dieses angerichtet, da du durch die Missetat warest ganz zernichtet. 93. Recitativo Evangelist: Sobald er nun gekreuzigt war, da losete die Schar der Kriegsknecht’ um sein Gewand; und über seinem Haupte stand "Der Judenkönig" angeschrieben; und die vorübergingen, die lästerten und trieben Gespött mit ihm, wie auch die, die bei ihm hingen: 94. Coro: Chor der Juden und Mörder Pfui! Seht mir doch den neuen König an! Bist du ein solcher Wundermann, so steig herab vom Kreuz; hilf dir selbst und uns; so wissen wir’s gewiss. 95. Recitativo Evangelist Und eine dicke Finsternis die nach der sechsten Stund’ entstand, kam übers ganze Land. 96. Aria Gläubige Seele Was wunder, dass der Sonnen Pracht, dass Mond und Sterne nicht mehr funkeln, da eine falbe Todesnacht der Sonnen Sonne will verdunkeln!

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97. Recitativo Evangelist Dies war zur neunten Stund’! Und bald hernach rief Jesus laut und sprach: 98. Accompagnato Jesus Eli! Eli! Lama Asaphtani! 99. Recitativo Evangelist Das ist in unser Sprache zu fassen: 100. Accompagnato Evangelist Mein Gott, mein Gott, wie hast du mich verlassen! 101. Recitativo Evangelist Darnach, wie ihm bewusst, dass alles schon vorbei, rief er mit lechzendem Geschrei: 102. Accompagnato Jesus Mich dürst’t! 103. Aria Gläubige Seele Mein Heiland, Herr und Fürst! Da Peitsch’ und Ruten dich zerfleischen, da Dorn und Nagel dich durchbohrt, sagst du ja nicht ein einzig Wort. Jetzt hört man dich zu trinken heischen, so wie ein Hirsch nach Wasser schreit: Wonach mag wohl den Himmelsfürsten, des Lebenswassers Quelle, dürsten? Nach unsrer Seelen Seligkeit. 104. Recitativo Evangelist Drauf lief ein Kriegsknecht hin, der einen Schwamm, mit Essig angefüllt, nahm und steckt’ ihn auf ein Rohr, und hielt ihn ihm zu trinken vor. Hierauf rief Jesus laut mit ganzer Macht: 105. Accompagnato Jesus Es ist vollbracht!

106. Terzetto Drei Gläubige Seelen O Donnerwort! O schrecklich Schrein! O Ton, den Tod und Hölle scheuen, der ihre Macht zu Schanden macht! O Schall, der Stein und Felsen teilet, wovor der Teufel bebt und heulet, wovor der düstre Abgrund kracht! Es ist vollbracht, es ist vollbracht! 107. Aria Gläubige Seele O selig’s Wort! O heilsam Schreien! Nun darfst du, Sünder, nicht mehr scheuen des Teufels und der Höllen Macht. O Schall, der unsern Schaden heilet, der uns die Seligkeit erteilet, die uns Gott längst hat zugedacht! Es ist vollbracht, es ist vollbracht! 108. Recitativo Gläubige Seele O selig, wer dies glaubt und wer, wenn seine Not am größten, sich dieser Worte kann getrösten! Evangelist Drauf neiget er sein Haupt. 109. Duetto Tochter Zion Sind meiner Seelen tiefe Wunden durch deine Wunden nun verbunden? Kann ich durch deine Qual und Sterben nunmehr das Paradies ererben? Ist aller Welt Erlösung nah? Gläubige Seele Dies sind der Tochter Zions Fragen. Weil Jesus nun nicht kann vor Schmerzen sagen, so neiget er sein Haupt und winket: Ja! 110. Recitativo Tochter Zion O Großmut! O erbarmendes Gemüt! Evangelist Und er verschied.

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Text 111. Aria Gläubige Seele Brich, brüllender Abgrund, zertrümmre, zerspalte! Zerfall, zerreiß, du Kreis der Welt! Erzittert, ihr Sterne, ihr himmlischen Kreise, erschüttert und hemmet die ewige Reise! Du helle Sonn’, erlisch, erkalte! Dein Licht verlischt, und eure Stütze fällt. 112. Accompagnato Tochter Zion Ja, ja, es brüllet schon in unterirdischen Grüften; es kracht bereits der Erden Grund; des finstern Abgrunds schwarzer Schlund erfüllt die Luft mit Schwefeldüften. Hauptmann Hilf, Himmel, was ist dies? Ihr Götter, wie wird mir zu Mut? Es fällt die Welt in schwarze Finsternis, in Dunst und Nebel schier zusammen. O weh, der Abgrund kracht und speiet Dampf und Glut, die Wolken schüttern Blitz, die Luft gebiert Flammen, der Fels zerreißt, es bersten Berg und Stein: Sollt Jesus’ Tod hieran wohl Ursach’ sein? Ach ja, ich kann aus allen Wundern lesen: Der Sterbende sei Gottes Sohn gewesen! 113. Aria Hauptmann Wie kommt’s, dass da der Himmel weint, da seine Klüfte zeigt des blinden Abgrunds Rachen, da Berge bersten, Felsen krachen, mein Felsenherz sich nicht erweicht? Ja, ja, es klopft, es bricht: Sein Sterben reißt meine Seel’ aus dem Verderben. 114. Accompagnato Gläubige Seele Bei Jesus’ Tod und Leiden leidet des Himmels Kreis, die ganze Welt; der Mond, der sich in Trauer kleidet, gibt Zeugnis, dass sein Schöpfer fällt; 156

es scheint, als lösch’ in Jesus’ Blut des Feu’r der Sonnen Strahl und Glut. Man spaltet ihm die Brust. Die kalten Felsen spalten, zum Zeichen, dass auch sie den Schöpfer sehn erkalten. Was tust denn du, mein Herz? Ersticke, Gott und Ehren, in einer Sündflut bittrer Zähren! 115. Choral Mein’ Sünd’ mich werden kränken sehr, mein G’wissen wird mich nagen, denn ihr’ sind viel wie Sand am Meer, doch will ich nicht verzagen; gedenken will ich an den Tod; Herr Jesu, deine Wunden rot, die werden mich erhalten. 116. Aria Tochter Zion Wisch ab der Tränen scharfe Lauge, steh, sel’ge Seele, nun in Ruh’! Sein ausgesperrter Arm und sein geschlossen Auge sperrt dir den Himmel auf und schließt die Höllen zu. 117. Choral Ich bin ein Glied an deinem Leib, des tröst’ ich mich von Herzen; von dir ich ungeschieden bleib’ in Todesnot und Schmerzen. Wann ich gleich sterb’, so sterb’ ich dir, ein ewig’s Leben hast du mir mit deinem Tod erworben. Weil du vom Tod erstanden bist, werd ich im Grab nicht bleiben ; mein höchster Trost dein Auffahrt ist, Todsfurcht kann sie vertreiben. Denn wo du bist, da komm ich hin, dass ich stets bei dir leb und bin; drum fahr ich hin mit Freuden. So fahr’ ich hin zu Jesu Christ, mein’ Arm tu’ ich ausstrecken; so schlaf’ ich ein und ruhe fein, kein Mensch kann mich aufwecken. Denn Jesus Christus, Gottes Sohn, der wird die Himmelstür auftun, mich führ’n zum ew’gen Leben. Barthold Heinrich Brockes 157

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15.09.2017, Friday, 8:00 pm

Głogów, Church of Our Lady the Queen of Poland (Kościół pw. NMP Królowej Polski), pl. Wyszyńskiego 1 PERFORMERS:

ProgramME:

Aleksandra Rupocińska – artistic direction, harpsichord Soloists – Participants of the 42nd Oratorio and Cantata Music Interpretation Course

Alessandro Scarlatti (1660–1725) San Casimiro, re di Polonia

Tadeusz Baird (1928–1981) Cztery sonety miłosne (Four Love Sonnets)

TIME 80' For programme note, see concert on 14.09, 7:30 pm in Bielawa on page 118.

Co-Organiser: The Karol Lipiński Academy of Music in Wrocław

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16.09.2017, Saturday, 5:00 pm Wrocław, NFM, Red Hall (Sala Czerwona), pl. Wolności 1

PERFORMERS:

ProgramME:

Aleksandra Rupocińska – artistic direction, harpsichord Soloists – Participants of the 42nd Oratorio and Cantata Music Interpretation Course

Alessandro Scarlatti (1660–1725) San Casimiro, re di Polonia

Tadeusz Baird (1928–1981) Cztery sonety miłosne (Four Love Sonnets)

TIME 80' For programme note, see concert on 14.09, 7:30 pm in Bielawa on page 118.

Co-Organiser: The Karol Lipiński Academy of Music in Wrocław

Telemann – Brockes-Passion 16.09.2017, Saturday, 8:00 pm

Wrocław, Church of St Mary Magdalene, Polish National Catholic Cathedral (kościół pw. św. Marii Magdaleny, katedra Kościoła polskokatolickiego), ul. Szewska 10 PERFORMERS:

ProgramME:

Giovanni Antonini – conductor Il Giardino Armonico

Georg Philipp Telemann (1681–1767) Brockes-Passion, TWV 5:1

The concert has a 20-minute intermission.

TIME 180' For programme note, see concert on 15.09, 7:30 pm in Kłodzko on page 140.

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Mozart – La clemenza di Tito 17.09.2017, Sunday, 7:00 pm

Wrocław, Wrocław Opera (Opera Wrocławska), ul. Świdnicka 35

PERFORMERS:

ProgramME:

Teodor Currentzis – conductor Maximilian Schmitt – Tito (tenor) Karina Gauvin – Vitellia (soprano) Anna Lucia Richter – Servilia (soprano) Stéphanie d’Oustrac – Sesto (mezzo-soprano) Jeanine De Bique – Annio (soprano) Sir Willard White – Publio (bass) MusicAeterna Orchestra and Choir

Wolfgang Amadeus Mozart (1756–1791) La clemenza di Tito, K. 621 Excerpts from Great Mass in C Minor, K. 427: Kyrie, Laudamus te, Qui tollis, Benedictus Adagio and Fugue in C Minor, K. 546 Mauerische Trauermusik, K. 477

The concert has a 20-minute intermission.

TIME 190'

Co-Organiser: Opera Wrocławska

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Programme note

Mozart’s penultimate opera – La clemenza di Tito (The Clemency of Titus) – was composed to celebrate the coronation of the Holy Roman Emperor Leopold II as King of Bohemia and first performed on 6 September 1791 in Prague. The commission came from impresario Domenico Guardasoni just under two months before the premiere, thus causing commentators to draw conclusions that the work was written in haste. However, this was not entirely true, considering that Mozart and the impresario had discussed plans for this composition two years earlier in April 1789; during the same period Mozart also met with the Court poet Caterino Mazzolà in Dresden for talks regarding the shape of the future libretto. These events played a pivotal role in the genesis of a work designed to be a laudatory hymn in praise of the new sovereign.

Krzysztof Teodorowicz

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The opera’s hero is Emperor Titus, considered an epitome of a just and magnanimous ruler. The work’s creators reached for an earlier libretto by Metastasio, which had served as a setting for Antonio Caladra’s opera written in 1734 to celebrate the birthday of Emperor Charles V. Interestingly, the libretto enjoyed exceptional success – during a period of almost a hundred years having been set to 45 operas by, among others, Hasse, Leo, Anfossi, Jommelli, Galuppi, Gluck and Mysliveček. Mozart however found this opera seria libretto somewhat old-fashioned. In cooperation with the composer, Mazzolà created a new libretto: he abridged the work to two acts, limited the number of arias and introduced a series of ensembles – duets, trios and in the act finales a quintet and sextet with chorus. The static form of the ABA aria was also abandoned. This reshaped relationships between the protagonists by highlighting their forceful psychological motivations and generating active dramatic action. As a gesture of admiration for his collaborator, Mozart was proud to include Clemency in his personal catalogue of works as: ‘opera seria reworked into a true opera by Mr Mazzolà.’ Further evidence of Mozart’s earlier work on Tito is the aria Non più di fiori, performed in April 1791 in Prague by his friend, the singer Josefa Dušek, doubtless originally envisaged for the role of Vitellia. However, the bulk of the work Mozart must have certainly composed during a mere couple of weeks before its premiere in Prague, to where he made his way towards the end of August. Fortunately, time pressure did not affect the quality of the music, which attests to the genius of Mozart just as it does in works of his late period – if only to mention his concurrent compositions of The Magic Flute and Requiem. It should be noted that not all of the opera came from the pen of Mozart, which has often been the reason for

its neglect. It concerns solely the secco recitatives, which Mozart delegated to a pupil – most probably Franz Xaver Süssmayr (who later contributed to the completion of Requiem). These recitatives admirably fulfil their role, but more importantly – they were accepted by Mozart. The two most prominently featured roles in The Clemency of Titus are those of Vitellia, performed at the time by the soprano Maria Marchetti-Fantozzi, and Sesto written for eminent castrato, Domenico Bedini. Both of the protagonists were also assigned particularly beautiful arias accompanied by a concertante instrument – in the case of Sesto it is the aria Parto, parto with clarinet while in that of Vitellia – the Non più di fiori aria with a basset horn part. Both instrumental parts were performed by Mozart’s friend, Anton Stadler from Vienna who received a tremendous ovation (a short time later the composer managed to write for him the superb Clarinet Concerto). Mozart handles the opera’s dramaturgy with superlative intuition, by suitably arranging the dramatic climaxes with reference to the accompagnato recitatives (namely with orchestral accompaniment) where the protagonists, confused by conflicting emotions are forced to make difficult decisions. In Act I this occurs in the case of Sesto who has to choose between his love for Vitellia and loyalty to his friend. Another three such recitatives take place in Act II. First in the scene of Tito’s disbelief in Sesto’s treachery where he vacillates between punishing and pardoning him; secondly performed by Vitellia – the opera’s spiritus movens, who when moved by Sesto’s fidelity abandons her ambitions and admits her guilt; finally in the last recitative assigned to Tito, who though betrayed by his friend and his betrothed decides to show his magnanimity and grant clemency to the offenders. The premiere of The Clemency of Titus enjoyed only moderate success with the public, and the Empress’ dismissal of the work went down in history as a ‘porcheria tedesca’ (‘German muck’). However this was not on account of Mozart’s music but rather the work’s ideological message, which to an absolute monarch smacked of revolution. As far as public reaction is concerned, it was understandable, since the performers were not fully conversant with their parts. Be that as it may, the work grew in popularity and its last performance on 30 September was a resounding success. Considering it was also the day of The Magic Flute’s premiere, Mozart therefore was relying on reports from friends when he wrote from Vienna to his wife, who was taking the cure in Baden: ‘It is most strange that on the day my new opera premiered to huge applause, that same evening in Prague my Titus was performed for the last time to equally extraordinary applause.’

Mozart found this opera seria libretto somewhat old-fashioned. In cooperation with the composer, Mazzolà created a new libretto: he abridged the work to two acts, limited the number of arias and introduced a series of ensembles – duets, trios and in the act finales a quintet and sextet with chorus. The static form of the ABA aria was also abandoned. This reshaped relationships between the protagonists by highlighting their forceful psychological motivations and generating active dramatic action. As a gesture of admiration for his collaborator, Mozart was proud to include Clemency in his personal catalogue of works as: ‘opera seria reworked into a true opera by Mr Mazzolà.’

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Synopsis Following Mozart’s death The Clemency of Titus became the most frequently staged of his operas. However, after 1825 it fell into oblivion where it remained until the second half of the 20th century, only in the last 30 years firmly establishing its position on the stage. At present, interest in the opera continues to grow not only on account of its musical qualities but also its ability to clearly reflect problems of the contemporary world. In his Brussels production, seen also in Warsaw, Ivo van Hove reveals a portrait of a ruler capable of sacrifice for the good of his nation, seeing in him ‘a lighthouse for future political leaders of the 21st century’.

The premiere of The Clemency of Titus enjoyed only moderate success with the public, and the Empress’ dismissal of the work went down in history as a ‘porcheria tedesca’ (‘German swinishness’). However this was not on account of Mozart’s music but rather the work’s ideological message, which to an absolute monarch smacked of revolution. As far as public reaction is concerned, it was understandable, since the performers were not fully conversant with their parts. Be that as it may, the work grew in popularity and its last performance on 30 September was a resounding success.

This year Peter Sellars produced his own vision of The Clemency of Titus for the opening of the Salzburg Festival together with soloists and chorus conducted by Teodor Currentzis. The director staged the work in a modern context of actual situations posing the questions: ‘How can we live together in times of growing conflict?’ ‘How do we make gestures of forgiveness and reconciliation in times of anger and hate?’ Hence in this ‘occasional’ opera it is still possible to seek answers to questions posed by the contemporary world.

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Act I Vitellia, daughter of the deposed Roman Emperor, wants to regain the throne and hopes to marry the incumbent Emperor Titus. The latter however intends to take as his wife the Judean princess Berenice. The rejected Vitellia wants revenge and plots to kill Titus. To this end she plans to use Sesto, who is madly in love with her. He is prepared to do anything she asks including assassinating the Emperor despite their close friendship. Sesto’s friend Annio brings news that the Emperor has broken his engagement to Berenice and – bowing to the will of the people – intends to marry a Roman. On hearing this Vitellia puts off the assassination plot. Sesto agrees to give Annio his sister Servilia’s hand in marriage. Meanwhile the emperor announces that his choice of wife is... Servilia. The heartbroken Annio dares not to oppose the Emperor, however Servilia does by declaring her love for Annio. Titus praises her honesty and accepts their relationship. Vitellia, unaware of this turn of events, resumes her assassination plan. She is taken aback when Publio informs her that the Emperor has chosen her to be his wife. However, she is unable to stop the course of events – after a battle with his conscience Sesto succumbs to her wishes and assassinates Titus simultaneously setting fire to the Capitol. Act II Sesto confesses his crime to Annio. The latter consoles him by assuring him the Emperor is still alive. He advises him to admit everything to Titus in the hope he will be compassionate. The victim was someone else who survived and identified the culprit. Publio arrests Sesto. Vitellia’s only fear is that Sesto will implicate her as the inspiration behind the plot. Despite all the evidence, Titus cannot believe in his friend’s treachery. He decides to question Sesto, who unwilling to betray Vitellia takes all the blame upon himself. The Emperor struggles with his conscience but refrains from passing a verdict. Annio and Servilia hope Vitellia will intercede on their behalf. She however, seeing Sesto’s fidelity decides to confess that she alone is responsible for the plot. Bewildered, Titus pardons all the conspirators and the people praise his benevolence.

Biographies of artists and ensembles are provided in an alphabetical order on pages 170–215. 169

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Biographies

Giovanni Antonini

Biographies

Biography on page 26. La Morte della Ragione, 8.09, 9.09, 10.09, page 50, 60, 80 Telemann – Brockes-Passion, 15.09, 16.09, page 140, 162

Cyril Auvity

photo: Giulia Papetti

Accademia Bizantina Accademia Bizantina was founded in Ravenna in 1983 with the intention of ‘making music like a large quartet’. Then as now, the group is managed autonomously by its guardian members, guaranteeing the chamber music approach to their performances which has ever been their distinguishing feature. A number of prominent personalities in the musical world supported the orchestra’s development and growth, among them Jörg Demus, Carlo Chiarappa, Riccardo Muti and Luciano Berio. Over the years they have also enjoyed the collaboration of many fine musicians, among them Stefano Montanari who was an integral part of the orchestra for over 20 years. This has allowed the ensemble, which plays on period instruments, to become ever more specialised in 17th, 18th and 19th-century repertoire. Gradually the orchestra developed a distinguished voice by adopting its own interpretative style based on a common language and shared performance practice, reflecting the noblest tradition of Italian chamber music. In 1989 Ottavio Dantone joined the group as harpsichordist and in 1996 he was appointed musical and artistic director, guaranteeing the prestige and artistic quality of the ensemble. Under his expert guidance Accademia Bi zantina has merged philological research and an aesthetic approach to the interpretation of music from the Baroque period. Dantone’s competence, imagination and sophistication have united with the enthusiasm and artistic empathy of each member of the group, giving

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photo: artist’s collection

their interpretations the depth which makes them one of the most prestigious ensembles on the international musical scene today. In 1999 Accademia Bizantina performed their first staged opera, Giuseppe Sarti’s Giulio Sabino. The orchestra has gone on to specialise in the rediscovery and performance of Baroque operas, ranging from major works to operas which have never been performed in modern times. The ensemble performs in concerts halls and festivals worldwide. Their many recordings, most notably for Decca, Harmonia Mundi and Naïve, have won numerous awards including the Diapason d’Or, Midem and a Grammy Music Award nomination for Purcell’s O Solitude with Andreas Scholl. Of particular significance are their collaborations with violinists Viktoria Mullova and Giuliano Carmignola and with countertenor Andreas Scholl with whom they have had major international tours and recording projects (for Onyx, Deutsche Grammophon, Harmonia Mundi and Decca). Among the orchestra’s new productions scheduled for 2016 are Antonio Vivaldi’s L’incoronazione di Dario, Handel’s Alcina and Belshazzar and J.S. Bach’s The Art of Fugue. Die Kunst der Fuge, 8.09, 9.09, 10.09, page 40, 58, 78

Krystian Adam Krystian Adam, tenor, is much in demand for the 17th- and 18th-century repertoire. He works regularly with many of the most important conductors of the ‘historically informed performance’, such as John Eliot Gardiner, Giovanni Antonini, Jean-Christophe Spinosi, Teodor Currentzis, Stefano Monta nari, Andreas Spering, Werner Ehrhardt, Rinaldo Alessandrini, Václav Luks, Fabio Biondi, Fabio Bonizzoni, among others. After attending the first Accademia Monteverdiana in Castiglioncello, Krystian Adam starred as Orfeo in Monteverdi’s L’Orfeo and Vespers under the baton of John Eliot Gardiner on a US and European tour. Amongst his other recent engagements, it is worth mentioning: Mozart’s Great Mass in C Minor in Toulouse and Bordeaux with Raphaël Pichon; Le nozze di Figaro at the Covent Garden under Ivor Bolton; Idomeneo at the Teatro La Fenice in Venice under Jeffrey Tate; Die Zauberflöte in Liège under the baton of Paolo Arrivabeni; Bach’s Magnificat in Berlin with Rinaldo Alessandrini and Puccini’s La fanciulla del West (Joe) at Teatro alla Scala in Milan under Riccardo Chailly. Plans include: Le nozze di Figaro (Basilio) at the Dutch National Opera in Amsterdam; Adriana Lecouvreur (Abate di Chazeuil) at the Covent Garden in London and the Monteverdi’s L’Orfeo (title role) and Il ritorno d’Ulisse in patria (Telemaco) under the baton of John Eliot Gardiner on tour in Europe and US. Monteverdi – Il ritorno d’Ulisse in patria, 7/8.09, page 34

Cyril Auvity graduated in Physics at Lille’s University and completed his musical studies at the conservatory in Lille in 1999. He won the International Singing Competition in Clermont-Ferrand the same year. Chosen by William Christie, he started his career at a very young age, performing Telemaco in Monteverdi’s Il ritorno d’Ulisse in patria in Aix-en-Provence Festival and performed the role throughout Europe and the USA. He received numerous invitations to international festivals and opera houses taking parts in such works as Persée by Lully with Christophe Rousset; Cavalli’s La virtù dei strali d’Amore under the direction of Gabriel Garrido; Purcell’s The Fairy Queen with Christophe Rousset during a Spanish tour; Charpentier’s Médée in Toronto; Purcell’s Dido & Eneas at Nancy Opera House and at the Aldeburgh Festival; the title role in Charpentier’s Actéon with Emmanuelle Haïm. His long lasting collaboration with William Christie continued with new productions like Charpentier’s Les Arts Florissants and David & Jonathas (title role). He also debuted in the title role in Rameau’s Pygmalion in a co-production between Nancy Opera House and Théâtre du Châtelet under the baton of Hervé Niquet as well as in a new production of Destouches’s Callirhoé in Montpellier. He took part in a big tour with Gounod’s Le Médecin malgré lui and debuted as Don Ottavio in Mozart’s Don Giovanni with Emmanuel Krivine; he performed the same role in a stage production in Montpellier, where he also sang Tamino in The Magic Flute. In Lille’s Opera he sang Basilio in Mozart’s Le nozze di Figaro with Emmanuelle Haïm and Le Concert d’Astrée. Some of his recent projects have been: Handel’s Partenope in several theaters in Italy, with Ottavio Dantone; Telemaco in Monteverdi’s Il ritorno d’Ulisse in Madrid Teatro Real with William Christie; Lully’s Thésée in Paris and in Lille with Emmanuelle Haïm; Lully’s Amadis (title role) in Avignon and Massy; King Arthur by Purcell under the baton of Joël Suhubiette; role of Pan in Cavalli’s La Calisto at the Théâtre des Champs-Élysées with Christophe Rousset and Morphée in Lully’s Atys under the baton of William Christie; a new production of Cavalli’s Egisto at the

photo: Philippe Matsas

Opéra Comique with Vincent Dumestre; Pastore in the Orfeo production in Theater an der Wien with Ivor Bolton; Rameau’s Les Indes galantes in Toulouse Capitole conducted by Christophe Rousset, Monostatos in The Magic Flute by Mozart in Bordeaux opera; Acis and Galatea with Leonardo García Alarcón in Amsterdam Concertgebouw and scenic production with Damien Guillon. Cyril Auvity has recorded for several major labels like Erato, Naïve, EMI/Virgin, Zig-Zag Territoires, among them we cite the recent recording of the title role in Lully’s Bellérophon and Amadis with Christophe Rousset. He has released for Zig-Zag Territoires a CD intitled Orphée with masterpieces of Rameau, Clérambault etc. and later a CD dedicated to Bononcini and last released for Glossa intitled Stances du Cid has been awarded Diapason d’Or. Recent and forthcoming engagements include: Rameau’s Platée (Tespis, Mercure) in Stuttgart, another production with William Christie in Theater an der Wien, Opéra Comique in Paris, Capitole in Toulouse; a tour of Mondonville’s & Rameau’s Grands Motets with William Christie; new production of Campra’s Les fêtes vénitiennes at Opéra Comique with William Christie; stage version of Acis and Galatea (title role) with Damien Guillon; Rameau’s Les Indes galantes (Valère, Tacmas) at the Bayerische Staatsoper with Ivor Bolton; Charpentier’s Actéon (title role) with Les Talens Lyriques; Orfeo (title role) with Les Arts Florissants; Marin Marais’ Alcione (Ceix) with Jordi Savall at Opéra Comique and Madrid. Cyril Auvity has found an ensemble L’Yriade to explore the repertoire of Cantatas. Stabat Mater, 13.09, 14.09, page 100, 130

photo: artist’s collection

Francesca Biliotti Francesca Biliotti, contralto, graduated from the Università Bocconi in Milan (2004) and the Conservatorio ‘Guido Cantelli’ in Novara under the supervision of Silvana Manga. She took part in a training program, under the guidance of Lella Cuberli and Renato Bruson. On this course she performed in several concerts and sung the lead role in the contemporary opera Euridice e Orfeo by Scappucci. She has received various prizes, including: 1st prize at the Canto Barocco section of the Opera Rinata singing competition in 2009, she was also a finalist at the 5th Ravello 'Città della Musica' international singing competition. In 2012 she was the winner at the ‘Francesco Albanese’ competition. Also in 2012 she was the winner of ‘Best Mezzo-Soprano’ at the 'Franca Mattiucci' competition in Asti. Her recent performances include: a recital of cantatas by Vivaldi and Benedetto Marcello (Tuscia Operafestival); Maddalena in Verdi’s Rigoletto (Brescia); soloist in Vivaldi’s Dixit Dominus with the Moscow Soloists, conductor Yuri Bashmet (Festival in Yaroslavl, Russia); Isabella in Rossini’s L’Italiana in Algeri and Angelina in La Cenerentola (Teatro Nuova Turin); Gluck’s Orfeo ed Euridice (title role, Teatro Olimpico, Vincenza). She has also performed as a soloist in Bach’s St Matthew Passion, Mozart’s Requiem and Handel’s Messiah. Monteverdi – Il ritorno d’Ulisse in patria, 7/8.09, page 34

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Biographies In November 2014 she participated in the stage production Orfeo Chamán with L’Arpeggiata in Bogotá. Hana Blažíková appears on more than 30 CDs, including the well known series of Bach´s cantatas with Bach Collegium Japan. The artist also plays gothic and romanesque harp and presents concerts in which she accompanies herself on this instrument. She is also a member of Tiburtina Ensemble, which specialises in the Gregorian chant and early medieval polyphony. Monteverdi – Il ritorno d’Ulisse in patria, 7/8.09, page 34

photo: Vojtěch Havlík

Hana Blažíková Hana Blažíková, soprano. As a child she sung in a children choir Radost Praha and played violin. Later she turned to solo singing. In 2002 she graduated from the Prague Conservatory in the class of Jiří Kotouč and later she undertook further study with Poppy Holden, Peter Kooij, Monika Mauch, and Howard Crook. Today she specialises in the interpretation of Baroque, Renaissance and Medieval music, performing with ensembles and orchestras around the world, including Collegium Vocale Gent, Bach Collegium Japan, Sette Voci, Amsterdam Baroque Orchestra, L’Arpeggiata, Gli Angeli Genève, La Fenice, The Netherlands Bach Society, Tafelmusik, Collegium 1704, Collegium Marianum, Musica Florea, L’Armonia Sonora, among others. Hana Blažíková has performed at many world festivals, including Edinburgh International Festival, Oude Muziek Utrecht, Tage Alter Musik Regensburg, Resonanzen, Festival de Sablé, Festival de La Chaise-Dieu, Hong Kong Arts Festival, Chopin and his Europe, Bachfest Leipzig, Concentus Moraviae, Summer Festivities of Early Music, and Festival de Saintes. In 2010 and 2013 she took part in a worldly highly praised tour with Bach’s St Matthew Passion under the direction of Philippe Herreweghe and in 2011 she made her debut in Carnegie Hall with Masaaki Suzuki’s Bach Collegium Japan. She also sang a soprano part of St John Passion with Boston Symphony Orchestra during the Easter period of 2011.

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photo: Marco Borggreve

Samuel Boden British tenor Samuel Boden studied singing with John Wakefield at Trinity Laban Conservatoire of Music and Dance graduating with First Class Honours. Opera engagements include the title role of Cavalli’s L’Ormindo for the Royal Opera at the Sam Wanamaker Playhouse, Orphée in Gluck’s Orphée et Euridyce with Nationale Reisopera, Purcell’s The Fairy Queen for Theater St Gallen and Glyndebourne; Anfinomo in Monteverdi’s Il ritorno d’Ulisse in patria for English National Opera at the Young Vic and Prologue and Quint in Britten’s The Turn of the Screw with The Koenig Ensemble in Mexico. He has sung Charpentier’s Actéon for Opéra de Dijon and Opéra de Lille and Hippolyte in Rameau’s Hippolyte et Aricie

in concert with Ensemble Pygmalion and Raphaël Pichon; Abaris in Les Boréades by Rameau in concert at the Aix-en-Provence Festival and Damon in Handel’s Acis & Galatea in the Salzburg Mozart Week with Les Musiciens du Louvre and Marc Minkowski; Castor in Rameau’s Castor et Pollux with the Early Opera Company under Christian Curnyn and Purcell’s The Indian Queen at Opéra Théâtre de Métropole, Metz. On the concert platform Samuel Boden has appeared with many highly-regarded period ensembles as well as symphony and chamber orchestras: Bavarian Radio Symphony Orchestra under Giovanni Antonini; Gabrieli Consort and Paul McCreesh; Ex Cathedra and Jeffrey Skidmore; the Royal Northern Sinfonia and Thomas Zehetmair; Scottish Chamber Orchestra and Harry Bicket; Kristiansand Symphony Orchestra and Nicholas Kraemer; Les Arts Florissants under William Christie and Jonathan Cohen; BBC Symphony Orchestra and Andrew Davis, John Storgards, Sakari Oramo and Giancarlo Guerrero; Frankfurt Radio Orchestra under Emmanuelle Haïm; Collegium Vocale Gent and Philippe Herreweghe; Wiener Akademie and Martin Haselböck. In current recital programmes he performs lute song repertoire with Paula Chateauneuf and Britten, Fauré, Debussy and Hahn with Iris Torossian, harp. Samuel Boden’s growing discography includes Berlioz’ Roméo et Juliette with the BBC Symphony Orchestra and Andrew Davis and discs of Monteverdi, Charpentier, Daniel Purcell, Rameau, Bach alongside Tansy Davies and Alec Roth on Hyperion, Erato, Archiv, Chandos/OAE Released, Nimbus Alliance, Resonus Classics, NMC Recordings and Signum Classics. Samuel Boden’s current season’s engagements include Britten with the Salzburg Camerata and Teodor Currentzis, Bach with the Rotterdam Philharmonic Orchestra and Nathalie Stutzmann and title role in Rameau’s Pigmalion with Pinchgut Opera Sydney. Further ahead he sings Telemaco in Il ritorno d’Ulisse in patria at the Roundhouse for the Royal Opera and he will create a role in George Benjamin’s Lessons in Love and Violence at the Royal Opera House, Covent Garden followed by performances in Amsterdam, Hamburg, Lyon and Paris. Telemann – Brockes-Passion, 15.09, 16.09, page 140, 162

photo: Maria Bonaszewska

Mariusz Bonaszewski Mariusz Bonaszewski is an outstanding Polish actor active in theatre, film, television and radio. He graduated from the State Superior Theatre School in Warsaw. From 1988–1997 he had tenure at the Teatr Dramatyczny in Warsaw, where he played in productions directed by Maciej Prus, Andrzej Domalik and Piotr Cieślak. He has also acted in plays directed by Jerzy Jarocki (roles in Płatonow – akt pominięty, Historia PRL wg Mrożka, Błądzenie, Kosmos, Miłość na Krymie, Sprawa based on Samuel Zborowski), and by Krzysztof Warlikowski (Elektra, Oczyszczeni and Francuzi). Since 1997, Mariusz Bonaszewski has worked at the National Theatre in Warsaw, appearing in performances directed by Jerzy Grzegorzewski (Noc listopadowa, Wesele, Nowy Bloomusalem, Nie-Boska komedia), Janusz Wiśniewski (Richard II), Agnieszka Olsten (Nora, Othello), Stanisław Różewicz (Stara kobieta wysiaduje), Andrzej Domalik (Terminal 7), Natalia Korczakowska (Natan mędrzec), Konstantin Bogomołow (Lód), Michał Zadar (Zbójcy), and Paweł Miśkiewicz (Idiot). His film roles include appearances in Jerzy Zalewski’s Gnoje, Wiesław Saniewski’s Deszczowy żołnierz, Barbara Sass’ Jak narkotyk, Radosław Markiewicz’s Metanoia, Piotr Dumała’s Las and Ederly, Jan Jakub Kolski’s Wenecja, Paweł Sala’s Matka Teresa od kotów, Adrian Panek’s Daas, and Władysław Pasikowski’s Jack Strong. On TV screen he has appeared, among others, in dramas directed by Maciej Prus (Aktor, Edward II, Wyzwolenie), Andrzej Wajda (Bigda idzie!), Stanisław Różewicz (Dragon), Jan Englert (Beatryks Cenci, Julius Ceasar), and

Magdalena Piekorz (Techniki negocjacyjne). He is also well-known for numerous roles in various TV series, such as Sława i chwała, Marszałek Piłsudski, Glina, Krew z krwi, Bodo and Pakt, among others. His radio play record includes 100 roles. Mariusz Bonaszewski has been honoured with several awards, such as the Aleksander Zelwerowicz Award of Teatr monthly (twice) for his roles at the National Theatre in plays directed by Jerzy Jarocki (Witold II in Błądzenie an Lucyfer/Bukary/Adwokat in Sprawa), and Warsaw Feliks (also for Sprawa). Several times, he has been a prize-winner at the Festival of Polish Radio and Television Theatre ‘Two Theatres’, and is also a recipient of the Great Splendour. His other honours include the Silver Cross of Merit (2005), the Bronze Medal for Merit to Polish Culture – Gloria Artis (2013) and the Gold Cross of Merit (2017). Phantoms, 12.09, page 90

She works with prestigious baroque ensembles, such as Les Arts Florissants, Collegium Vocale Gent, Modo Antiquo, La Venexiana, Accademia Bizantina, De Labyrintho and Cappella della Pietà dei Turchini, and with conductors including Claudio Cavina, Federico Sardelli, Walter Testolin, Antonio Florio, Ottavio Dantone, Paul Agnew, William Christie, and Philippe Herreweghe. She has been a permanent member of the ensemble Rosso Porpora since 2013. Francesca Boncompagni has sung in some of the most important concert halls in the world, such as Palazzetto Bru Zane in Venice, Tonhalle in Zurich, Salle Pleyel, Cité de la Musique and Théâtre des Champs-Élysées in Paris, Alte Oper in Frankfurt, Bunka Kaikan and Opera City in Tokyo, Philarmonie in Berlin, Lincoln Center in New York. She has recorded for Pentatone, PHI, Virgin Classics, Brilliant Classics, France Musique, Stradivarius, and Deutsche Harmonia Mundi. Among her recent engagements we underline a production of L’Orfeo and Vespro della Beata Vergine by Monteverdi conducted by John Eliot Gardiner with performances in the USA, London and Versailles. Next year she will be involved in a worldwide tour with Monteverdi’s Trilogy conducted by Maestro Gardiner. Monteverdi – Il ritorno d’Ulisse in patria, 7/8.09, page 34

photo: Gianandrea Uggetti

Francesca Boncompagni Francesca Boncompagni, soprano, graduated in violin with distinction in 2005 from the ‘R. Franci’ Conservatoire in Siena. In the same year she began her formal vocal training with Donatella Debolini. She also studied with Lia Serafini, Jill Feldman, Sara Mingardo, and Alessio Tosi. In 2007 she attended William Christie’s Le Jardin des Voix Academy, and took part in the documentary Baroque Académie (Channel France 3). She is now attending the AVES (Advanced Vocal Ensemble Studies) with Evelyn Tubb and Anthony Rooley at the Schola Cantorum Basiliensis in Basel. In 2008 she won 1st prize in the ‘Francesco Provenzale’ International Baroque Singing Competition in Naples.

photo: Mikołaj Świderski

Jarosław Bręk Jarosław Bręk is a celebrated soloist and singing teacher who has performed extensively across the stages of Europe and internationally. From a young age, he was a member of the Poznań Nightingales choir lead by Stefan Stuligrosz, before graduating

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Biographies from the Warsaw Academy of Music after studying under Jerzy Artysz. Bręk was awarded a Magna Cum Laude university medal for his outstanding artistic achievements. He has collaborated with over 110 orchestras and 160 choirs from around the world, including the Berliner Philharmoniker, Hamburger Symphoniker, BBC Concert Orchestra, Orquesta Sinfónica del Principado de Asturias, Real Filharmonía de Galicia, Sinfonia Varsovia, Neue Düsseldorfer Hofmusik. Jarosław Bręk has premiered works by Bruzdowicz, Kilar, Knittel, Kurylewicz, Paweł Łukaszewski, Ptaszyńska, Twardowski. Over the course of the career he has performed over 20 operatic parts and over 120 oratorios, including Mahler’s Symphony No. 8 and Des Knaben Wunderhorn, Verdi’s Requiem, Beethoven’s Symphony No. 9, Dvořák’s Requiem or Brahms’ Ein deutsches Requiem. His performances are met with acclaim and Bręk has received ovations from the audiences in Paris, London, Berlin, Brussels, Rome, Barcelona, Valencia, Hamburg, Zurich, Düsseldorf, Graz, Jerusalem, Brno, Saint Petersburg, Lviv, Tokyo, Yokohama, Hiroshima, and Osaka. Bręk has performed under the baton of renowned conductors, including Tomasz Bugaj, Kai Bumann, Agnieszka Duczmal, Edward Higginbottom, Jacek Kaspszyk, Jerzy Katlewicz, Igor Łacanycz, Jerzy Maksymiuk, Wojciech Michniewski, Michel Plasson, Pascal Rophé, Antoni Ros-Marbà, Tadeusz Strugała, Antoni Wit, and Alberto Zedda; and alongside other leading singers including Ewa Podleś, Krystyna Szostek-Radkowa, Ryszard Karczykowski, Izabela Kłosińska, Rockwell Blake, and Charles Daniels. He is a regular performer at leading festivals such as Easter at King’s College Cambridge, Wratislavia Cantans, Warszawska Jesień, the Al Bustan Festival in Beirut, and the Ludwig van Beethoven Easter Festival. Bręk is especially known for his lieder recitals, which he has performed at Gran Teatre del Liceu in Barcelona, the Witold Lutosławski Concert Studio in Warsaw, the Royal Castle in Warsaw and Chełmoński Room at the Cracow Cloth Hall. He has appeared on stage at the Palau de la Música de Valencia, Tokyo Bunka Kaikan, Kyoto Concert Hall, Muzeul National George Enescu in Bucharest, Tonhalle in Zurich. Together with Teresa Żylis-Gara he performed in Monte Carlo for Prince Albert,

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and he sang at Notre-Dame Cathedral in Paris during the concert inaugurating the Polish Year in France. He is a decorated performer and has received numerous awards at singing competitions in Barcelona, Vercelli and Lisbon; as well as the Silver Cross of Merit, a Badge of Honour for Merit to Polish Culture, a Badge of Honour for the contributions to the Wielkopolskie Province and two nominations for the Passport Award of Polityka weekly. Bręk has made numerous archival recordings, as well as over 30 albums, many of which have received Fryderyk and Złoty Orfeusz awards. His recording of Stabat Mater by Szymanow ski (Naxos, 2009) was nominated for the Grammy Awards. Jarosław Bręk teaches singing at the Music Academy in Poznań, where he counts many current and former students among the winners of national and international singing competitions. He is the artistic director of the Letnie Spotkania Kameralne (Summer Chamber Encounters) festival in Drezdenko. Moniuszko – Phantoms, 12.09, page 90

photo: artist's collection

Florissants)‚ King Bobèche in Offenbach’s Bluebeard (Grange Park Opera)‚ Snout in Britten’s A Midsummer Night’s Dream (ENO), L’Incredibile in Giordano’s Andrea Chénier‚ Fiorello in Rossini’s Il Barbiere di Siviglia and Hadji in Delibes’ Lakmè (Opera Holland Park), and the world premieres of both Family Matters for Tête à Tête Opera and Stephen Barlow’s King – a Cathedral Opera‚ as Henry II‚ in Canterbury Cathedral. Monteverdi – Il ritorno d’Ulisse in patria, 7/8.09, page 34

Gianluca Buratto Gianluca Buratto, singer of a noble and round voice, is rapidly establishing himself as one of most versatile basses of his generation. His recent engagements include: Bach’s B-Minor Mass with Jordi Savall in Madrid and Barcelona, both Mozart and Jommelli’s La Betulia liberata with Riccardo Muti in Salzburg, Ravenna and Wrocław under Corrado Rovaris; Bach’s Johannes-Passion with Eduardo López-Banzo in Spain and Germany; Macbeth by Verdi at the Salzburg Festival, Rome and Chicago with Riccardo Muti then at La Scala in Milan; Mozart’s Le nozze di Figaro in Barcelona with Christophe Rousset; La Bohème by Puccini with Riccardo Chailly and I due Foscari by Verdi in Valencia; Rota’s Mysterium at the Vatican City, in Naples, Bari and in Milan (concert and recording) with La Verdi Orchestra; Verdi’s Rigoletto in Genoa under Fabio Luisi and in Bogotà; Handel’s Rinaldo and Admeto in Vienna; Monteverdi’s L’Orfeo with Christophe Rousset and Les Talens Lyriques in Nancy and Paris; La Bohème in Rome, Palermo and Amsterdam; I Puritani by Bellini in Florence; Rigoletto at the Sferisterio Opera Festival in Macerata; Le duc d’Albe by Donizetti in London for Opera Rara; Verdi’s Requiem in Manchester under Mark Elder. He had just starred in Monteverdi’s L’Orfeo and Vespers on US tour, at the Wigmore Hall in London and in Versailles under the baton of Sir John Eliot Gardiner; Mascagni’s Guglielmo Ratcliff at the Wexford Festival Opera, Francesco Cilluffo conducting; sung Sarastro in Mozart’s Die Zauberflöte in Liège under the baton of Paolo Arrivabeni; gave a solo recital at the Wigmore Hall in London. Gianluca Buratto’s plans include: Verdi’s I due Foscari in Amsterdam; Faccio’s Amleto and Puccini’s Turandot at the Bregenzer Festspiele; Rossini’s Semiramide in London for Opera Rara; La Bohème at the Opera in Florence; Berlioz’ Roméo et Juliette in Beirut; Mozart’s Le nozze di Figaro in Zurich and Don Giovanni in Bilbao. Monteverdi – Il ritorno d’Ulisse in patria, 7/8.09, page 34

photo: artist's collection

Robert Burt Robert Burt studied at the Guildhall School of Music and Drama. His career has taken him to opera houses and concert halls around the world. He is most associated with the role of Iro in Monteverdi’s Il ritorno d’Ulisse in patria, which he has sung for Chicago Opera Theater‚ Opera North‚ Deutsche Oper am Rhein‚ Grand Théâtre de Genève‚ Teatro Real de Madrid, Aix-enProvence, New York and on DVD‚ conducted by William Christie, with whom he has also worked on Cesti’s Il Tito (Strasbourg) and Purcell’s The Fairy Queen (Glyndebourne). Recent and future plans include Dancing Master in Puccini’s Manon Lescaut (Royal Opera House)‚ Pirelli in Sondheim’s Sweeney Todd (Adelphi Theatre‚ London)‚ Mopsa & Flute in The Fairy Queen by Purcell (Glyndebourne under Laurence Cummings), Arnalta in Monteverdi’s L’incoronazione di Poppea (Montpellier)‚ Evangelist in Bach’s St John Passion and Beadle in Sweeney Todd (Reisopera)‚ Red Queen in Todd’s Alice in Wonderland‚ Dr Blind in Strauss’ Die Fledermaus, Goro in Puccini’s Madama Butterfly and Biaso in Wolf-Ferrari’s I gioielli della Madonna (Opera Holland Park), Goro (RTÉ Concert Orchestra) and Mr Fiorentino in Weill’s Street Scene (London‚ Paris and Barcelona). Further engagements include Pirelli (Chichester Festival Theatre)‚ Evangelist in a staged St John Passion (Reisopera)‚ Kittywake/ Landlord in Taylor’s Ludd & Isis (Royal Opera House)‚ Arnalta in Madrid‚ Mopsa/Flute in The Fairy Queen (Paris‚ Caen and New York with William Christie and Les Arts

photo: Tomasz Szus

Jerzy Butryn Jerzy Butryn (bass-baritone) graduated from the Academy of Music in Wrocław, where he studied with Bogdan Makal (diploma with distinction). He held a scholarship of the Erasmus programme at the Hochschule für Musik Detmold, where he studied with Lars

Woldt. At present he is a doctoral student at the Voice Department of the Academy of Music in Wrocław. He has received a scholarship of the Minister of Culture and National Heritage. He participated in vocal workshops in Duszniki-Zdrój, an Oratorio and Cantata Music Interpretation Course (Wratislavia Cantans), in master classes run by Teresa Żylis-Gara, Andrzej Dobber, Anita Garanča, Valery Buymister, Sabina Martinaitytė, and Zdzisław Krzywicki. Jerzy Butryn has participated in the Young Talent Training Programme – Opera Academy, part of the European Network of Opera Academies at the Teatr Wielki – Polish National Opera in Warsaw. A prize-winner at numerous competitions, a.o. the 2nd prize at the International Vocal Competition in Kiev (Ukraine) and the 3rd prize and a special prize at the International Vocal Competition in Kaunas (Lithuania). Jerzy Butryn has performed at the philharmonic halls of Kieler Schloss, Warsaw, Wrocław, Łódź, Kraków, Jelenia Góra, Rzeszów, Częstochowa, and Kalisz, at the BBC Proms in London (Royal Albert Hall), during the Schleswig-Holstein Musik Festival in Kiel, Wratislavia Cantans, Leo Festival in Wrocław and the Moniuszko Festival in Kudowa-Zdrój. His collaborators include Paul McCreesh, Łukasz Borowicz, Ruben Silva, Tadeusz Wojciechowski, Benjamin Bayl, Stanisław Gałoński, Jerzy Salwarowski, Włodzimierz Szymański, Przemysław Stanisławski, Roberto Skolmowski, and Ernst Kovacic. He is a founding member of Collegium Zieleński, with which he has recorded Offertoria and Communiones by Mikołaj Zieleński (Opera Omnia), awarded the Gold Orpheus of Académie du Disque Lyrique in France and a Fryderyk Award in the Early Music category. The artist also collaborates with early music ensembles Capella Cracoviensis, Cappella Viridimontana, Collegio di Musica Sacra, as well as appearing at the Wrocław Puppet Theatre and with the NFM Choir. With the latter, he has performed numerous concerts in Poland and internationally, as well as participating in recording Berlioz’ Grande Messe des Morts, Mendelssohn’s Elijah (Diapason d’Or de l’année) and Britten’s War Requiem (BBC Music Magazine Award in the Choral Recording of the Year category). Jerzy Butryn has given numerous concerts in Poland and abroad, performing oratorios, operas, songs and orthodox church music. Moniuszko – Phantoms, 12.09, page 90

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Biographies The Choir has greatly contributed to the popularisation of Krzysztof Penderecki's music. A brilliant performance of the musically and linguistically difficult Utrenja has become the ensemble’s showpiece rendition, and the recording of St Luke Passion was awarded with the Grand Prix du Disque. A precious token of the long-standing co-operation with the composer is the dedication to the Kraków Philharmonic Choir included in the first edition of Penderecki’s Stabat Mater. Since 2009, the position of Choirmaster has been held by Teresa Majka-Pacanek.

photo: Klaudyna Schubert

Choir of the Karol Szymanowski Philharmonic in Kraków The Kraków Philharmonic Choir started its activity in 1945 and in 1950 it received the status of a professional ensemble. In 1951, the Choir won the 1st award at the 1st Festival of Polish Music in Warsaw, and has been highly esteemed ever since, presenting a rich repertoire with oratorio and a cappella pieces, from the 17th-century to contemporary music. The Choir has participated in numerous famous Polish festivals (including Wratislavia Cantans, Warsaw Autumn, Gaude Mater in Częstochowa) and festivals held abroad (including Festival de La Chaise-Dieu, Sagra Musicale Umbra, Maggio Musicale Fiorentino, Edinburgh Festival, Flanders Festival, Biennale in Venice, Festival Gulbenkian de Música, Baalbeck International Festival, Festival d’Art Sacré de Paris, Internationales Brucknerfest Linz, Festival Europäischer Musik, Festival Berlioz). Since its very first edition, the Choir has been involved in the Ludwig van Beethoven Easter Festival. During its numerous tours, the Choir has performed almost all over Europe, as well as in Iran, Canada, Lebanon, Turkey, the United States, and in the countries of the former Soviet Union. The Choir was the first Polish ensemble to perform in La Scala in Milan. The Choir has accompanied many European orchestras, including: Wiener Symphoniker, Beethoven Orchester Bonn, Orchestre Symphonique de la Radio-Télévision Belge, Orchestra Sinfonica della Radiotelevisione Italiana di Roma, Orchestra dell’Accademia Nazionale di Santa Cecilia Roma, Orchestra dell’Emilia-Romagna ‘Arturo Toscanini’ Parma, Orchestra Sinfonica Siciliana di Palermo, Staatskapelle Dresden, Rundfunk-Sinfonieorchester Berlin, Rotterdam Philharmonic Orchestra, Orchestre Philharmonique du Montpellier, Stockholm Philharmonic Orchestra, Limburgs Symfonie Orkest Maastricht. The Kraków Philharmonic Choir participated in great international events, such as the celebration of the 10th anniversary of the pontificate of John Paul II, the Berlin concert commemorating the Unification of Germany (1990), celebration of the 50th anniversary of the liberation of the AuschwitzBirkenau concentration camp in 1995, and the 2004 Concert of Reconciliation in Vatican. On 27 April 2014, the Choir performed during the Canonization Mass of Popes John XXIII and John Paul II, and on 5 May 2014, the ensemble participated in a special concert entitled Peace through Music ‘In Our Age’, which was a musical tribute paid to the canonised Popes. The concert, held at the Constitution Hall in Washington, was conducted by Gilbert Levine, often referred to as the ‘Pope’s maestro’, due to his close cooperation and friendship with John Paul II. Apart from monumental oratorio works, the Choir’s repertoire includes operas (ranging from Mozart’s operatic works to Penderecki’s The Black Mask) as well as popular music pieces (Missa criolla by Ariel Ramírez, Liverpool Oratorio by Paul McCartney, Requiem by Andrew Lloyd Webber, and Trionfi by Carl Orff).

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Choir of the Karol Szymanowski Philharmonic in Kraków: Katarzyna Cieciora, Bernarda Grembowiec, Katarzyna Guran, Monika Janda, Beata Karczmiarz-Kulka, Urszula Karton, Gabriela Klimiec, Anna Kolankowska, Małgorzata Kopeć, Elżbieta Kupiec, Dorota Mentel, Lidia Michalik, Ewa Moniuk, Barbara Mroczek, Izabela Pohorecka, Beata Rolecka, Klaudia Romek, Joanna Skwara, Jadwiga StanekWojciechowska, Ludmiła Staroń, Joanna Stawarska, Małgorzata Such, Magdalena Szewczyk, Lucyna Szramik, Kinga Świerkosz, Katarzyna Wajrak, Anna Zawisza – sopranos Izabela Bartyzel, Anna Bober, Miranda Gołębiowska-Exner, Iwona Gulińska, Agnieszka Ignaszewska-Magiera, Aleksandra Kalicka, Agata Krawczyńska, Beata Król, Elżbieta Król-Dryja, Dobromiła Lebiecka, Bernadetta Mikuliszak, Halina Niewiadomska, Kamila Paciorkowska, Małgorzata Plewniak, Matylda Staśto-Kotuła, Iwona Sułkowska-Kozłowska, Ilona Szczepańska, Sylwia Szczerba, Bogumiła Szlagor, Barbara Szwed-Kolata, Joanna Święszek, Zofia Wengrynowicz-Perun, Małgorzata Winiarska – altos Sławomir Biedroń, Sławomir Biernat, Bartłomiej Chorąży, Lesław Chorąży, Igor Czuchraj, Dominik Czernik, Józef Dwojak, Paweł Fundament, Tomasz Guliński, Jarosław Hemzaczek, Maciej Kozłowski, Tomasz Rogoziński, Edward Walecki, Błażej Wiliński, Arkadiusz Wroński, Jacek Ziobro – tenors Kamil Barczewski, Krzysztof Barczewski, Piotr Brajner, Paweł Dachowski, Maciej Drużkowski, Stanisław Drużkowski, Łukasz Dziuba, Paweł Kowal, Eryk Lasota, Jerzy Łysiński, Janusz Monasterski, Bartłomiej Pollak, Marek Półtorak (Choir Inspector), Paweł Szarpak, Wojciech Tabiś, Krzysztof Wolny, Marcin Wróbel – basses Monika Płachta – accompanist Et exspecto resurrectionem, 11.09, page 92

photo: artist's collection

photo: Alessandro Addis

Mariola Cierpioł

Cuncordu de Orosei

Mariola Cierpioł (mezzo-soprano) is a student of the Academy of Music in Wrocław, in Agata Młynarska-Klonowska’s class. Already during the first year of her studies, she begun collaboration with the Polish Opera company, with which she has appeared in Europe’s most famous opera theatres. The artist has got to the finals and won prizes as several vocal competitions, among others the International Competition Študentská umelecká činnosť – ŠUČ in Ružomberok (Slovakia) and the 3rd National Krystyna Jamroz Competition. In 2016, she debuted at the 3rd Summer Opera Festival in the role of Mercedes in Bizet’s Carmen. Her repertoire includes numerous opera parts, such as Olga (Tchaikovsky’s Evgeny Onegin), Marcellina (Mozart’s Le nozze di Figaro), Ulisses (Handel’s Deidamia), Marina (Mussorgsky’s Boris Godunov), Mother, Dragonfly, Broken China Cup (Ravel’s L’enfant et les sortilèges). The oratorio and cantata repertoire is an important part of the young singer’s activity. She sung in such works as Rossini’s Stabat Mater, Krogulski’s Miserere, Mozart’s Requiem and Pergolesi’s Stabat Mater. Moniuszko – Phantoms, 12.09, page 90

The Cuncordu de Orosei undoubtedly occupies a prominent position in the vast panorama of sacred music in Sardinia, also thanks to the presence of vocal peculiarities in its repertory. The group was formed in 1978 and currently consists of Martino Corimbi, cronta; Tore Mula and Giovanni Rosu, voche: Franco Sannai, bassu and Paolo Burrai, mesu voche, the youngest member of the group. The Cuncordu has taken part in many traditional singing festivals, in numerous Italian and European cities, invariably be favourably received both by the critics and the public. Amongst our main achievements, I would like to mention the Festival de Musique Sacrée in Paris and also Angoulême, Rennes, Briançon, Toulouse, Marseilles, Aix-enProvence, Tarbes, Rouen, Tours, Solesmes, Nantes, Vienna, Fundão and Prague just to mention the more recent; and then Munich, Frankfurt, Turin, Venice, Florence, Amsterdam, Stockholm and Antwerp, on occasion of important appointments linked to traditional singing.

1994 marked the recordings made for the NOTA Editions of Udine, in the Church of S. Pietro in Galtellì, which led to the production of a CD containing 11 songs from the sacred repertory of Orosei presented by Pietro Sassu and Renato Morelli. I wrote the notes in the explanatory booklet, with Giuseppe Mercurio's linguistic supervision. The turning point, from an artistic point of view, came in 1997, when the German producer Stefan Winter inserted the Cuncordu in his collection, including artists of international repute such as Uri Caine, Ernst Reijseger, Alan Purves, Dave Douglas, Paul Motian Trio, and Gary Thomas. The label Winter&Winter subsequently published a double CD, for which, together with Paolo Mercurio, I wrote an explanatory booklet, translated into 7 languages (including Japanese) consisting of more than 100 pages. This CD contains the sacred and ‘a tenore’ traditional repertory of Orosei. Amongst works beyond the merely traditional, for which the Cuncordu de Orosei is appreciated and considered throughout the world, I would like to recall the experiment carried out in 1997 on the occasion of the ‘Spaziomusica’

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Biographies Festival in Cagliari, during which important musicians such as Vittorio Montis, Riccardo Dapelo and Andrea Saba ventured on an accurate acoustic and electro-acoustic foray into three ‘a tenore’ and ‘a cuncordu’ songs, experimented live with an extraordinary concert in the chapel of San Domenico. Mention should also be made of the remarkable participation of the Cuncordu de Orosei to the CD Voyage en Sardaigne published by the Manifesto and edited by Enzo Favata, from Alghero. This CD represents a musical journey following in the footsteps of the travellers of the 1800s and includes the Cuncordu de Orosei as well as Coro di Castelsardo, Tenores di Bitti and Luigi Lai. Amongst the most significant places visited whilst on tour with the Voyage orchestra I feel obliged to mention Frankfurt, Turin, Venice, Bologna and the Sardinian concerts at the Teatro Civico in Cagliari, but also Nuoro, Alghero, Bosa and Orosei. Another important participation of the Cuncordu de Orosei was in March 2005, at the Festival de Música Sagrada in Fundão (Portugal), on occasion of the Quadragèsima, together with world-famous artists such as Dulce Pontes and Alicia Vieira. In April 2008, the Cuncordu de Orosei received the sought-after 'Premio Ozieri' for 'the work carried out and the preservation and the divulgation of the vast repertory of Orosei's sacred music tradition'. I have now worked with the virtuous and eclectics cantors Tore Mula and Giovanni Rosu and the strong bassist Franco Sannai for nearly thirty years, invariably sharing the same aim: to promote, even beyond the narrow confines of a village context, the extraordinary vocal tradition taught to us orally by the older cantors. We have started as we wish to continue, together with the young Paolo Burrai, with the sole aim of furthering research into human and musical issues. Martino Corimbi Stabat Mater, 13.09, 14.09, page 100, 130

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photo: Alisa Calipso /Malina magazine

photo: Olya Runyova

Teodor Currentzis MusicAeterna Orchestra and Choir Teodor Currentzis studied conducting at the State Conservatory of St Petersburg, under the tutelage of Professor Ilya Musin, whose pupils, among others, were renowned conductors Odysseas Dimitriadis, Valery Gergiev, and Semyon Bychkov. Teodor Currentzis is the artistic director of the Perm State Opera and Ballet Theatre, artistic director of the ensemble MusicAeterna and of the MusicAeterna Chamber Choir, both formed in 2004, during his tenure as music director of the Novosibirsk State Opera and Orchestra (2004–2010). MusicAeterna, now resident in Perm, has been granted the status of the first orchestra of Perm State Theatre of Opera and Ballet. In 2016/17, he will travel across Europe with Music Aeterna, touring semi-staged performances of Purcell’s The Indian Queen, as well as a programme of music by Rameau, Mozart, Beethoven, Berg, Haydn, and Pergolesi. He will also debut at Salzburg Festival with MusicAeterna in a new production of Mozart’s La clemenza di Tito. As an artistic partner of the Mahler Chamber Orchestra, he will join with the orchestra on tour with Pekka Kuusisto, Barbara Hannigan and Music Aeterna Choir. Further highlights include performances with Vienna Symphony and Patricia Kopatchinskaja. Teodor Currentzis and MusicAeterna are exclusive Sony Classical artists and in 2016 released the final disc of the Mozart-Da Ponte trilogy, Don Giovanni. Earlier this year, they released a disc of Stravinsky’s Les Noces and Tchaikovsky’s Violin Concerto, with Patricia Kopatchinskaja. Previous recordings include Shostakovich’s Symphony No. 14, Mozart’s Requiem and Purcell’s Dido and Aeneas all on the Alpha label and the Shostakovich Piano Concertos with Alexander Melnikov and the Mahler Chamber Orchestra on the Harmonia Mundi label.

In 2016, the ECHO Klassik for ‘Symphonic Recording (20th/21st century music)’ was awarded to Teodor Currentzis and MusicAeterna, for their recording of Stravinsky’s Le Sacre du printemps released on Sony Classical. Earlier this year, he was also awarded the European KAIROS award, as well as Opernwelt magazine’s ‘Conductor of the Year’ title. Teodor Currentzis was nominated along with his brother, Vangelino Currentzis, for a Daytime Emmy Award, in the category of Outstanding Music Direction and Composition, for the composition and recording of the soundtrack of the European Games opening ceremony in Baku, 2015. Since 2005, Currentzis has received Russia’s prestigious Golden Mask theatrical award many times, most recently in 2015 together with the Perm State Opera and Ballet Theatre he received five awards for The Indian Queen including Best Opera Conductor. In 2013 the Theatre received four Awards, two of which for Best Opera Conductor and Best Ballet Conductor. Previous awards include the Best Opera Conductor award (Berg’s Wozzeck, Bolshoi 2009), for a ‘brilliant performance of Prokofiev’s score’ (Cinderella, 2007) and for ‘outstanding results in the area of authentic performance’ (Mozart’s The Marriage of Figaro, 2008). In 2006, combining his knowledge and passion for early music with contemporary composers and new music, Teodor Currentzis started the Territoria Modern Art Festival, which in a short space of time has become the most prestigious and progressive annual music festival in Moscow. Since 2012, he has also curated the Diaghilev Festival, held in Perm.

MusicAeterna Orchestra and Choir: Afanasii Chupin, Ivan Peshkov, Armen Pogosyan, Dmitrii Chepiga, Inna ProkopevaRais, Elena Rais, Andrey Sigeda, Mariia Stratonovich, Robert Brem, Anton Kogun – 1st violins Tabigat Amrenov, Liana Erkvanidze, Iuliia Gaikolova, Olga Galkina, Artem Naumov, Ekaterina Romanova, Artem Savchenko, Vadim Teifikov – 2nd violins Nail Bakiev, Grigorii Chekmarev, Zoia Karakutsa, Uladzimir Kunitsa, Oleg Zubovich, Andrei Serdiukovskii – violas Fedor Amosov, Igor Bobovich, Marina Ivanova, Anna Morozova, Igor Galkin, Aleksandr Prozorov – cellos Leonid Bakulin, Diliaver Menametov, Andrei Shynkevich, Evgeny Sinitsyn – double basses Martin Johannes Sandhoff, Julia Palac – flutes Rodrigo Gutiérrez, Ivan Sherstnev – oboes Jose Antonio Salar-Verdú, Vincenzo Casale – clarinets, basset horn Talgat Sarsembaev, Anna Flumiani – bassoons Pierre-Antoine Tremblay, Ricardo Rodríguez García – horns Pavel Kurdakov – trumpet Gerard Costes Ferre, Vladimir Kishchenko, Andrei Saltanov – sackbuts Nikolai Dulskii – timpani Maria Shabashova – fortepiano Israel Golani – lute Irina Bagina, Eleni Lydia Stamellou, Ganna Baryshnikova, Elena Iurchenko, Aleksandra Kozhedub, Olga Malgina, Elena Podkasik, Anastasiia Fomichenko, Elizaveta Sveshnikova – sopranos Anastasiia Egorova, Arina Mirsaetova, Alfiya Khamidullina, Olga Strelnikova, Ivan Petrov, Asiya Rakhmatullina, Elena Shestakova, Elena Tokareva – altos Anton Bagrov, Nikolai Fedorov, Albert Kucherbaev, Konstantin Pogrebovskii, Serafim Sinitcyn, Artem Volkov, Aleksei Tseloukhov, Ivan Gorin, Vitalii Kalachev, Sergei Kostarev – tenors Aleksandr Egorov, Aleksei Fitisenko, Evgenii Ikatov, Pavel Kharalgin, Almaz Khaibrakhmanov, Anton Mosolov, Viktor Shapovalov, Aleksei Svetov, Denis Bagrov – basses Mozart – La clemenza di Tito, 17.09, page 194

photo: artist's collection

photo: Giulia Papetti

Michał Czerniawski

Ottavio Dantone

Michał Czerniawski, countertenor, studied singing at the Music Academy in Gdańsk and Guildhall School of Music and Drama in London. He worked extensively with William Christie (Le Jardin des Voix Academy world tour, 30th Anniversary of Les Arts Florissants at Opéra Comique), Masaaki Suzuki and Mark Padmore (Aldeburgh Music). His concert repertoire includes Handel’s oratorios like Messiah and Solomon (Solomon‘s Knot) as well as Pergolesi’s Stabat Mater (Cracow Chamber Opera), Salve Regina (London Handel Festival), A. Scarlatti’s Il primo omicidio (Wratislavia Cantans). Opera work has included Corrindo in L’Orontea by Cesti (Innsbrucker Festwochen der Alten Music and Wigmore Hall with David Bates and La Nuova Musica), Purcell’s The Fairy Queen (Grand Theatre in Poznań, Castle Opera in Szczecin), Handel’s Acis & Galatea and L’Opera seria by Gassmann with New European Opera, Peri’s Euridice with British Youth Opera, Orlando generoso by Steffani at Barber Institute of Fine Arts in Birmingham, Monteverdi’s L’incoronazione di Poppea, Jason by Cavalli and Handel’s Agrippina with English Touring Opera. Future engagements include performances at Göttingen International Handel Festival and Bachfest in Leipzig.

Ottavio Dantone received a performance degree in both organ and harpsichord and immediately launched into a concert career, quickly attracting the attention of the critics as one of the finest players of his generation. In 1985 he was awarded the basso continuo prize at the International Harpsichord Competition in Paris and he was the highest prize winner at the 1986 International Competition Musica Antiqua in Bruges. He was the first Italian to have received this latter award, immediately bringing him international recognition. His collaboration with the Baroque orchestra Accademia Bizantina from Ravenna began in 1989 and his profound understanding of historical performance practices in the Baroque period lead, in 1996, to his nomination as music director of that group. Under his direction Accademia Bizantina has affirmed itself as one of the most outstanding Baroque orchestras on the international scene today. Over the last twenty years Ottavio Dantone has gradually added to his activities as soloist and director of chamber music and small orchestras that of a major conductor, extending his repertoire to the classic and romantic periods. As an opera conductor he made his debut in 1999 in the first modern execution of Giuseppe Sarti’s Giulio Sabino in Ravenna’s Alighieri Theatre with Accademia Bizantina. From that time on his career lead him to conducting well-known operas as well as to the rediscovery of operas rarely heard

Monteverdi – Il ritorno d’Ulisse in patria, 7/8.09, page 34

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Biographies often performing them for the first time in modern times in some of the most celebrated festivals and theatres in the world, among them La Scala in Milan, Glyndebourne Festival Opera, the Royal Theatres in both Madrid and Paris, Zurich Opera and the London Proms. He has recorded both as a soloist and a conductor with such noted record companies as Decca, Deutsche Grammophon, Naïve and Harmonia Mundi, winning numerous international awards and receiving high critical acclaim. Die Kunst der Fuge, 8.09, 9.09, 10.09, page 40, 58, 78

Province Marshal, Kunststiftung BadenWürttemberg, the Lions Club, and Menuhin Live Music Now in Germany. As a solo and chamber musician, Tomasz Daroch has performed at international festivals across Germany, Austria, the Netherlands, Belgium, Finland, Sweden, Croatia, Russia, Switzerland, Italy, Hungary, and the USA. For many years he has also formed a key part of his family ensemble the Daroch Trio, alongside his sisters Anna (violin) and Maria (piano). He also regularly performs with the Polish Cello Quartet, a group he co-founded in 2012. Tomasz’s Daroch many recordings include performances for the Polish television channels and Polish, German and French radio stations, including NDR Kultur, SWR, BR-Klassik and Espace 2. Most recently, he has recorded the albums Discoveries by the Polish Cello Quartet (CD Accord), Piano Trios by Daroch Trio (DUX) and Lutosławski’s Cello Concerto performed with the NFM Wrocław Philharmonic Orchestra under Jacek Kaspszyk, for the Witold Lutosławski: Opera Omnia Vol. 6 (CD Accord). End of Time, 9.09, page 54

photo: Andrzej Heldwein

Tomasz Daroch Tomasz Daroch graduated with distinction from Staatliche Hochschule für Musik und Darstellende Kunst in Mannheim, Germany, and the Academy of Music in Łódź. He has studied under Michael Flaksman, Jelena Očić, Stanisław Firlej, and Julius Berger. He has competed internationally as a cellist and in recent years has been awarded 1st prize and Grand Prix at the 8th Witold Lutosławski International Cello Competition in Warsaw (2011), and 2nd prize at the Pablo Casals International Cello Competition in Budapest (2014). He has been awarded numerous scholarships from organisations such as the Polish Ministry of Culture and National Heritage, the Łódź

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photo: Marco Borggreve

Jeanine De Bique Jenine De Bique, soprano hailing from Trinidad and Tobago, holds a Master degree from the Manhattan School of Music. Awards include the Arleen Auger Prize at the International Vocal Competition 's-Hertogenbosch, 3rd prizes at the Viotti International Music Competition and the Gerda Lissner International Vocal Competition (New York). She was a finalist and a study grant award recipient of the 2011 Metropolitan Opera National Council

Auditions, and received a study grant from the Licia Albanese-Puccini Foundation. Recent and future engagements include Annio in Mozart’s La clemenza di Tito for the Salzburg Festival and at De Nationale Opera Amsterdam, conducted by Teodor Currentzis, her debut at the Teatro dell’Opera di Roma as Consuelo in John Adams’ I Was Looking at the Ceiling and Then I Saw the Sky, Musetta in La Bohème by Puccini at Scottish Opera, Handel’s Messiah at Boston Baroque, the role of Pearl in Gordon’s Morning Star at the Cincinnati Opera, Climene in Fetonte by Jommelli at the Schwetzinger SWR Festspiele, Juliette in Roméo et Juliette by Gounod with the St Petersburg Opera Florida, Clara in Porgy and Bess by Gershwin with the Royal Danish Opera and Sister Rose in Jake Heggie’s Dead Man Walking with Central City Opera. Jeanine is a former member of the Wiener Staatsoper, where she appeared as Gianetta in Donizetti’s L’elisir d’amore, Barbarina in Mozart’s Le nozze di Figaro, Kate Pinker ton in Madama Butterfly by Puccini, Eine Modistin in Strauss’ Der Rosenkavalier and Ada in Wagner’s Die Feen. Other operatic engagements include the title role in L’incoronazione di Poppea by Monte verdi and La Princesse in Ravel’s L’enfant et les sortilèges with the Chautauqua Music Programme, Barbarina in Le nozze di Figaro for Opéra National de Montpellier, Sophie in Massenets’ Werther at Theater Basel and, during a tour in Europe, she sang the role of Clara in Porgy and Bess with the Russian Philharmonic. Whilst in the opera studio at the Manhattan School of Music, she performed the title role in Handel’s Semele, Lauretta in Puccini’s Gianni Schicchi, Constance in Dialogues des Carmélites by Poulenc and Girl in Bernstein’s Trouble in Tahiti. Concert appearances include Mozart’s Exultate, jubilate with Sinfonia Rotterdam at the Concertgebouw Amsterdam, Rachel in Kurt Weill’s Die Verheissung with the MDR Symphony Orchestra under Kristjan Järvi, Brahms’s Ein deutsches Requiem with the Munich Philharmonic under the baton of Lorin Maazel, with whom she also made her New York Philharmonic debut in Mahler’s Symphony No. 8 at Avery Fisher Hall. This summer, Jeanine gave her BBC Proms debut with the Chineke! Orchestra. Mozart – La clemenza di Tito, 17.09, page 164

Her recordings include Rameau’s Anacréon of 1754 with the Orchestra of the Age Enlightenment, Handel’s Siroe and Joshua with Laurence Cummings and FestspielOrchester Göttingen, and a CD of Russian composer Elena Langer’s chamber works, Landscape with Three People on the Harmonia Mundi label. Performances in 2016 included Rosmene in Handel’s Imeneo at the Göttingen Festspiele, Despina in Mozart’s Così fan tutte at the Lichfield Festival, a part in Gluck’s Iphigénie en Tauride at the International Gluck Opera Festival in Nuremberg and Pergolesi’s Stabat Mater with the Orquestra Gulbenkian in Lisbon. Monteverdi – Il ritorno d’Ulisse in patria, 7/8.09, page 34 photo: Sebastian Alexander Hinds

Anna Dennis Anna Dennis studied at the Royal Academy of Music with Noelle Barker. Her concert performances have included Britten’s War Requiem at the Berlin Philharmonie, Adès’ Life Story accompanied by the composer at the Lincoln Centre’s White Light Festival in New York, a programme of Russian operatic arias with Philharmonia Baroque in San Francisco, Orff’s Carmina Burana with the Orquestra Gulbenkian in Lisbon, Bach’s Christmas Oratorio with the Australian Chamber Orchestra in Sydney Opera House, and Haydn’s The Creation with Orchestra Ensemble Kanazawa in Japan. Her BBC Proms appearances include performances with the City of Birmingham Symphony Orchestra, the BBC Symphony Orchestra, the Britten Sinfonia, and the Orchestra of the Age of Enlightenment. Recent operatic roles include: Paride in Gluck’s Paride ed Elena (Nuremberg Opera House), Katherine Dee in Albarn’s Dr Dee (English National Opera), Emira in Handel’s Siroe (with Laurence Cummings, Göttingen Händel Festspiele), Bersi in Giordano’s Andrea Chénier (Opera North) and Ilia in Mozart’s Idomeneo directed by Graham Vick (Birmingham Opera Company). A keen interpreter of contemporary music, Anna has created roles in premieres of Coll’s Café Kafka (Royal Opera House/Opera North), Dove’s The Walk from the Garden (Salisbury Festival), Rushton’s The Shops (Bregenzer Festspiele), Tuckett’s Pleasure’s Progress (Royal Opera House), and Kyriakides’ An Ocean of Rain (Aldeburgh Festival).

photo: Łukasz Rajchert

Marzena Diakun Marzena Diakun graduated with distinction from the Academy of Music in Wrocław, where she studied symphony and operatic conducting under Mieczysław Gawroński. She received a scholarship from the Ministry of Culture and National Heritage, and in 2006 completed her postgraduate studies

in Vienna. In 2010, she received a Doctor of Musical Arts degree from the Academy of Music in Cracow. She is currently a conducting professor at the Music Academy in Wrocław, focusing on symphony and opera. Even before completing her studies, Diakun made her professional debut in 2002 at the final concert of the 17th International Percussion Music Festival with Koszalin Philharmonic Orchestra. She went on to graduate from the Grażyna Bacewicz Music School Complex in Koszalin. She has perfected her skills at national conducting courses under Jerzy Salwarowski, Marek Tracz, Gabriel Chmura, as well as international courses under Colin Metters, Howard Griffiths and David Zimmer, Pierre Boulez and Kurt Masur. Marzena Diakun rapidly rose to international prominence as a conductor when she stepped in for Mikko Franck in concerts with the Orchestre Philharmonique de Radio France, some of which were broadcast by Radio France and medici.tv, during her assistantship in Paris over the 2015/16 season. From 2009–2012, she conducted Smash Ensemble, a Spanish contemporary music ensemble focusing on the music of Spanish composers, with whom she performed at concerts in Spain, Portugal, Germany and Lithuania. Diakun has won international awards including the highest distinction for conductors from the Polish Ministry of Culture and National Heritage in 2005 and 2nd prize at the 59th Prague Spring Competition for Conductors in the Czech Republic. She was a finalist in the 4th Witold Lutosławski International Competition for Young Conductors in Poland in 2006, and a semi-finalist in 2008 in both the Cadaqués Orchestra International Conducting Competition in Barcelona and Donatella Flick Conducting Competition in London. She was awarded 2nd prize at the Grzegorz Fitelberg International Competition for Conductors in Katowice in 2012. In May 2015, Marzena Diakun was awarded the Marin Alsop’s Taki Concordia Conducting Fellowship, which is dedicated to promoting the best female conductors worldwide. In addition, she has received the honour of an Artist of the Year award from the President of Koszalin, Koszaliński Orzeł award and an award Kreatywni Wrocławia 2016. She received the Passport Award of Polityka weekly in the category of Classical Music in 2016. Et exspecto resurrectionem, 11.09, page 82

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photo: Martin Butler

Maximilian Ehrhardt

photo: Łukasz Rajchert

Maciej Dobosz Maciej Dobosz, clarinettist, graduated from the Academy of Music in Wrocław, where he was a student of Jan Tatarczyk. He perfected his skills during master classes with Guy Dangain and Peter-Marc Dijcks. He has won a number of Polish performance competitions. As a soloist, he has performed with the renowned Jeunesses Musicales World Orchestra, based in Spain, and the NFM Wrocław Philharmonic. He has been a clarinet soloist for the NFM Wrocław Philharmonic at the Witold Lutosławski National Forum of Music since 2006. Maciej Dobosz is an experienced ensemble musician and has collaborated with the Warsaw Philharmonic Orchestra, NFM Leopoldinum Orchestra, Wratislavia Chamber Orchestra and Vienna’s Morphing Chamber Orchestra. He has been a member of LutosAir Quintet since 2013. End of Time, 9.09, page 54

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Maximilian Ehrhardt studied modern harp performance under Erika Waardenburg at the Conservatorium van Amsterdam and graduated with a distinction in his Master’s degree in 2009. In parallel he began studying historic harp performance in 2008 under Mara Galassi at the Accademia Internazionale della Musica di Milano, and graduated with a distinction in his Master’s in 2015. As an acclaimed harpist across both contemporary and early music genres, Ehrhardt has performed with distinguished orchestras such as the Orchestre Philharmonique du Luxembourg, the Orchestra of Komische Oper Berlin, the Gürzenich Orchestra Cologne, The Funen Opera, Lautten Compagney, and the Choeur de Chambre de Namur. His performances include collaborations with leading conductors including Sylvain Cambreling, Konrad Junghänel, Lorenzo Ghielmi, and Leonardo García Alarcón. He regularly performs at early music festivals across Europe including Tage für Alte Musik in Berlin, Utrecht Early Music Festival, Festival della Valle d’Itria, Festival Claudio Monteverdi and MITO SettembreMusica. Ehrhardt has recorded with the Choeur de Chambre de Namur, Artemandoline Baroque Ensemble, Capella Daleminzia and Ensemble Polyharmonique; and has performed live with Radio Rai 3, Concertzender Nederland and Radio Klara (Belgium), at the Bayerischer Rundfunk station and during France Musique. Maximilian Ehrhardt is the artistic director of the new Tage Alter Musik am Bodensee, a festival and early music conference he founded in 2016. Rosa del ciel – musical treasures of Wrocław University Library, 10.09, 11.09, page 70, 88

photo: Bertrand Pichene

photo: Massimo Giannelli

The English Baroque Soloists Under the patronage of HRH the Prince of Wales The English Baroque Soloists have long been established as one of the world’s leading period instrument orchestras. Throughout their repertoire, ranging from Monteverdi to Mozart and Haydn, they are equally at home in chamber, symphonic and operatic performances and the distinctive sound of their warm and incisive playing is instantly recognisable. The ensemble has performed at many of the world’s most prestigious venues including La Scala in Milan, the Concertgebouw in Amsterdam and the Sydney Opera House. In the course of the 1990s they performed Mozart’s seven mature operas and recorded all Mozart’s mature symphonies and his complete piano concerto cycle. The English Baroque Soloists are regularly involved in joint projects with the Monteverdi Choir, with whom they famously took part in the trail-blazing Bach Cantata Pilgrimage in 2000, performing all of Bach’s sacred cantatas throughout Europe. More recently, they have been touring Bach’s St Matthew Passion throughout Europe with the Monteverdi Choir, as well as a mixed programme of Mozart Symphonies Nos. 39–41, Requiem and Great Mass in C Minor. They also toured Gluck’s Orphée et Eurydice in Hamburg and Versailles following a staged production at the Royal Opera House, Covent Garden, in collaboration with the Hofesh Shechter Company. Their most recent CD was Bach’s Mass in B Minor; which was released by Soli Deo Gloria in November 2015.

Ensemble La Fenice In the 2016/17 season they will be performing Bach’s Magnificat in E-flat Major, Lutheran Mass in F Major, and cantata Sü'er Trost with the Monteverdi Choir in venues around Europe. In 2017 the orchestra will be making a landmark seven-month tour of Monteverdi’s greatest surviving works, including: L’Orfeo, Il ritorno d’Ulisse in patria, L’incoronazione di Poppea and the Vespers. The English Baroque Soloists: Kati Debretzeni (leader), Iona Davies, Henry Tong, Anne Schumann (second principal), Henrietta Wayne, Davina Clarke, Alison Bury (guest leader) – violins Fanny Paccoud, Lisa Cochrane, Małgorzata Ziemkiewicz, Aliye Cornish – violas Marco Frezatto – cello Kinga Gaborjanai – viola da gamba, lirone Valerie Botwright – double bass Rachel Beckett, Catherine Latham – recorders Jamie Savan, Frithjof Smith, Richard Thomas, Daniel Moore – cornetts Györgyi Farkas – dulcian Adam Woolf, Miguel Tantos, Martyn Sanderson, Abigail Newman, Steve Saunders, Stepahanie Dyer – sackbuts Antonio Greco, Paolo Zanzu – harpsichords Gwyneth Wentink – harp Dai Miller, Alex McCartney, Eligio Quinteiro, Josías Rodríguez Gándara, Ivano Zanenghi, Elizabeth Kenny – chitarrone, lutes Monteverdi – Il ritorno d’Ulisse in patria, 7/8.09, page 34

The Ensemble La Fenice was founded in 1990. They won 1st prizes at international competitions in Bruges (1990) and Malmö (1992) and has been invited to many of the world’s leading festivals. The ensemble’s discography includes a number of award-winning recordings – for the record labels Opus 111, Virgin Classics, Ricercar – as the critically acclaimed series The Heritage of Monteverdi (Choc du Monde de la Musique, Diapason d’Or, 10 de Répertoire, 5 stars in Goldberg magazine). The Ensemble La Fenice takes its name from the Phoenix – the fabulous mythological bird, consumed by flames and arising from its ashes – and uses this image to illustrate the influence of Italian music in Baroque Europe. La Fenice was also the title of a work by Giovanni Martino Cesare, an Italian composer and cornett player who moved north of the Alps in the early 17th century. Today, this name brings together a group of musicians, coming from all over Europe (the members of La Fenice are all internationally renowned soloists as well as members of many leading early music ensembles), whose common desire is to share their passion for the sumptuous Italian music of that time, and also to celebrate the works of composers from across Europe. Eager to respect the original instrumentations, particularly in vocal music, where the instruments shed light on the text through their symbolic significance, the ensemble’s line-up varies according to the repertoire it performs.

Ensemble La Fenice: Fanie Antonelou – 1st soprano Lina Lopez – 2nd soprano William Shelton – countertenor Renaud Tripathi – haute-contre Jan van Elsacker – 1st tenor Tiago Pinheiro de Oliveira – 2nd tenor Nicolas Achten – baritone Romain Bockler – bass-baritone Jean-Claude Sarragosse – bass Stéphanie Pfister – 1st violin Sue-Ying Koang – 2nd violin Lambert Colson – cornett Arnaud Brétecher – 1st trombone Aurélie Serre – 2nd trombone Franck Poitrineau – bass trombone Keiko Gomi – cello Etienne Galletier – theorbo Marc Meisel – chest organ Monteverdi – Vespers, 9.09, page 62

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Biographies

photo.RibaltaLuce Studio

photo: artist's collection

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photo: Łukasz Rajchert

Francisco Fernández-Rueda

Agnieszka Franków-Żelazny

Francisco Fernández-Rueda, tenor, holds a degree in French studies from the University of Sevilla and studied singing in ESMUC (Barcelona). He has taken part in Le Jardin des Voix Academy (2011) The artist has worked with conductors such as John Eliot Gardiner, William Christie, Jordi Savall, Fabio Biondi, Enrico Onofri, Raphaël Pichon, Konrad Junghänel, Alexis Kossenko, Wolfgang Katschner, Alessandro Quarta, Ryan Brown, and orchestras such as Les Arts Florissants, Concerto Köln, Europa Galante, Concertgebouw Chamber Orchestra, Les Ambassadeurs, Capella Reial de Catalunya, Ensemble Pygmalion, Philarmonisches Orchester Heidelberg, Concerto Romano, and Lautten Compagney Berlin. Fernández-Rueda appeared in several venues such as Opéra Comique de Paris, Cité de la Musique, Opéra Royal de Versailles, Opéra de Bordeaux, Rokoko-Theater in Schwetzingen, Theater Winterthur, Baden-Baden’s Festspielhaus, Brooklyn Academy of Music in New York or Kennedy Center in Washington. In the operatic field, Fernández-Rueda has performed Don Ottavio in Mozart’s Don Giovanni, Bajazet in Handel’s Tamerlano, Orfeo in Monteverdi’s L’Orfeo, Narete in Hasse’s Leucippo, Toante in Traetta’s Ifigenia in Tauride, Clotarco in Haydn’s Armida or Sir Hervey in Donizetti’s Anna Bolena. He has taken part in the legendary recreation of Lully’s Atys, with William Christie and Les Arts Florissants. In the oratorio field, Fernández-Rueda has sung Mozart’s Requiem and Krönungsmesse, Handel’s Messiah, Bach’s Johannes and Matthäus-Passion, Mass in B Minor and Weihnachtsoratorium, Monteverdi’s Vespro della Beata Vergine, and C.Ph.E. Bach’s Magnificat. He has recently recorded for labels such as Fra Musica, Accent, Naxos, Naxos USA, Christophorus, and radios such as WDR, BR Klassik, RNE, BBC radio, Mercury, France Musique or Catalunya Música.

Agnieszka Franków-Żelazny graduated from the Academy of Music in Wrocław (diploma in musical education 2004, diploma in voice 2005). In 2016, she completed her postgraduate studies in choral conducting at the Academy of Music in Bydgoszcz, and in 2014 – the Cultural Leadership Academy at the University of Economics in Kraków. She holds the title of Doctor Habilitatus of Music. In 1995–1999 she was a member of the Polish-German Choral Academy In Terra Pax, and in 1997–1999 she worked there as a voice coach. In 1999 she founded the Con Amore Choir of School Complex No. 1 in Wrocław. At the same time she was a conductor and artistic manager of the Wrocław University of Technology Choir. In 2000 she founded the Medical University Chamber Choir (later renamed as Medici Cantantes) with which she has performed successfully at national and international competitions. Since June 2006 she has been artistic director of the NFM Choir. From January to July 2013 she was artistic supervisor of the Polish Radio Choir. She has performed as a guest conductor or choir mistress with numerous Polish and international ensembles. She is the mastermind and artistic director of the Polish National Youth Choir, founded in 2013 and managed by the National Forum of Music, as well as programme director of the Choral Academy. At present she is a senior lecturer at the Department of Music Education, Choral Music and Church Music of the Academy of Music in Wrocław, where she teaches choral conducting and runs the S. Krukowski Choir. Agnieszka has 12 CDs and over 70 awards to her credit, including the Bronze Medal for Merit to Polish Culture – Gloria Artis (2014). She has performed in 19 European countries and in the United States, Israel and Brasil during over 700 concerts, presenting around 800 choral works and almost 200 vocal-instrumental works. She has been the Curator of Music for the European Capital of Culture Wrocław 2016.

Monteverdi – Il ritorno d’Ulisse in patria, 7/8.09, page 34

Colours of Sounds, 8.09, page 44 Moniuszko – Phantoms, 12.09, page 90 Telemann – Brockes-Passion, 15.09, 16.09, page 140, 162

photo: Sim Canetty-Clarke

Silvia Frigato

John Eliot Gardiner

Silvia Frigato, soprano, winner of the ‘Francesco Provenzale’ International Baroque Singing Competition in Naples (2007), she now performs at numerous prestigious concert venues and festivals, collaborating with such artists as Rinaldo Alessandrini, Fabio Biondi, Gianluca Capuano, Claudio Cavina, Ottavio Dantone, Antonio Florio, Sir John Eliot Gardiner, Lorenzo Ghielmi, Philippe Herreweghe, Sigiswald Kuijken, Stefano Montanari, and Federico Maria Sardelli. The artist recently starred in Monteverdi’s Vespro della Beata Vergine with the Monteverdi Choir and Sir John Eliot Gardiner, in L’incoronazione di Poppea at the Teatro alla Scala in Milan and in Jommelli’s L’isola disabitata at the Teatro San Carlo in Naples, both under Rinaldo Alessandrini. After her debut at the Maggio Musicale Fiorentino with Gluck’s Orfeo ed Euridice (2014), she returned as Yniold in Daniele Abbado’s new production of Debussy’s Pelléas et Mélisande under the baton of Daniele Gatti (2015). Silvia Frigato was chosen by Sir John Eliot Gardiner for the first and the second edition of Accademia Monteverdiana in Sarteano, performing in the opening concert of the Incontri in Terra di Siena Festival. Ms Frigato sang the opening concert at the Trigonale Festival in Austria with La Risonanza and Fabio Bonizzoni, Monteverdi’s Vespro della Beata Vergine in Prague and Dresden with Collegium 1704 and Václav Luks, Pergolesi’s Stabat Mater in Venice and Milano (with I Pomeriggi Musicali) and a concert with music by Anton Webern for Bologna Festival. Silvia Frigato sang and recorded for Brilliant Classics unpublished music by Gennaro Manna and Francesco Feo with the Fondazione Pietà de’ Turchini in Naples. Future plans include Vivaldi’s Juditha triumphans (Vagaus) at the Teatro Comunale in Ferrara; Monteverdi’s Vespro della Beata Vergine with Ensemble Matheus and Jean-Christophe Spinosi on tour in France; Biber’s Missa Salisburgensis in Salzburg with Collegium 1704 and Václav Luks; Martinů’s Mirandolina (title role) and Bellini’s La sonnambula (Lisa) at La Fenice in Venice. Silvia Frigato has been selected for the 2017 Monteverdi project conducted by Sir John Eliot Gardiner and will take part in the worldwide tour of Il ritorno di Ulisse in patria and L’incoronazione di Poppea. Monteverdi – Il ritorno d’Ulisse in patria, 7/8.09, page 34

Sir John Eliot Gardiner is revered as one of the world’s most innovative and dynamic musicians, constantly in the vanguard of enlightened interpretation, who stands as a leader in today’s musical life. His work with the Monteverdi Choir (MVC), English Baroque Soloists (EBS) and Orchestre Révolutionnaire et Romantique (ORR), of which he is founder and Artistic Director, has marked him out as a key figure in the early music revival and a pioneer of historically informed performances. As a regular guest of the world’s leading symphony orchestras, such as the London Symphony Orchestra (LSO), Symphonieorchester des Bayerischen Rundfunks, Royal Concertgebouw Orchestra and Gewandhausorchester Leipzig, Gardiner conducts repertoire from the 17th to the 20th century. He was awarded the Concertgebouw Prize in January 2016. The extent of Gardiner’s repertoire is illustrated in the extensive catalogue award-winning recordings on major labels (including Deutsche Grammophon, Decca, Philips and Erato); in addition to works by Renaissance and Baroque composers, his discography includes Mozart, Schumann, Berlioz, Elgar and Kurt Weill, recorded with his own ensembles and with leading orchestras including the Vienna Philharmonic. In 2013 Deutsche Grammophon released a special 30-CD collection to celebrate Gardiner’s 70th birthday. Since 2005 his recordings have appeared on the Monteverdi ensembles’ independent label, Soli Deo Gloria (SDG), established to release the series of live recordings made during Gardiner’s Bach Cantata Pilgrimage in 2000, for which he received Gramophone’s 2011 Special Achievement Award and a Diapason d’or de l’année 2012. SDG’s catalogue has expanded to include recordings of other Bach masterpieces, a Brahms symphony cycle, and a cappella recordings with the Monteverdi Choir. With the ORR, Gardiner has released recordings of Beethoven’s Symphonies Nos 2 & 7 (2012) and Missa Solemnis (2013), live from their sell-out tour of Europe and the USA. Sir John Eliot Gardiner has received more Gramophone Awards than any other living artist. His many accolades for his recordings include two GRAMMY Awards. Gardiner has conducted opera productions at the Royal Opera House, Covent Garden (ROH), at the Vienna State Opera and at Teatro alla Scala, Milan. From 1983 to 1988 he was artistic director of Opéra de Lyon, where he founded its new orchestra. Following the success in 2008 of Verdi's Simon Boccanegra at ROH, he returned there to conduct Verdi's Rigoletto in 2012, and Mozart's Le nozze di Figaro in 2013, celebrating 40 years since his debut in 1973. In autumn 2015, he returned to ROH to conduct

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Biographies Gluck's Orphée et Eurydice, with the MVC and EBS, co-directed by Hofesh Shechter Company and John Fulljames. Gardiner has a close relationship with the LSO, with whom he concludes in 2016/17 his Mendelssohn cycle of the complete symphonies and smaller works, recorded for LSO Live. Other guest conducting highlights this season include returns to the Royal Concertgebouw Orchestra and Symphonieorchester des Bayerischen Rundfunks. He returned in 2016 to the Berliner Philharmoniker for Stravinsky's Oedipus Rex. 2016 marked Sir John Eliot Gardiner’s 65th performance at the BBC Proms, of Berlioz' Roméo et Juliette with the ORR, subsequently performing the same work at the Festival Berlioz in La Côte SaintAndré. The 2016 Edinburgh International Festival included two concerts with the MVC, Schumann's Manfred with the Scottish Chamber Orchestra, and Bach's St Matthew Passion with the EBS, sung from memory and part of a year-long European tour of the work. In 2017, Gardiner, the EBS and MVC undertake a year’s celebration of Monteverdi, performing his three surviving operas around the world. An authority on the music of J.S. Bach, Gardiner’s book, Music in the Castle of Heaven: A Portrait of Johann Sebastian Bach, was published in October 2013 by Allen Lane, leading to the Prix des Muses award (Fondation Singer-Polignac). In 2014 Gardiner became the first ever President of the Bach-Archiv Leipzig. He became the inaugural Christoph Wolff Distinguished Visiting Scholar at Harvard University in 2014/15. Among numerous awards in recognition of his work, Sir John Eliot Gardiner holds honorary doctorates from the New England Conservatory of Music and from the universities of Lyon, of Cremona and of St Andrews; he is an Honorary Member of the Royal Academy of Music, an Honorary Fellow of King’s College, London, of the British Academy and of King’s College, Cambridge, where he himself studied and from where he received an Honorary Doctorate. In 2008 he received the prestigious Royal Academy of Music Bach Prize. Gardiner was made Chevalier de la Légion d'honneur in 2011 and was given the Order of Merit of the Federal Republic of Germany in 2005. In the UK, he was made a Commander of the British Empire in 1990 and awarded a knighthood for his services to music in the 1998 Queen’s Birthday Honours List. Monteverdi – Il ritorno d’Ulisse in patria, 7/8.09, page 34

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photo: artist's collection

Karina Gauvin Recognised for her work in the baroque repertoire, Canadian soprano Karina Gauvin sings Bach, Mahler, Britten and the music of the 20th and 21st centuries with equal success. The prestigious distinctions she has received include the title of ‘Soloist of the Year’ awarded by the Communauté internationale des radios publiques de langue française, 1st prize in the CBC Radio competition for young performers, and the Virginia Parker Prize (Canada) and Maggie Teyte Memorial Prize (London). She has sung with the greatest symphony orchestras, including the Orchestre Symphonique de Montréal, the San Francisco Symphony, the Chicago Symphony, the New York Philharmonic and the Rotterdam Philharmonic, the Orchestre Philharmonique de Radio France, the Chamber Orchestra of Europe, as well as baroque orchestras such as Les Talens Lyriques, the Venice Baroque Orchestra, Accademia Bizantina, Il Com plesso Barocco, Akademie für Alte Musik Berlin, the Tafelmusik Baroque Orchestra, Il Pomo d’Oro, Concentus Musicus Wien and Les Violons du Roy. She has performed under the direction of Charles Dutoit, Michael Tilson Thomas, Bernard Labadie, Christophe Rousset, Alan Curtis, Sir Roger Norrington, Kent Nagano, Semyon Bychkov, Helmuth Rilling, and Yannick NézetSéguin. In addition, she has given recitals with pianists Marc-André Hamelin, Angela Hewitt, Michael McMahon, and Roger Vignoles. Karina Gauvin has a wide repertoire singing Princess in Ravel’s L’enfant et les sortilèges with the Rotterdam Philharmonic Orchestra and Yannick

Nézet-Séguin, both Correspondances and Le temps l’horloge by Dutilleux with the Orchestre National Bordeaux Aquitaine under the direction of Hans Graf, Lia in Debussy’s L’enfant prodigue under the batton of Mikko Frank, and Mendelssohn’s Elijah with the Danish National Symphony Orchestra under the direction of Masaaki Suzuki and Symphony Lobegesang with Yannick Nézet-Séguin and Chamber Orchestra of Europe with a live CD recording. Among her recent projects was a European tour and an Erato recording of Niobe (Steffani) with countertenor Philippe Jaroussky and again with Jaroussky a recording of Handel’s Partenope. She has sung Seleuce in Handel’s Tolomeo with Alan Curtis, with whom she also recorded Handel operas on Archiv/Deutsche Grammophon, Virgin and Naïve labels, among others. She performed in Tito Manlio (Vivaldi) in Brussels and at the Barbican in London, in Ezio (Handel) in Paris and Vienna, in Giulio Cesare (Handel) in Paris and Vienna, as well as in Juditha triumphans (Vivaldi) with Andrea Marcon at the Concertgebouw in Amsterdam. We heard her in the role of Vitellia in Mozart’s La clemenza di Tito at the Théâtre des Champs-Élysées in Paris, and in the role of Armida in Handel’s Rinaldo at the Glyndebourne Festival, title role of Alcina at the Teatro Real in Madrid, Armide in Gluck’s Armide at the Dutch National Opera, and Giunone in Cavalli’s La Ca listo at the Bayerische Staatsoper. She also sang the role of Venus in the critically acclaimed production of Rameau’s Dardanus under the direction of Raphaël Pichon and Michel Fau. Karina Gauvin’s extensive discography – over 40 titles – has won numerous awards, including a Chamber Music America Award for her Fête Galante disc with pianist Marc-André Hamelin, and several Opus Prizes. In 2009, she recorded Britten’s Les Illuminations with Les Violons du Roy under the direction of Jean-Marie Zeitouni. Released for Sony in autumn 2016 Don Giovanni and the role of Donna Elvira she recorded last year with MusicAeterna and Teodor Currentzis. In the 2016/17 season Karina Gauvin returns to Madrid Teatro Real to sing Vitellia in Mozart’s La clemenza di Tito and Boston Early Music Festival for a new production of Campra’s Carnaval de Venise. Concerts include Messiah with Los Angeles Philharmonic, Handel’s Rodelinda title role at Theâtre des Champs-Élysées and Fauré’s Requiem with Stéphane Denève. Mozart – La clemenza di Tito, 17.09, page 164

photo: Luis Montesdeoca

Vittorio Ghielmi Vittorio Ghielmi, musician (viola da gamba), conductor, composer. Compared by the critics to Jasha Heifetz (Diapason) for his virtuosity, or called ‘The Alchemist of the sound’ (Diario de Sevilla) for the intensity and versatility of his musical interpretations, Vittorio Ghielmi attracted notice while he was still very young for his new approach to the viola da gamba and to the sound of the baroque repertoire. As a viola da gamba soloist or as a conductor, in the field of classical and ancient music, he has appeared with the most famous orchestras (such as the Los Angeles Philharmonic – playing a Graun Concerto in the Hollywood Bowl; the London Philharmonia, the Wiener Concert-Verein, Il Giardino Armonico, the Freiburg Baroque Orchestra, the Royal College of Music orchestra, Orquesta Ciudad de Granada etc.). He is one of the few gamba players who is regularly invited to play as a solo performer with orchestras. In duo with his brother Lorenzo Ghielmi or with Luca Pianca he also performs recitals in the most important venues all around the world. As one of the leader of the ancient music scene, he shared the stage with such musicians as Gustav Leonhardt, Cecilia Bartoli, Giuliano Carmignola, Christophe Coin, Reinhard Goebel, Giovanni Antonini, Ottavio Dantone, or András Schiff, Thomas Quasthoff and Viktoria Mullova. His fieldwork within old musical traditions surviving in forgotten parts of the world and bringing new perspectives to the interpretation of European ‘early music’ led to him being presented the Erwin Bodky Award 1997 (Cambridge, Massachusetts USA) and the

ECHO Klassik 2015 (Germany). The collaboration of Vittorio Ghielmi with traditional players and in particular with the Sardinian traditional singers of the Cuncordu de Orosei, is documented in the film The Heart of Sound. A musical Journey with Vittorio Ghielmi, BFMI (Salzburg/Hollywood). He has been invited to play in the world premieres of many new compositions (Nadir Vassena, Bagatelle trascendentali for viola da gamba, lute and orchestra, Berliner Philharmoniker Hall, 2006; Uri Caine, Concerto for viola da gamba and orchestra, Concert gebouw in Amsterdam and Bozar in Brussels, 2008; Caine, Concerto per viola da gamba, basset horn and orchestra, Passau 2012 etc.). From 2007 to 2011 he worked as Riccardo Muti’s assistant in Salzburg Festival. In 2007 he conceived and conducted the spectacle 7 Mystical Visions for Semana de Música Religiosa, Cuenca (Madrid), where he collaborated with the American film maker Marc Reshovsky (Hollywood) and conducted the Swedish choir Rilke Ensemble (Gunnar Eriksson). He has also been artist in residence in Musikfest Stuttgart 2010, in Segovia festival 2011, in Brussels' Bozar 2011. His ensemble Il Suonar Parlante, appearing as a Viol Quartet or an Orchestra, is devoted to an investigation of the early music repertoire as well as to the creation of new projects; it has also performed with important jazz players such as Kenny Wheeler, Uri Caine, Paolo Fresu, Jim Black, Don Byron, Markus Stockhausen, Nguyên Lê, pop singers like Vinicio Capossela, flamenco stars such as Carmen Linares, famous fiddlers as Caoimhín Ó Raghallaigh, traditional Asian musicians as the Afghan virtuosi of the Ensemble Kaboul (Khaled Arman). He recorded countless CDs as a soloist winning many critic prizes (Harmonia Mundi, Teldec, Sony, Naïve, Winter & Winter, Passacaille etc.). In 2015 he won the prestigious ECHO Klassik Award for his arrangement of Celtic music in the Sony CD The Passion of Musick. Vittorio Ghielmi is a professor at the Mozarteum Universität Salzburg and has given several master classes in Academies and Universities. He has published studies on music and previously unpublished scores (ed. Fuzeau, Minkoff) as well as the worldwide known method for viola da gamba (Biordi/ Ghielmi, ed. Ut Orpheus). He plays a viol made by Michel Colichon, Paris 1688. www.vittorioghielmi.com Stabat Mater, 13.09, 14.09, page 100, 130

photo: Luis Montesdeoca

Graciela Susana Gibelli Graciela Susana Gibelli, soprano. Her wide repertoire and the knowledge of many musical styles make her an interpreter of great versatility, appreciated by the most famous musicians in different musical styles. Born in Córdoba, she began her musical studies at the age of four with Lucìa Schiller. She continued her studies of music and singing in the famous ‘Escuela de Niños Cantores’ in Córdoba, where she got her diploma in choral conducting. In 1990 she got a flute diploma and entered the Orquesta Sinfónica Juvenil del Teatro del Libertador General San Martín conducted by Carlos Giraudo. Her interest in different field of art brought her to achieve also a diploma in graphic design in 1993; on the following year she moved to Italy, where she specialised in recorder with Pedro Memelsdorf (Accademia Internazionale della Musica, Milan) and in singing with Margaret Hayward, with a special attention to the repertoire of the 17th and the 18th century. At the same time she began her career as a soloist, giving recitals in festivals or with orchestras such as Musica e poesia a San Maurizio (Milano), Styriarte, Helmut List Halle (Graz), Concerts d’été Saint Germain (Ginevra), Fundaçao Calouste Gulbenkian (Portugal), Musica Medievale e Rinascimentale (Erice), Luxembourg Philharmonia, Tage Alter Music in Herne, Kunstfest Weimar, Orquesta Ciudad de Almería, Orquesta Sinfónica de Granada, Bozar (Brussels), Orchestra Sinfonica di Sanremo, Ravenna Festival, Musika – Música Bilbao, accompanied by such artists as Luca Pianca (Il Giardino Armonico), Lorenzo Ghielmi (La Divina Armonia) and Shalev Ad-El.

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Biographies In the jazz field, she collaborated with Kenny Wheeler, Ernst Reijseger and Ansgar Striepens, among others. For the Semana de Música Religiosa de Cuenca (Madrid), she took part in the first world performance of Transition by Hans Rotman in collaboration with the Hollywood movie director Marc Reshovsky. She appears in many CD recording and won prizes of the critic as an interpreter (e.g. The Devil’s Dream, Harmonia Mundi), as well as a composer (The Passion of Musick, Sony 2015, ECHO Klassik 2015). In 2007 with her husband Vittorio Ghielmi she founded the orchestra Il Suonar Parlante, with which she toured all over the world. In 2009 she conceives the music edition label LIBROFORTE Fine Music Books. In 2012 with Vittorio Ghielmi and Il Suonar Parlante she released the music documentary The Heart of Sound BFMI (Salzburg-Hollywood). Stabat Mater, 13.09, 14.09, page 100, 130

a program focused on the raise of Baroque sensibility through Europe and seeks for a renewed listening experience of early music. In 2018 the group will continue the collaboration with the young and gifted violinist Patricia Kopatchinskaja with a new program of fertile tension between past and future, bringing together philological accuracy and contemporary music. www.ilgiardinoarmonico.com Il Giardino Armonico (La Morte della Ragione): Giovanni Antonini – music direction, flutes, dulcian Giulia Genini – flutes, dulcian Andrea Inghisciano – cornett Gawain Glenton – cornett, flutes Alberto Guerra – dulcian Emily White – trombone Stefano Barneschi, Liana Mosca – violins, fiddle Paolo Beschi – cello Giancarlo De Frenza – violone Riccardo Doni – organ, harpsichord Margret Köll – harps

photo: Łukasz Rajchert

Il Giardino Armonico

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Il Giardino Armonico, founded in 1985 and conducted by Giovanni Antonini, has been established as one of the world’s leading period instrument ensembles, bringing together musicians from Europe’s relevant music institutions. The ensemble’s repertoire mainly focuses on the 17th and 18th centuries. Depending on the demands of each programme, the group consists of 3 up to 30 musicians. Il Giardino Armonico is regularly invited to festivals all over the world performing in the most important concert halls, and has received high acclaim for both concerts and opera productions, like Monteverdi’s L’Orfeo, Vivaldi’s Ottone in Villa, Händel’s Agrippina, Il trionfo del Tempo e del Disinganno, La Resurrezione and finally Giulio Cesare in Egitto with Cecilia Bartoli during the 2012 edition of the Salzburg Whitsun and Summer Festival. Beside that, Il Giardino Armonico sustains an intense recording activity. After many years as an exclusive group of Teldec, achieving several major awards for the recordings of works by Vivaldi and the other 18th-century composers, the group had an exclusive

agreement with Decca/L’Oiseau-Lyre recording Handel’s Concerti grossi, op. 6 and the cantata Il Pianto di Maria with Bernarda Fink. The group also released on Naïve La Casa del Diavolo, Vivaldi Cello Concertos with Christophe Coin, and the opera Ottone in Villa winning the Diapason d’Or in 2011. On the label Onyx the Vivaldi Violin Concertos with Viktoria Mullova. After the universal success and the Grammy Award received for The Vivaldi Album with Cecilia Bartoli (Decca, 2000), in 2009 a new cooperation with her led to the project Sacrificium (Decca), Platinum Album in France and Belgium and prized again by the Grammy Award. Always on Decca Alleluia (March 2013) and Händel in Italy (October 2015) with Julia Lezhneva, acclaimed by public and critics. The group published Serpent & Fire with Anna Prohaska (Alpha Classics – Outhere music group, 2016) winning the ICMA ‘baroque vocal’ in 2017. On Alpha Classics also Telemann in 2016 (CD and LP), winning the Diapason d’Or in January 2017.

The recording of five Mozart Violin Concertos with Isabel Faust (Harmonia Mundi, 2016) stands as the result of the prestigious cooperation with the great violinist. Il Giardino Armonico is part of the twentyyear project Haydn2032 for which the Haydn Foundation has been created in Basel to support both the recording project of the complete Haydn Symphonies (Alpha Classic) and a series of concerts in various European cities, with thematic programs focused on this fascinating repertoire. In November 2014 the first album titled La Passione has been published and won the Echo Klassik award in 2015. Il Filosofo, issued in 2015, has been ‘CHOC of the year’ by Classica. The third one Solo e Pensoso has been released in August 2016, and the forth Il Distratto in March 2017. The last volumes of the Haydn2032 project are available as CD and LP as well. Furthermore the ensemble worked with such acclaimed soloists as Giuliano Carmignola, Sol Gabetta, Katia and Marielle Labèque, Viktoria Mullova, and Giovanni Sollima. Upcoming projects include a new tour and the recording of La Morte della Ragione,

Il Giardino Armonico (Telemann – Brockes-Passion): Stefano Barneschi*, Fabrizio Haim Cipriani, Ayako Matsunaga, Liana Mosca – 1st violins Marco Bianchi*, Francesco Colletti, Carlo Lazzaroni, Maria Cristina Vasi – 2nd violins Ernest Braucher*, Alice Bisanti, Maria Cristina Vasi – violas Ernest Braucher – viola d’amore Paolo Beschi*, Elena Russo – cellos Giancarlo De Frenza – double bass Priska Comploi, Marco Brolli, Eva Oertle – recorders Marco Brolli, Eva Oertle – flutes Pierluigi Fabretti*, Priska Comploi – oboes Anneke Scott*, Edward Deskur – horns Alberto Guerra – bassoon Thomas Steinbrucker*, Gerd Bachman – trumpets Michele Pasotti – theorbo Riccardo Doni – organ, harpsichord * first parts La Morte della Ragione, 8.09, 9.09, 10.09, page 50, 60, 80 Telemann – Brockes-Passion, 15.09, 16.09, page 140, 162

photo: Orlane Fougeroux

Il Suonar Parlante Il Suonar Parlante – viol quartet was founded in 2002 by Vittorio Ghielmi with the collaboration of three gamba soloist: Rodney Prada, Fahmi Alqhai and Cristiano Contadin. After two CDs devoted to the music by J.S. Bach, under the name of Quartetto Italiano di Viole da Gamba, one recorded with the Tölzer Knabenchor (Winter & Winter, 2000) and a second in collaboration with the American jazz pianist Uri Caine (Goldberg Variations), the ensemble found its final shape and under the new name Il Suonar Parlante is being invited to play during important classical festivals, as well as with jazz players such as Uri Caine, Kenny Wheeler, Don Byron, Markus Stockhausen, Ernst Reijseger, who wrote new compositions for the gamba group. It is considered now one of the most important viol quartett and invited to play all around the world. Il Suonar Parlante – viol quartet has recorded his last productions for the Munich record company Winter & Winter. The CD with the jazz cello player Ernst Reijseger published in March 2006 (Full of Colour) being recognised as ‘an absolute revolution for the sound of ancient instruments’ (Diapason d’Or, Choc du Monde de la Musique, Preis des Deutsches Schallplattenkritik). Further releases were Purcell Fantasias (2008) and Die Kunst der Fuge with Lorenzo Ghielmi (2009). In 2007 Vittorio Ghielmi and Graciela Gibelli founded a larger ensemble: Il Suonar Parlante Orchestra, which has been orchestra in

residence for the 46th Semana de Música Religiosa de Cuenca (Madrid), where in an enlarged setting (35 musicians) and accompanied by the Swedish choir Rilke Ensemblen (conducted by Gunnar Eriksson) has been the protagonist of the world premiere of a big spectacle around Buxtehude’s Membra Jesu nostri, with the American movie maker Marc Reshovsky. Since then the orchestra has been regularly invited in festivals all over Europe and as orchestra in residence in Stuttgart Festspiele 2010 and in Segovia music festival 2011. The CD Barbarian Beauty (Barbarische Schönheit), dedicated to the concertos for viola da gamba and orchestra (J.G. Graun, Telemann, Vivaldi, Tartini), with the Moldavian cymbalon virtuoso Marcel Comendant, has appeared in 2012 for Passacaille label. The CD The Passion of Musick, with Dorothee Oberlinger (Sony/Deutsche Harmonia Mundi) won the ECHO Klassik 2015. Il Suonar Parlante is an expression coined by Niccolò Paganini. It refers to a special sound emission technique by which musical instruments can imitate the human voice. This technique has survived in certain European and extra-European areas and is essential for a new interpretation of our ancient musical patrimony. Since ten years the collaboration between musicians, leaded by Vittorio Ghielmi, is bringing to the revival of this sound image by means of artistic productions, seminars, congresses and collection of documents. Stabat Mater, 13.09, 14.09, page 100, 130

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Biographies

photo: artist's collection

photo: Katarzyna Kowalczyk

Paweł Janyst Paweł Janyst graduated from the State Superior Theatre School in Kraków, Wrocław Division. He majored in acting and obtained a diploma in the Puppet Theatre Department. He played in the diploma performance Believe me you fool directed by Cezary Studniak. His frequent collaborator is director Paweł Passini (Bieguny, Znak Jonasza, Pudełko, DyBBuk). Noteworthy roles include film and TV productions: Kamienie na szaniec directed by Robert Gliński and Agnus Dei directed by Anne Fontaine, as well as the TV series Czas Honoru. Moniuszko – Phantoms, 12.09, page 90

Franciszka Kierc-Franik Franciszka Kierc-Franik for many years has been a soloist with the Baltic Dance Theatre, where her roles have included Juliet in Izadora Weiss’ Romeo and Juliet, Clara in Tchaikovsky’s The Nutcracker, Cinderella in Prokofiev’s Cinderella, Salome in Richard Strauss’ work, and Hermia in A Midsummer Night’s Dream by Weiss and Bregović.

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Her collaborators have been outstanding choreographers, such as Izadora Weiss, Jiří Kylián, Emil Wesołowski, Patrick Delcroix, Hans Henning Paar, Eugenio Scigliano, Roman Komassa, Ewa Wycichowska, and Jarosław Staniek. She has participated in numerous international festivals, among others Bangkok’s International Festival of Dance and Music, Tanzfestival Bielefeld, Istanbul Theatre Festival, Days of Dance Art at the Teatr Wielki – Polish National Opera in Warsaw, and the International Dance Theatres Festival in Poznań. Franciszka Kierc-Franik is a winner of several competitions and awards, including the Awards of Mayor of Gdańsk and Marshal of Pomeranian Province and the Jan Kiepura Theatre Music Award for the best dancer of 2009. Her other collaborations include Wrocław Opera and Capitol Musical Theatre, where she has participated in classical ballet performances: Tchaikovsky’s The Swan Lake (choreography by Victor Smirnov-Golovanov and Ewa Wycichowska) and modern dance shows: Swing! Duke Ellington Show (directed and choreographed by Jarosław Staniek). Franciszka Kierc-Franik presented her own monodrama at the 20th International Shakespeare Festival in Gdańsk. Moniuszko – Phantoms, 12.09, page 90

Andrzej Kosendiak Biography on page 24. Moniuszko – Phantoms, 12.09, page 90

photo: Robert Buckland

Tomáš Král Tomáš Král (baritone) studied voice at the Janáček Academy of Performing Arts in Brno under Adriana Hlavsová and at master classes with Julie Hasler, Howard Crook, Peter Schreier, Joel Frederiksen, and he has been in consultation with Ivan Kusnjer. Since 2005, he has been collaborating regularly with Czech ensembles Collegium 1704, Collegium Marianum, Musica Florea, Ensemble Inégal and he is a founding member of the ensemble Collegium Vocale 1704. He also collaborates with the ensembles and orchestras Wrocław Baroque Orchestra, Collegium Vocale Gent, Doulce Mémoire, Red Herring, L’Aura Soave Cremona, Cinquecento, La Venexiana, Vox Luminis, Holland Baroque, B’Rock Orchestra. He has presented himself at the festivals Prague Spring, Dresdner Festspiele, Festival de La Chaise-Dieu, Festival de Sablé, Festival d’Ambronay, Oude Muziek Utrecht, MAfestival Brugge, Bozar in Brussels, Konzerthaus in Vienna, London’s Wigmore Hall, Wratislavia Cantans, and Salzburger Festspiele. Tomáš Král also devotes himself to opera, having appeared as Uberto in the comedic intermezzo La serva padrona by Pergolesi, Giove in La Calisto by Cavalli with Collegium Marianum, Lisingo in Le Cinesi by Gluck with Collegium 1704, Ernesto in Il mondo della luna by Haydn with Ensemble Baroque, Apollo in Handel’s cantata Apollo e Dafne with Musica Florea, and as a guest at the Moravian Theatre in Olomouc in an operatic production of Suppé’s Boccaccio (title role) and in Mozart’s Così fan tutte (as Guglielmo).

In 2014 he took a part in the stage project with conductor Michael Hofstetter on scenic production of Mozart’s Requiem and contemporary composer Richard van Schoor at Kunstfestspiele Herrenhausen in Hannover and the theatre in Gießen. He also took a part of Ottokar at concert version of Weber’s Freischütz at Styriarte Festival in Graz. In 2015 he performed the main role in Telemann’s adaptation of Handel’s Riccardo Primo in the theatre in Gießen. Last year he took part in scenic production of Bach’s St John Passion with B’Rock Orchestra in Klarafestival in Brussels. In the same time he performed Bach’s St Matthew Passion as solo bass with Holland Baroque and Reinbert de Leeuw as conductor. Last year as well he took part of Apollo in Monteverdi’s L’Orfeo in Opera of Dijon. Tomáš Král has taken part in many highly recognised recordings, especially with music of Jan Dismas Zelenka (Missa votiva, Lamentationes Jeremiae Prophetae), Bach’s Mass in B Minor with Collegium 1704 and in most current recording of Leoš Janáček’s Moravian Folk Songs; as well as in radio (France Musique, Radio Klara, Czech Radio) and TV recordings (Mezzo, Arte or Czech Television). Rosa del ciel – musical treasures of Wrocław University Library, 10.09, 11.09, page 70, 88

Collegium Marianum, Ensemble Tourbillon, Ensemble Inégal, Capella Cracoviensis, Capella Anna, Les Traversées Baroques, and others). He regularly plays at festivals including the Prague Spring, the Prague Autumn, Concentus Moraviae, the St Wenceslas Festival, and the Summer Festivities of Early Music. He has taken part in numerous critically acclaimed recordings including his solo album Intavolatura di Tiorba. Rosa del ciel – musical treasures of Wrocław University Library, 10.09, 11.09, page 70, 88

photo: Petra Nelle Film Creations

photo: artist's collection

Jan Krejča Jan Krejča originally started performance on the Renaissance lute and then enlarged his interests to include the theorbo and the baroque guitar. Currently he gives solo recitals and as a sought-after basso continuo player he performs with many Czech and international ensembles (Collegium 1704,

In the season 2016/17 the artist will perform the roles of Gilda in Rigoletto in Trieste for the opening of the season, Sigismondo in Handel’s Arminio in Karlsruhe, Konstanze in Mozart’s Die Entführung aus dem Serail in Toulon, and Amina in Bellini’s La sonnambula in Trieste. In the season 2017/18 Aleksandra KubasKruk will appear in The Golden Cockerel at Concertgebouw in Amsterdam, Rigoletto in Poznań and Warsaw, Handel’s Alcina in Karlsruhe, Lucia di Lammermoor in Trieste. Moniuszko – Phantoms, 12.09, page 90

photo: Guy Vivien

Aleksandra Kubas-Kruk

Le Concert Spirituel

Aleksandra Kubas-Kruk is one of the most outstanding young Polish sopranos. She won several international competitions and she received the Jan Kiepura Theatre Music Award for the best female singer in Poland and the Award of the President of Wrocław for the outstanding artistic achievements in 2014. Her operatic debut was with Verdi’s Rigoletto at Wrocław Opera, where she performed also in Donizetti’s Lucia di Lammermoor and L’elisir d’amore, Verdi’s Falstaff and Un ballo in maschera, Mozart’s Le nozze di Figaro and Die Zauberflöte, Offenbach’s Les Contes d’Hoffmann, Rossini’s Il signor Bruschino, Richard Strauss’ Der Rosenkavalier. Her international career began with Bernstein’s Candide in Italy, Rimsky-Korsakov’s The Golden Cockerel at Bolshoi in Moscow and Delibes’ Lakmé in Bonn. She sung in Verdi’s Traviata in Gdańsk and in 2015 she made her first appearance at the Teatr Wielki – Polish National Opera in Warsaw with Rigoletto.

Founded in 1987 in order to bring back to life the great French repertoire played at the court of Versailles, the multi-award winning orchestra Le Concert Spirituel, under the baton of Hervé Niquet soon became one of the leading French early-music ensembles on period instruments (17th- and 18th-century). In this spirit, Le Concert Spirituel collaborates closely with the Centre de Musique Baroque de Versailles and is devoted to airing the works of the great composers of French musical heritage, from Charpentier to Lully, by ways of Campra or Boismortier. Guest in the most prestigious international concert halls (London’s Barbican Centre and Wigmore Hall, the Royal Albert Hall for the BBC Prom’s, the Luxembourg Philharmonie, Tokyo Opera, Bozar in Brussels, Auditorio Nacional de Música in Madrid, Shanghai Concert Hall, and Theater an der Wien), and in Paris each year at the Théâtre des ChampsÉlysées, Philharmonie de Paris and Palace of Versailles, Le Concert Spirituel has been awarded many times.

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Biographies While Le Concert Spirituel specialises in French sacred music and is recognised the world over for its work on this repertoire, an important part of its activity is also devoted to opera. The ensemble unveiled works that received the most prestigious international awards: Marais’s Sémélé was voted Opera Recording of the Year by the ECHO Klassik Awards in 2009, Grétry’s Andromaque was awarded a Grand Prix – Académie Charles Cros in 2010, and Campra’s Le Carnaval de Venise lately received the Supersonic Award and German Record Critic’s Award in 2011 (last recordings: Vogel’s La Toison d’Or, Mozart’s Les Mystères d’Isis and Rameau’s Les Fêtes de l’Hymen et de l’Amour with Glossa). Since June 2015, Le Concert Spirituel has an exclusive recording engagement with Alpha Classics. Been released: DVD Boismortier’s Don Quichotte chez la Duchesse (Château de Versailles’s collection), CD Vivaldi’s Gloria and Magnificat, Cherubini’s and Plantade’s Requiems and Lully’s Persée (1770). These musical adventures were also the opportunity to work with directors and choreographers as diverse as Gilles and Corinne Benizio (alias Shirley & Dino), Karole Armitage, Georges Lavaudant, Joachim Schloemer and Christian Schiaretti. 2016-2017 engagements include a new tour Don Quichotte chez la Duchesse at the Théâtre Impérial de Compiègne, Théâtre de Poissy, Pin Galant (Mérignac), and in Mexico for the Cervantino Festival; Handel’s Messiah at the Théâtre des Champs-Élysées with Sandrine Piau; a recreation of Les amants magnifiques by Molière and Lully at the operas from Massy, Avignon, Rennes and Reims (stage director Vincent Tavernier); and the production King Arthur by Purcell at the Opéra Royal du Château de Versailles (stage direction Corinne et Gilles Benizio). Le Concert Spirituel thanks the donors of its Endowment Fund, especially SMA, donor for this season’s main staged production, and its individual donors of ‘Le Carré des Muses’. Le Concert Spirituel is funded by its Principal Patrons: Mécénat Musical Société Générale and Fondation Bru. Le Concert Spirituel is funded by the Ministry of Culture and Communication and the City of Paris. With the support of Fondation Bettencourt Schueller. concertspirituel.com

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Le Concert Spirituel: Marie-Pierre Wattiez , Aude Fenoy, Alice Glaie, Violaine Le Chenadec, Marie Serri, Nadia Lavoyer, Gwenaëlle Clemino, Armelle Marq – sopranos Alice Habellion, Eric De Fontenay, Fiona McGown, Julien Freymuth, Lucia Nigohossian, Marie Favier, Christophe Baska, Frédéric Betous – altos Alban Dufourt, Pascal Richardin, Paco Garcia, Laurent David, Benoît Porcherot, Nicolas Maire, Martin Candela, Edmond Hurtrait – tenors Igor Bouin, Sydney Fierro, Simon Bailly, Marc Busnel, Benoît Descamps, Jérémie Arcache, Cyrille Gautreau, Rigoberto Marin-Polop – basses Krzysztof Lewandowski, Sophie Rebreyend, Philippe Canguilhem, Isaure Lavergne – dulcians Adrien Mabire – cornett Arnaud Bretecher, Stéphane Muller, Franck Poitrineau – sackbuts Tormod Dalen, Alain Gervreau – cellos Luc Devanne, Marion Mallevaes – double basses François Saint-Yves, Yoann Moulin – chest organ Masters of Italian Polyphony, 15.09, page 132

photo: Konarzewska-Pyla

Teresa Majka-Pacanek Teresa Majka-Pacanek is a leading conductor and choirmaster with the Cracow Philharmonic Choir. She holds a PhD in music, having graduated from the Faculty of Music Education at the Academy of Music in Cracow, where she studied under Arkadiusz Basztoń. It was in Cracow that she began working with amateur choirs and gained her first experiences as a conductor.

Teresa Majka-Pacanek has led a rich and varied career as a conductor, choirmaster and chorister. In 1983 she began leading the Henryk Jordan Hasło men’s choir, a role she still continues up until this day. Between 1984–1989 she worked at the Fryderyk Chopin State Music High School in Cracow as a choir conductor, and during the same period she also held the position of assistant conductor for the Dominanta choir at the Cracow Academy of Economics. In 1985 she began working with the Karol Szymanowski Philharmonic in Cracow as a choral artist. Between 1989 and 1993 she took on the responsibility of manager and conductor for the Cracow Philharmonic Chamber Choir. The artist toured this choir to France on three separate occasions (performing 55 concerts in 49 places), and together they have performed at numerous concert events and music festivals both in Poland and abroad, such as Guitar Music Days 1988, 1993; the 'Futures Musiques IV' Contemporary Music Festival in Paris in 1989; and European Cultural Month in Cracow, 1992). Under her leadership, the choir has recorded three albums. Between 1991–2009, she was both the assistant choirmaster of a mixed choir and a choir singer. From April to November 2009 she took on the role of conductor and choirmaster, and she has led the Cracow Philharmonic mixed choir as conductor and choirmaster since October 2009. Ms Majka-Pacanek has performed extensively across Europe, including in Austria, the Czech Republic, Denmark, France, Lithuania, Ukraine, Romania, Sweden, Turkey, Hungary, Italy, and Vatican City where she conducted the choir during the canonisation of John Paul II and John XXIII on 27 April 2014. She works with many renowned conductors and artists both from Poland and abroad. For Henryk Mikołaj Górecki’s 70th birthday, She organised a special concert which was attended by the artist himself. Teresa Majka-Pacanek particularly values her collaboration with Jan Łukaszewski, one of the most noted choirmasters in Poland, and she is keen to share experiences with other choirmasters abroad, such as Gary Graden, a recognised specialist in choral singing. In October 2014, Teresa Majka-Pacanek was awarded an Honoris Gratia medal by the President of Cracow. Et exspecto resurrectionem, 11.09, page 82

photo: artist's collection

themselves in Polish and international opera houses. He is also a teacher and director of the Winter Vocal Courses in Duszniki-Zdrój as well as adjudicating at Polish and international vocal competitions Bogdan Makal has received a number of awards and diplomas for his teaching and artistic activities, including the honours bestowed on him by the Centre for Artistic Education, the Rector of the Wrocław Academy of Music and the Polish Association of Singing Teachers. He also has received the National Education Medal and a Diploma of the Wrocław Metropolitan Curia. Moniuszko – Phantoms, 12.09, page 90

Bogdan Makal Bogdan Makal, bass-baritone, studied solo singing at the Music Academies in Bydgoszcz and Wrocław where he held a scholarship of the Ministry of Culture and Arts (diploma with distinction in the class of Kazimierz Myrlak). He participated in a dozen of music competitions organised by the Wrocław Academy of Music, Hochschule für Musik Franz Liszt in Weimar and the Helmuth Rilling Bach Academy. He is the laureate of the 2nd prize and a special prize for the performance of Moniuszko songs in Warsaw (1989), the 3rd special prize at the Students Competition of Polish Artistic Song (Warsaw, 1991), the 2nd prize at the 2nd International Students Vocal Competition in Duszniki-Zdrój (1992) and the 2nd prize and a special prize of the Gdańsk Academy of Music Rector for the best interpretation of the Grieg’s song Jeg elsker dig in the National Grieg Competition in Gdańsk (1993), as well as the soloist award at the International Festival of Orthodox Church Music in Hajnówka. He has performed bass and baritone parts in over 100 oratorios and participated in numerous festivals in Poland and abroad. His collaborations include opera houses and theatres, in addition to a number of recordings for radio and television in Poland, the Czech Republic, France and the USA, including CDs awarded Grand Prix du Disque de l’Académie Charles Cros and Diapason d’Or. Bogdan Makal is a professor of the Wrocław Academy of Music and the Dean of its Vocal Department as well as Director of the Vocal Department of the Secondary Music School in Wrocław. His students have won prizes and awards at Polish and international competitions, many of them distinguishing

photo: Susana Vera

Carlos Mena Carlos Mena studied at the Schola Cantorum Basiliensis in Basel (Switzerland), where he was supervised by Richard Levitt and René Jacobs. He has sung for audiences around the world, like Kontzerthaus in Vienna, Berliner Philarmoniker, Théâtre des Champs-Elysées, Teatro Colón in Buenos Aires, Alice Tully Hall in New York, Fisher Symphony Hall in Detroit, Kennedy Center in Washington, Suntory Hall and Opera City Hall in Tokyo, Osaka Symphony Hall, Sydney Opera House, Concert Hall in Melbourne under the direction of maestros

as, among others, René Jacobs, Gustav Leonhardt, Paul Goodwin, Marc Minkowski, Fabio Biondi, Ottavio Dantone, and Andrea Marcon. Carlos Mena took the title role in Handel’s Radamisto at the Festival of Salzburg, Felsenreitschule in Salzburg, Dortmund Kontzerthaus, Musikverein in Vienna, Concertgebouw in Amsterdam, and Palacio de Bellas Artes in Mexico City. Besides, he has sung Speranza in Monteverdi’s L’Orfeo at the Staatsoper in Berlin, Angelo Custode in Rappresentazione di anima e di corpo by Cavalieri at La Monnaie in Brussels, Disinganno in Handel’s Il trionfo del tempo e del disinganno at the Grosses Festspielhaus in Salzburg, and took part in Europera 5 by Cage in the Festival of Flanders. The artist sung Oberon in A Midsummer Night’s Dream by Britten in Teatro Real de Madrid, Ascanio in Mozart’s Acanio in Alba in Barbican Centre in London, Tamerlano in Bajazet by Vivaldi in Teatro Arriaga in Bilbao, a part in El viaje a Simorgh by Sánchez-Verdú in Teatro Real de Madrid and in Death in Venice by Britten in Liceu de Barcelona, as well as the title role in Handel’s Rinaldo in Concertgebouw in Amsterdam. Carlos Mena also interprets the repertoire of the romantic Lied and of the 20th and the 21st century by Stravinsky, Britten, Iglesias, Bernstein, Benjamin or Vaughn Williams. Composers such as Gabriel Erkoreka, Jose María Sánchez Verdú and Alberto Iglesias have composed works specifically for his voice. Among his records notable achievements are De Aeternitate (Mirare) with the prize Diapason D’Or as the Best Barock Recital in 2002 and Et Jesum (Harmonia Mundi) rewarded as Best CD 2004 by CD Compact. Other his recorded recitals – Stabat Mater by Vivaldi and by Pergolesi, JohannesPassion, Magnificat and Bach Cantatas – was awarded such prizes as the Editor’s Choice by Gramophon, 10 de Répertoire, the CHOC by Le Monde de la musique, and others. In 2009 Carlos Mena has founded Capilla Santa Maria of which he is the chief conductor, performing around the most prestigious festivals and stages of Europe and receiving successful reviews. Recently, the artist has conducted Der Messias by Handel/Mozart in Teatro San Carlo in Lisboa with Orquestra Sinfónica Portuguesa. Stabat Mater, 13.09, 14.09, page 100, 130

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Biographies The Choir has participated in several staged opera productions, including most recently Gluck’s Orphée et Eurydice at the Royal Opera House, Covent Garden, in September 2015; working in collaboration with the Hofesh Shechter Company. Other opera productions include Weber’s Le Freyschütz (with French recitatives by Berlioz, 2010) and Bizet’s Carmen (2009) at the Opéra Comique in Paris, and in 2003 the Choir performed Berlioz’s Les Troyens at the Théâtre du Châtelet. In the 2016/17 season they will be performing Bach’s Magnificat in E-flat Major, Lutheran Mass in F Major, and cantata Sü'er Trost with the English Baroque Soloists in venues around Europe. In 2017 the Choir will be making a landmark seven-month tour of Monteverdi’s greatest surviving works, including: L’Orfeo, Il ritorno d’Ulisse in patria, L’incoronazione di Poppea and the Vespers.

photo: Massimo Giannelli

THE MONTEVERDI CHOIR Under the patronage of HRH the Prince of Wales Founded by Sir John Eliot Gardiner as part of the break-away period instrument movement of the 1960s, the Monteverdi Choir have always focused on bringing a new perspective to their repertoire. With a combination of passionate playing and historically-informed performance practice, their real difference as an ensemble lies in their ability to communicate music to their audiences worldwide. The Choir also goes beyond the music, seeking to make the visual impact of their performance enhance the experience, and even exploiting the venues themselves in the search for immediacy and drama. This approach has led to the Monteverdi Choir being consistently acclaimed as one of the best choirs in the world over the past 50 years. Among a number of trail-blazing tours, was the Bach Cantata Pilgrimage in 2000, during which the Choir performed all 198 of J.S. Bach’s sacred cantatas in more than 60 churches throughout Europe and America. The entire project was recorded by the company’s record label, Soli Deo Gloria,

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and hailed as ‘one of the most ambitious musical projects of all times’ by Gramophone magazine. The Monteverdi Choir has over 150 recordings to its name and has won numerous prizes. The Choir is also committed to training future generations of singers through the Monteverdi Apprentices Programme. Many Apprentices go on to become full members of the Choir, and former Choir members have also gone on to enjoy successful solo careers. Last season the Choir took part in a variety of projects across different repertoires – from an extensive tour of Bach’s St Matthew Passion (performed from memory) with the English Baroque Soloists to Berlioz’ Roméo et Juliette at the BBC Proms and Berlioz Fest with the Orchestre Révolutionnaire et Romantique. Under the direction of Sir John Eliot Gardiner they also collaborated with the London Symphony Orchestra on Mendelssohn’s Ein Sommernachtstraum and the Tonhalle Orchestra on Janáček’s Glagolitic Mass.

The Monteverdi Choir: Charlotte Ashley, Zoë Brookshaw, Amy Carson, Angela Hicks, Alison Hill, Eleanor Minney, Angharad Rowlands – sopranos Rory McCleery, Timothy Morgan, Simon Ponsford, Richard Wilberforce, Matthew Venner – countertenors Rory Carver, Hugo Hymas, Graham Neal – tenors Alex Ashworth, Daniel D’Souza, Samuel Evans, Ben Kazez, Lawrence Wallington – basses Monteverdi – Il ritorno d’Ulisse in patria, 7/8.09, page 34

photo: artist's collection

Katarzyna Neugebauer-Jastrzębska Katarzyna Neugebauer-Jastrzębska, pianist, graduated from the Wrocław Music Academy. As a soloist she has enjoyed performances with Jacek Kaspszyk and Adam Klocek, with the NFM Wrocław Philharmonic and the Kalisz Philharmonic. She is an active chamber player: with violinist Bartosz Bokun she plays in Duo4U, whose debut album was released in 2009. She also plays in a duet with the cellist Urszula Kopijkowska, formed in 2014, with whom she is active in concerts, including appearances at the NOSPR Katowice. Contemporary music is a focus of Katarzyna Neugebauer’s interests, which has led to a number of performances and premieres of works by young composers, such as Katarzyna Brochocka and Adam Porębski during festivals such as Eurosilesia, The Stars Promote in Jelenia Góra, and Musik unserer Zeit in Münster. Katarzyna Neugebauer collaborates at national and international competitions and vocal master classes, where she has worked with Rockwell Blake, Nicholas Mulroy, Kaludi Kaludov, and Robert Nakoneczny. Since 2009 she has worked with the NFM Choir as accompanist and with them she participated in the recording of the Bob Chilcott CD, released in the UK in 2012. Her other collaborators under the aegis of the NFM Choir include Paul McCreesh, Ernst Kovacic, and Benjamin Shwartz. From 2013 she worked with the Polish National Youth Choir. For three years she was a repetiteur of the Wrocław Opera soloists, and from 2007 has worked as an accompanist at the Wrocław Academy of Music. Colours of Sounds, 8.09, page 44

photo: Łukasz Rajchert

NFM Boys’ Choir

The NFM Boys’ Choir was founded in 2009 by Andrzej Kosendiak – Director of the National Forum of Music in Wrocław. The Choir is ambitiously active in the artistic life and gives concerts with leading conductors and ensembles. It is often invited to participate in prestigious events of the International Festival Wratislavia Cantans (recently it appeared under Sir John Eliot Gardiner) or the Leo Festival. Apart from their regular rehearsals and concerts, the young singers participate in workshops several times a year, run by Polish and international experts. Since the onset of its activities the NFM Boys’ Choir engages in collaborations with the Wrocław Opera, the Teatr Polski, and the Wrocław Puppet Theatre. Małgorzata Podzielny is artistic director of the NFM Boys’ Choir.

NFM Boys’ Choir: Antoni Szuszkiewicz, Bartosz Dubiel, Filip Piątek, Gabriel Knychas, Jakub Szygulski, Jakub Tomaszak, Jan Grekow, Jan Siewruk, Jan Szymeczek, Kacper Dawiec, Kamil Przyłucki, Karol Płaczkowski, Krzysztof Morgiel, Krzysztof Ostrowski, Maciej Limanowski, Mateusz Abulewicz, Mateusz Popik, Mateusz Słocki, Mikołaj Szuszkiewicz, Oskar Gomółka, Paweł Krawczyński, Piotr Fabich, Piotr Ostrowski, Piotr Wargocki, Przemysław Witka, Radosław Broda, Sergiusz Mojzesowicz, Szymon Goździkowski, Wiktor Dawidziuk, Wojciech Kotlik, Wojciech Stefanowski Telemann – Brockes-Passion, 15.09, 16.09, page 140, 162

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Biographies Il Giardino Armonico, Kammerorchester Basel, and the NDR Symphony Orchestra. An important part of the NFM Choir’s discography is a series of recordings with Paul McCreesh released on his Winged Lion label and awarded prestigious awards: BBC Music Magazine Award 2012 in the ‘Technical Excellence’ category (Berlioz’s Grande Messe des Morts), Diapason d’Or 2013 (Mendelssohn’s Elijah), BBC Music Magazine Choral Award 2014 (Britten’s War Requiem). The NFM Choir’s a cappella catalogue includes an album with works by Bob Chilcott The Seeds of Stars (2012) and three discs with Polish choral music: Words Painted with Sounds (2012), Folk Love (2014), and De profundis (2016). The latter received Fryderyk Award 2017 in the ‘Album of the Year – Choral Music’ category. March 2017 saw the release of Haydn’s The Seasons with Paul McCreesh. Beethoven’s Symphony No. 9, recorded with Giovanni Antonini in 2016, will be released soon.

photo: Łukasz Rajchert

NFM Choir The NFM Choir was founded by Andrzej Kosendiak in 2006 as a resident ensemble of the Wrocław Philharmonic, which in May 2014 was restructured into the National Forum of Music. Agnieszka Franków-Żelazny has served as artistic director ever since the Choir’s inception. Over a short period, the Choir became a leading ensemble on the Polish choral scene. The NFM Choir earned esteem by both expanding a rich a cappella repertoire and performing great oratorios, operas and symphonic music. The list of collaborating conductors includes such excellent names as Giovanni Antonini, Benjamin Bayl, Bob Chilcott, Gabriel Chmura, Iván Fischer, José Maria Florêncio, Robert Hollingworth, Tõnu Kaljuste, Jacek Kaspszyk, Stephen Layton, James MacMillan, Jerzy Maksymiuk, Paul McCreesh, Krzysztof Penderecki, and Benjamin Shwartz. Over a decade of activities, the NFM Choir has performed more than 300 concerts, appearing, among others, at the Barbican Centre and Royal Albert Hall in London, Gewandhaus in Leipzig and Salle Pleyel in Paris.

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The NFM Choir has been frequently invited to international music festivals, such as Ankara International Music Festival, International Festival of Arts and Ideas w New Heaven, Gent Festival van Vlaanderen, Gstaad Menuhin Festival & Academy, Jazztopad, Klarafestival, MusMA, Musica Electronica Nova, SchleswigHolstein Musik Festival, Serenade! Choral Festival in Washington DC, Warsaw Autumn, World Music Days, and Wratislavia Cantans. In 2009 and 2011 it was the first choir from Poland to appear at the BBC Proms. In 2011 it received one of the main three prizes at the Varaždin Baroque Evenings in Croatia – the Kantor Prize for an extraordinary performance of works by J.S. Bach. The Choir has participated in the Choral Academy and Singing Europe projects. In addition to regular concerts with other NFM ensembles, the choir tours Poland, giving concerts with other philharmonic orchestras as well as NOSPR and Polish Radio Orchestra. Its international collaborations include, among others, the Budapest Festival Orchestra, B’Rock Orchestra, Gabrieli Consort & Players,

NFM Choir: Paulina Boreczko-Wilczyńska, Małgorzata Ciężka-Kątnik, Natalia Kiczyńska, Patrycja Kujawa, Monika Michaliszyn, Agnieszka Niezgoda, Joanna Palac, Agnieszka Ryman, Aleksandra Turalska, Violetta WysockaMarciniak – sopranos Joanna Klebba, Aleksandra Michniewicz, Bianka Maxim, Marta Mączewska, Ewa Pieronkiewicz, Agata Ranz, Joanna Rot, Aleksandra Sosna, Ewelina Wojewoda*, Ewa Wojtowicz, Magdalena Wolska*– altos Jakub Bieszczad, Marcin Belcyr*, Marek Belko, Andrzej Górniak, Jarosław Kawałko, André Khorsik, Sebastian Mach, Łukasz Wilda, Paweł Zdebski – tenors Maciej Adamczyk, Jerzy Butryn, Filip Chudzicki, Marek Fras, Maciej Gorczyczyński, Krzysztof Kmieć, Dominik Kujawa, Jan Pieter, Michał Pytlewski, Piotr Woroniecki – basses *on leave Colours of Sounds, 8.09, page 44 Moniuszko – Phantoms, 12.09, page 90 Telemann – Brockes-Passion, 15.09, 16.09, page 140, 162

NFM Wrocław Philharmonic Together with a number of renowned guest artists and its newly appointed music director Giancarlo Guerrero, the NFM Wrocław Philharmonic is at the heart of Polish musical scene. The orchestra was founded in 1945. Until 1949 the orchestra was both a symphony and an opera orchestra, next to become the State Opera in Wrocław’s orchestra (and therefore in the years to come symphonic concerts were held irregularly). Finally, in 1954 it became an independent symphony orchestra. In 1994 it adopted the name of Witold Lutosławski in memory of the great composer, and on the opening Wrocław’s new concert hall, the National Forum of Music in 2015, it became the NFM Wrocław Philharmonic. The impressive architectural design by Kuryłowicz & Associates and praised acoustics and theatre design by Artec (now Arup) have allowed to create a unique home for the orchestra, in which during the first two seasons NFM Wrocław Philharmonic has performed for a public of almost 100,000 people.

As a principal resident ensemble of the National Forum of Music, the orchestra participates in a huge range of projects each season, including subscription concerts, educational programmes, open air performances and recording sessions. The orchestra’s involvement in educational activities does not only focus on concerts for school children and youth, but also extends to collaborations with the Wrocław Academy of Music, as well as participating in the NFM own programmes: Orchestral Academy and Choral Academy. Thanks to its collaborations with festivals presented by the National Forum of Music, such as Jazztopad and Musica Electronica Nova, the NFM Wrocław Philharmonic enjoys regular collaborations with some leading avant-garde and jazz artists. In the last seasons these included John Zorn, Wynton Marsalis with Jazz at Lincoln Center Orchestra, and Terje Rypdal. A CD featuring the NFM Wrocław Philharmonic’s concert with Terje Rypdal was released on the prestigious ECM label.

The orchestra enjoyed a long collaboration with Jacek Kaspszyk, who, during his sevenyear tenure as principal conductor and artistic director (2006–2013) contributed greatly to the ensemble’s development. Subsequently, between 2013–2016, the orchestra worked with Benjamin Shwartz, with whom the ensemble has begun a recording series dedicated to the work of Polish contemporary composers. The first disc with the symphonic works of Paweł Mykietyn was released in the spring of 2017. Together with Benjamin Shwartz, the orchestra also performed a season accompanying the celebrations of European Capital of Culture, which Wrocław was during the year 2016. Well known for its commitment to presenting the 20th- and 21st-century symphonic repertoire, the NFM Wrocław Philharmonic regularly performs works commissioned by and for the National Forum of Music. Within the subscription series, in 2017 the orchestra has performed new works by Grażyna Pstrokońska-Nawratil, Elżbieta Sikora and Jan Duszyński. The NFM Wrocław Philharmonic is currently recording the complete works of its patron, Witold Lutosławski – Opera Omnia, for the CD Accord label. A recording of Symphonies Nos. 2 & 4 conducted by Jacek Kaspszyk won a Fryderyk Award of the Polish Phonographic Academy in 2011; this was followed in 2013 with Symphony No. 1 and the Concerto for Orchestra, conducted by the acclaimed Stanisław Skrowaczewski. The orchestra regularly performs in prominent venues in Poland as well as touring Europe and the USA.

NFM Wrocław Philharmonic: Radosław Pujanek (1st concertmaster), Marcin Markowicz (concertmaster), Marcin Danilewski (concertmaster), Andrzej Woźnica (honorary concertmaster), Karolina Bartoszek, Dariusz Blicharski, Bartosz Bober, Dorota Bobrowicz, Dorota Bogaczewicz, Elżbieta Bolsewicz, Maria Brzuchowska, Ewa Dragon, Beata Dziekańska, Jowita Kłopocka, Lilianna Koman-Blicharska, Malwina Kotz, Danuta Kulisz, Jan Mazur, Sylwia Puchalska, Beata Solnicka, Dorota Tokarek, Anna Undak – 1st violins

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Biographies Wojciech Hazuka (concertmaster), Tomasz Bolsewicz, Wioletta Porębska, Tomasz Kwieciński, Wojciech Bolsewicz, Zuzanna Dudzic-Karkulowska, Alicja Iwanowicz, Krzysztof Iwanowicz, Marzanna Kałużny, Małgorzata Kosendiak, Ewa Kowol-Stencel, Anita Koźlak, Marzena Malinowska, Andrzej Michna, Dorota Stawinoga-Morawiec, Sylwia Welc, Marzena Wojsa – 2nd violins Artur Tokarek, Artur Rozmysłowicz, Bożena Nawojska, Magdalena Dobosz, Paweł Brzychcy, Bogusława Dmochowska, Emilia Gamalczyk-Małek, Marlena GrodzickaMyślak, Ewa Hofman, Michał Mazur, Monika Mazur, Jolanta Mielus, Aleksandra Wiśniewska, Aleksandra Urbańska – violas Maciej Młodawski (1st concertmaster), Maciej Kłopocki (concertmaster), Wojciech Fudala (leader), Jan Skopowski, Sylwia Matuszyńska, Ewa Dymek-Kuś, Lidia Broszkiewicz, Radosław Gruba, Anna Korecka, Dorota Kosendiak, Robert Stencel, Miłosz Drogowski – cellos Janusz Musiał (concertmaster), Damian Kalla, Krzysztof Królicki, Czesław Kurtok, Jacek Sosna, Jan Galik, Marek Politański, Paulina Rosłaniec – double basses Jan Krzeszowiec, Ewa Mizerska, Małgorzata Świętoń, Henryk Rymarczuk – flutes Wojciech Merena, Justyna Stanek, Waldemar Korpak – oboes Stefan Małek – cor anglaise, oboe Maciej Dobosz, Jan Tatarczyk, Mariola Molczyk, Michał Siciński, Arkadiusz Kwieciński – clarinets Katarzyna Zdybel-Nam, Alicja Kieruzalska, Józef Czichy, Bernard Mulik – bassoons Mateusz Feliński, Adam Wolny, Łukasz Łacny, Czesław Czopka, Jan Grela, Robert Wasik – horns Piotr Bugaj, Aleksander Zalewski, Paweł Spychała, Justyna Maliczowska, Stanisław Zastawniak, Aleksander Kobus – trumpets Paweł Maliczowski, Eloy Panizo, Wojciech Nycz, Mariusz Syrowatko – trombones Krzysztof Mucha, Piotr Kosiński – tubas Miłosz Rutkowski, Zbigniew Subel, Krystyna Wojciechowska, Aleksandra Gołaj, Adrian Schmidt – percussion Christopher Lane, Jacek Wota – timpani Malwina Lipiec-Rozmysłowicz – harp Władysław Kosendiak (associate) – saxophone Alina Wojtowicz (associate) – piano Et exspecto resurrectionem, 11.09, page 82

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photo: Perla Maarek

Stéphanie d’Oustrac

photo: Eric Manas

Hervé Niquet Hervé Niquet, strengthened by his thorough training as a harpsichordist, organist, pianist, vocalist, composer, choral conductor and orchestral conductor, approaches musicianship as would a true researcher, preferring to go back to the original source in order to avoid convention and habit. In this spirit, he created Le Concert Spirituel in 1987 with the goal of reviving the French grand motet. Thirty years later, the ensemble has made a name for itself as one of the seminal groups for the interpretation of Baroque music, rediscovering both known and unknown works by French, Italian and British composers. Hervé Niquet also conducts main international orchestras with the same wholeheartedness when playing the 19th- and early 20th-century repertory. He is convinced that French music remained unique throughout the centuries. As a musical pioneer he joined the formation of the Palazzetto Bru Zane – Centre de musique romantique française in Venice 2009. With passionate enthusiasm for opera Hervé Niquet frequently conducts stageproductions, either with Le Concert Spirituel or as a guest-conductor. He has worked with stage-directors of most diverse styles such as Mariame Clément, Georges Lavaudant, Gilles and Corinne Benizio (alias Shirley

& Dino), Joachim Schloemer, Christoph Marthaler, Romeo Castellucci (Gluck’s Orfeo ed Euridice 2014 at the Théâtre Royal de la Monnaie in Brussels), and Christian Schiaretti (Rameau’s Castor et Pollux at the Théâtre des Champs-Élysées in Paris). Hervé Niquet is musical director of the Flemish Radio Choir and first guest-conductor of the Brussels Philharmonic. Under his baton both ensembles are intensely involved in a CD-project in co-operation with Palazzetto Bru Zane focusing on the recording of cantatas from the Prix de Rome. So far works by Debussy, Saint-Saëns, Gustave Charpentier, Max d’Ollone and Dukas have been published as well as opera rarities by Victorin Joncières and Félicien David (Echo Klassik 2016). Hervé Niquet is also artistic director of the Festival de Saint-Riquier Baie de Somme. Furthermore his personal commitment concerning next generation educative initiatives in music (Académie d’Ambronay, Jeune Orchestre de l’Abbaye aux Dames, Schola Cantorum, CNSMD de Lyon, McGill University in Montreal) as well as master classes and lectures are of greatest importance for him. Hervé Niquet is Chevalier de l’Ordre National du Mérite and Officier des Arts et Lettres. Masters of Italian Polyphony, 15.09, page 132

Stéphanie d’Oustrac, mezzo-soprano, devoted her early career to the baroque repertoire. William Christie was the first to offer her tragic roles: Médée in Thésée by Lully and Psyché in Les métamorphoses de Psyché (Lully-Quinault / Molière-Corneille). She also sang Médée by Charpentier conducted by Hervé Niquet (DVD, Armide Classics), Monteverdi’s trilogy with Jean-Claude Malgoire conducting, Purcell’s Dido and Aeneas with William Christie, Handel’s Sosarme at St Gallen, Rameau’s Les Paladins at Théâtre du Châtelet (DVD, Opus Arte), at the Barbican Centre, in Shanghai and in Tokyo, Armide (title role) by Lully at Théâtre des Champs-Élysées (DVD, Fra Musica), Handel’s Alcina (Ruggiero) at the Opéra National de Lyon and Giulio Cesare at Glyndebourne Festival, in Marseille and Nancy, Gluck’s Orphée et Eurydice at Théâtre Royal de la Monnaie. Due to her perfect diction she has become one of the most sought-after singers in the French repertoire. Her much acclaimed performances Lully’s Armide and Bizet’s Carmen. She has also sung Offenbach’s Les contes d’Hoffmann (la Muse, Nicklausse), Chabrier’s L’etoile (Lazuli), Ravel’s L’enfant et les sortilèges and L’heure espagnole at Glyndebourne Festival (DVD Fra Musica), Poulenc’s Dialogues des Carmélites (Mère Marie), Debussy’s Pelléas et Mélisande and Berlioz’ Béatrice et Bénédict. Mozart’s operas have a special place in Stéphanie d’Oustrac’s repertoire. She performed roles in Le nozze di Figaro (Cherubino), La clemenza di Tito, Così fan tutte (Dorabella), Idomeneo (Idamante).

Stéphanie d’Oustrac regularly appears in concert in such works as: Mozart’s Requiem with the Orchestre National de France and the Orchestre de Paris, Mozart’s Great Mass in C Minor conducted by John Nelson, Giovanna d’Arco by Rossini with the Orchestre Régional Avignon-Provence, Berlioz’ Les nuits d’été with the Orchestre National de Lyon, La mort de Cléopâtre with the Orchestra of the Age of Enlightenment, L’enfance du Christ with the Orchestre National de France and at La Monnaie in Brussels, Chants d’Auvergne by Canteloube with the Orchestre National de Lille at the Concertgebouw in Amsterdam, Poulenc’s La voix humaine with the Orchestre National du Capitole de Toulouse, Ravel’s Shéhérazade with the Radio-Sinfonieorchester Stuttgart and the Orchestre National de France. She has also been performing in recital, mainly since 1994 with pianist Pascal Jourdan, with whom she recorded a CD devoted to French music Invitation au voyage (Ambronay). Among her recordings worth mentioning are Lully’s Atys (DVD, Fra Musica), Carmen (DVD, Opéra de Lille), Haydn’s Arianna a Naxos and Lieder & Canzonettas with Aline Zylberajch (Ambronay), as well as L’heure espagnole and Shéhérazade by Ravel (SWR Music). Stéphanie d’Oustrac has won several awards: Prix de chant Pierre Bernac (1999), Radios Francophones (2000), Victoires de la Musique (2002), Gramophone Editor’s Choice for the Haydn CD (2010). Recently Stéphanie d’Oustrac has sung Handel’s Theodora (Irene) and title role in Honegger/Ibert’s L’Aiglon. Her future projects include La clemenza di Tito (Sesto) at the Opéra de Paris and with MusicAeterna conducted by Teodor Currentzis on tour in Bremen, Geneva, Dortmund, at the Théâtre des Champs-Élysées and in Wrocław, Carmen at the Festival d’Aix-enProvence, at the Teatro Real in Madrid, at the Dallas Opera and at the Deutsche Oper Berlin, Rossini’s Il barbiere di Siviglia in Marseille, Massenet's Werther at the Opera of Nancy, Monteverdi’s L’incoronazione di Poppea (Ottavia) in Zurich and Salzburg, Berlioz’ Les Troyens (Cassandre) at the Opéra de Paris, Rameau’s Hippolyte et Aricie (Phèdre) in Zurich and in concert version at the Théâtre des Champs-Élysées. Mozart – La clemenza di Tito, 17.09, page 164

photo: artist's collection

Judith Pacquier Judith Pacquier is a celebrated cornettist who is passionate about Italian music from the early 17th century. Also a recorder player and a music history scholar, she studied under William Dongois and Jean-Pierre Canihac at the Conservatoire National Supérieur de Musique et de Danse (CNSMD) in Lyon, graduating in 2001. Judith Pacquier has played under the baton of world-renowned conductors such as Frans Brüggen and Nikolaus Harnoncourt. She is in high demand as a performer with many European ensembles, among others Ensemble Elyma, Doulce Mémoire, Le Poème Harmonique, La Chapelle Rhénane, Accentus, Artaserse Ensemble, Amsterdam Baroque Orchestra, Göteborg Baroque, Concerto Copenhagen, Le Concert d’Astrée, Ludus Modalis, Ensemble Ars Longa, Weser-Renaissance Bremen. From 2000–2013 Pacquier managed Le Conservatoire Itinérant, an innovative educational project set up by Les chemins du baroque dans le Nouveau Monde (Alain Pacquier, Lionel Lissot). Surrounded by a talented team of teachers, she developed and popularised early music performance across Latin America, through Cuba, Paraguay, Bolivia, Mexico, Peru, Columbia and Ecuador. The project introduced hundreds of young musicians to baroque Italian and Latin American music. Judith Pacquier is currently a professor in cornett performance at the faculty of early music at the Conservatoire Francis Poulenc in Tours, France. A valued teacher, she conducts cornett and improvisation courses across Europe, including in Utrecht, Warsaw, Prague, Hoff and Lief. Rosa del ciel – musical treasures of Wrocław University Library, 10.09, 11.09, page 70, 88

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Biographies

photo: artist's collection

Małgorzata Podzielny

Beata Passini Beata Passini, actress, is a graduate from the State Superior Theatre School in Kraków, Wrocław Division. For several years now, she has been working with the neTTheatre group in Lublin. Guest appearances include performances at the Puppet and Actor Theatre in Opole, where she played Death in Morrison/Śmiercisyn and Virgin in Dziady. She prepared roles for The Hideout/Kryjówka, Znak Jonasza, and Ala ma sen directed by Paweł Passini. From 2002–2006 she collaborated with the Capitol Musical Theatre in Wrocław. From 2013–2014 she participated in an artistic-research project Dynamika Metamorfozy (The Dynamics of Metamorphosis) run by Paweł Passini, Elżbieta Rojek, and Przemysław Wasilkowski in the Jerzy Grotowski Institute. Moniuszko – Phantoms, 12.09, page 90

Paweł Passini Paweł Passini – director, composer, experimental artist precursor of interactive theatre, founder of the neTTheatre – Theatre of Networks and Connections, the first-ever ensemble putting up Internet performances involving Internet users. He graduated from the National Academy of Dramatic Art in Warsaw and the Academy for Theatre Practices ‘Gardzienice’. He is active at the boundary of mainstream and off.

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photo: Anna Dolato

‘Passini is like his heroes; independent, untethered, separate: Artaud (Śpiewając w pustce, Artaud. Sobowtór i jego teatr), Morrison (Morrison/Śmiercisyn) or Wyspiański (Odpoczywanie). Each of them paid for their art with their lives, but it was the only way to defend their own freedoms, a privilege of going further than others, detaching oneself from the human mass and being oneself fully. For Passini this is arguably the most important goal. He continues to move, travel and discover new territories. In literature. In theatre. In the country. In the network. In theatre, he seeks the metaphysical shine that mystics and cabalists dreamt of (Słownik Chazarski, Kukła. Księga blasku). Passini’s heroes feel disenfranchised by the rationalised and materialised civilisation, and therefore they embark on struggling for the revival of its spiritual element – in art, in rituals, in madness.’ (Jacek Cieślak, Poczet reżyserów współczesnych. Portrety wybrane [A Gallery of Modern Directors. Selected Portraits]) His last productions include: Wanda (Stary Teatr, Kraków), The Hideout/Kryjówka (neTTheatre, Lublin/Warsaw), Dziady. Twierdza Brześć (IAM/ATD, Brest, Belarus), Halka/Haiti (Cazale, Haiti/Polish Pavilion at the Venice Biennale), Y (Capitol Musical Theatre, Wrocław), Matki (Jewish Theatre, Warsaw), Pudełko (neTTheatre, Lublin/ Wrocław), Panna Nikt (Teatr Współczesny, Wrocław). Moniuszko – Phantoms, 12.09, page 90

Małgorzata Podzielny studied music education and theory of music at the Academy of Music in Wrocław, where she obtained two diplomas with distinction. Since 2002 she has lead the Con Brio Choir of the Grażyna Bacewicz 1st Grade Music School in Wrocław, and since 2006 – the Rondo Vocal Ensemble whose members recruit from Con Brio. From 2003–2010 she was Deputy Manager of Church Music Studies of Opole University. Since September 2009 Małgorzata Podzielny has been artistic director of the NFM Boys’ Choir. In 2010 she obtained a PhD in Arts, and at present is a senior lecturer at the Department of Music Education, Choral Studies and Church Music of the Academy of Music in Wrocław. There she runs a conducting class and teaches other choral subjects. As a recognised specialist in children’s and youth choirs, she is regularly invited to seminars devoted to work with young choristers. She holds a number of awards for the best conductor granted by the jury of choral competitions. Her honours include a Merit to Polish Culture badge. Her ensembles participate in national and international competitions, winning numerous awards, so far over 50 prizes. She is the author of Kształtowanie postawy artystycznej młodego chórzysty (Shaping the artistic attitude in a young chorister), published by the Academy of Music in Wrocław in 2014. Moniuszko – Phantoms, 12.09, page 90 Telemann – Brockes-Passion, 15.09, 16.09, page 140, 162

photo: Marco Borggreve

photo: artist's collection

Marie Henriette Reinhold

Daniel Reuss

Lucile Richardot

Marie Henriette Reinhold, mezzo-soprano, began to study musicology and culture management at the University of Music 'Franz Liszt', Weimar and the Friedrich Schiller University Jena. She graduated with a Bachelor of Arts in the summer of 2011. Master classes with Jonathan Alder, Alexander Schmalcz and Peter Schreier gave her the deciding impulse to enter into the realm of Lied interpretation. Marie Henriette Reinhold is the 1st Junior-Prize Winner of the Federal Competition, Berlin 2012 and an Award Winner of the Chamber Opera Schloss Rheinsberg. The artist is a founding member of the State Youth Choir, Saxony. Starting in 2008, she took singing lessons with Kammersänger Roland Schubert. It is during this time of her taking lessons and her choir work, that her love for singing developed, as did her desire to make her hobby her career. As a consequence, she began studying voice with Elvira Dreßen at the University of Music and Theatre ‘Felix Mendelssohn Bartholdy’ Leipzig in 2011. Solo engagements have taken her to the main churches and concert halls in Germany and Europe. She has performed with the Orchestre des Champs-Élysées and the Collegium Vocale Gent with Philippe Herreweghe, with the Batzdorfer Hofkapelle, Concerto Köln and the Gewandhausorchester Leipzig, to name but a few. In 2016 she worked with Herbert Blomstedt and the Bamberger Symphoniker and with the Münchener BachChor. She gained her first opera experiences through being part of the productions of the University of Music in Leipzig. These included the Third Lady in Mozart’s The Magic Flute, the Countess in Lortzing’s Wildschütz and Rustena in Vivaldi’s La verità in cimento. Telemann – Brockes-Passion, 15.09, 16.09, page 140, 162

Daniel Reuss studied with Barend Schuurman at the Rotterdam Conservatory. In 1990, he became director of Cappella Amsterdam, which he turned into a full-time professional ensemble that is now one of the most sought-after in the Netherlands. From 2008 till 2013 he was also the artistic director and chief conductor of the Estonian Philharmonic Chamber Choir. In 2010, he was nominated for a Grammy ‘Best Choral Performance’ for the CD he made with the two choirs together (Frank Martin’s Golgotha). The two choirs also worked together in a recording of Stabat Mater and Sept Répons de Ténèbres (Francis Poulenc), released in 2014 by Harmonia Mundi. From 2003 until 2006 he was a chief conductor of the RIAS Kammerchor in Berlin, with whom he recorded a number of successful CDs. Their CD with works by Martin and Messiaen (released by Harmonia Mundi) won both the Diapason d’or de l’année 2004 and the Preis der deutschen Schallplattenkritik. The CD’s Les Noces, Le vin herbé and Handel’s Solomon have also been critically acclaimed. In summer 2006, at the invitation of Pierre Boulez, Daniel Reuss teached and conducted at the summer 2006 Lucerne Festival Academy. In February 2007, Reuss made his debut at the English National Opera, with Handel’s Agrippina. In 2008 he directed at De Munt/La Monnaie in Brussels, with the Purcell’s Dido & Aeneas. In September 2014 the CD Warum, choral works by Brahms, sang by Cappella Amsterdam was released. It won the Preis der deutschen Schallplattenkritik in 2015. Daniel Reuss has been invited to conduct chamber ensembles and orchestras throughout Europe. Among these may be mentioned the Akademie für Alte Musik Berlin, Ensemble MusikFabrik, Scharoun Ensemble, and the Radio Filharmonisch Orkest. From 2015 Daniel Reuss is a chief conductor of Ensemble Vocal Lausanne. 500 Years of Reformation, 13.09, page 110

Lucile Richardot, mezzo-soprano, started singing at 11 in a children’s choir in the East of France, but she worked as a journalist until she was 27. Graduated in 2008 from the Maîtrise de Notre-Dame de Paris and in 2011 on Early Music from CRR de Paris, she attended teachings of Margreet Honig, Noelle Barker, Paul Esswood, Howard Crook, Jan Van Elsacker, Martin Isepp, François Le Roux, Monique Zanetti and Jill Feldman. In 2012, she founded an Ensemble Tictactus. She works in early music as well as in contemporary repertoire, on stage and in concerts, with Les Solistes XXI (conductor Rachid Safir), Ensemble Correspondances (Sébastien Daucé), Pygmalion (Raphaël Pichon), Le Poème Harmonique (Vincent Dumestre) or since 2012 with Les Arts Florissants for full implementation of Madrigals Books of Monteverdi, conducted by Paul Agnew. He also invited her to perform in Bach's St John Passion, with the Royal Liverpool Philharmonic Orchestra. In 2009, she created the role of the First Aunt in the Boesmans’ opera, Yvonne, Princesse de Bourgogne, held in Paris Opéra Garnier and in the Theater an der Wien. In 2014, she was invited by Ensemble Intercontemporain for Omaggio a György Kurtág by Luigi Nono in Festival d'Automne in Paris and by the viola player Christophe Desjardins with composer Gérard Pesson. Lucile Richardot is also delighted in designing some recitals with keyboard players, viols consort or string quartet. In 2017 she will embody Lisea in the Vivaldi’s Arsilda, regina di Ponto performed in the Czech Republic and throughout Europe with Collegium 1704 (Václav Luks). Monteverdi – Il ritorno d’Ulisse in patria, 7/8.09, page 34

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Biographies

photo: Nafez Rerhuf

Anna Lucia Richter Anna Lucia Richter comes from a musical family. As a long-standing member of the girls’ choir at Cologne Cathedral she received singing lessons from the age of nine from her mother Regina Dohmen. Later she was trained by Kurt Widmer in Basel and completed her singing studies with distinction with Klesie Kelly-Moog at the Cologne Academy of Music. She also benefited from working with Magreet Honig, Edda Moser, Christoph Prégardien and Edith Wiens. Anna Lucia Richter has won several international prizes; in February 2016 she received the BorlettiBuitoni Trust Award. The current season started for Anna Lucia Richter with a major engagement in the opening concert of the Lucerne Festival where she performed in Mahler’s Symphony No. 8 conducted by Riccardo Chailly. She sings in Bach’s St John Passion with the Orchestre de Paris conducted by Thomas Hengelbrock, with the Danish National Symphony Orchestra under Sir András Schiff in Haydn’s Nelson Mass, she sings the orchestral version of Schubert’s Shepherd on the Rock with the Berlin Konzerthausorchester under Iván Fischer and then in Rome Mahler’s Resurrection Symphony with the orchestra and chorus of the Accademia Nazionale di Santa Cecilia conducted by Daniel Harding. She goes on a major European tour with the Freiburg Baroque Orchestra under Hans-Christoph Rademann singing in J.S. Bach’s Christmas Oratorio. During the series of opening concerts at the Elbphilharmonie in Hamburg she is a soloist in Haydn’s The Creation with the NDR Elbphilharmonie Orchester conducted by Thomas Hengelbrock. Following concerts with the Concerto Köln and the Gürzenich Orchestra, Anna Lucia Richter returns to the Cologne Philharmonic with a portrait

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series in which she presents her versatile repertoire encompassing Gluck’s Orphée et Eurydice, Mozart arias and her current recital programme. Recently she has performed as a concert singer with the Lucerne Festival Orchestra and the London Symphony Orchestra under Bernard Haitink, the Los Angeles Philharmonic, the San Francisco Symphony Orchestra conducted by Sir András Schiff, the Royal Concertgebouw Orchestra Amsterdam and the Budapest Festival Orchestra under Iván Fischer, as well as the Staatskapelle Dresden conducted by Reinhard Goebel. She has also performed with Jonathan Cohen, Axel Kober, Fabio Luisi, Roger Norrington, Andres Orozco-Estrada and Markus Stenz. Anna Lucia Richter is a particularly enthusiastic Lied singer. She has already built up an extensive repertoire and gives guest performances in all the major Lied venues, for instance at the Schwetzinger SWR Festspiele, at the Heidelberger Frühling, the Schleswig-Holstein Music Festival, the Schubertiade Schwarzenberg and in Wigmore Hall, London. She made her U.S. debut giving three Lied recitals in New York’s Park Avenue Armory, accompanied by Gerold Huber. This season she can again be heard in New York, this time in the Weill Hall of the Carnegie Hall singing her highly acclaimed and unusual Liederkreis programme of Eichendorff settings and improvisations, accompanied by Michael Gees. She also gives Lied recitals at the Schubertiade Vilabertran, in the Bavarian Radio studio in Munich and in the Concertgebouw Amsterdam. Anna Lucia Richter frequently includes contemporary compositions in her recitals, for instance the world premiere of the work Singet leise (Sing softly) by Moritz Eggert and the cycle Ophelia Sings by Wolfgang Rihm, which he composed especially for her. Her opera repertoire comprises roles such as the Sandmann/Dew Fairy (Humperdinck’s Hansel and Gretel), Mozartean: Barbarina (Le nozze di Figaro), Ilia (Idomeneo) and Zerlina (Don Giovanni), as well as Eurydice/ La Musica in Monteverdi’s L’Orfeo, with performances in Amsterdam (De Nederlandse Opera), Luxemburg, Baden-Baden, Berlin (Deutsche Staatsoper) and in Lille conducted by Pablo Heras-Casado. In spring 2017 she takes on the main role of Elizabeth Zimmer in Hans Werner Henze’s Elegy for Young Lovers at the Theater an der Wien. Mozart – La clemenza di Tito, 17.09, page 164

photo: Marcin Rupociński

As a renowned specialist in basso continuo, Rupocińska regularly collaborates with the Wrocław Baroque Orchestra and other chamber groups. She is known for her performance ease across the full repertoire, covering solo instrumental pieces as well as operas, oratorios and cantatas. In 2016, together with the students of the Academy of Music, she produced a Polish premiere of Deidamia by Handel. Rupocińska has an established virtuosity in contemporary music as well. As a solo performer, she has collaborated with leading Polish orchestras in this area (for example Aukso, under Marek Moś, and the New Music Orchestra under Szymon Bywalec). She has debuted many premieres and made multiple archive recordings of modern harpsichord music. Aleksandra Rupocińska teaches at the Wrocław Academy of Music, where in 2013 she received a PhD in Music. Young Masters, 14.09, 15.09, 16.09, page 118, 158, 160

Aleksandra Rupocińska Aleksandra Rupocińska is a graduate of the Academy of Music in Wrocław, where she studied harpsichord under Marta CzarnyKaczmarska. She later earned a Master’s degree at the Royal Conservatory of Brussels under Herman Stinders, and completed further studies in early music under Peter van Heyghen, Barthold Kuijken, Hidemi Suzuki, and Lars Ulrich Mortensen. Already a recognised specialist at a young age, during her studies Rupocińska regularly appeared as both a solo and a chamber musician dedicated to period instrument performance. Since then, she has performed under the baton of esteemed conductors as Paul McCreesh, Reinhard Goebel, Giovanni Antonini, Alfredo Bernardini, Benjamin Bayl, Rubén Dubrovsky, Hartmut Rohde, and Jacek Kaspszyk. A sought-after specialist in her field, she has graced the stage of every philharmonic hall in Poland as well as at numerous festivals in Poland and abroad. These include the Wratislavia Cantans, Concentus Moraviae, Arsenal Nights, Printemps au Sablon, Händel Festspiele Göttingen, the Early Music Festival in Stary Sącz, Warsaw Autumn, Musica Polonica Nova, Musica Electronica Nova, Days of Music by Cracow Composers, the Festival of Premieres and in the Wawel Evenings series. Her additional performances have taken her to Germany, Belgium, France, the Netherlands and Portugal.

photo: Christian Kagl

Maximilian Schmitt Maximilian Schmitt discovered his passion for music at a very early age, as a member of the Regensburg Cathedral Choir. He later studied song under Anke Eggers at Berlin University of the Arts and was taught by Roland Hermann. In 2005 and 2006, he was a member of the young ensemble at the Bavarian State Opera in Munich. He gained his first stage experience as a member of Munich’s Opera Studio, before joining the ensemble at Mannheim’s National Theatre for the next four years. While there, he starred as David in Wagner’s Die Meistersinger von Nürnberg and Lensky in Tchaikovsky’s Eugene Onegin, in addition

to various Mozart roles such as Tamino, Don Ottavio, Belmonte and Ferrando, before closing his successful time in Mannheim with the title role from Mozart’s La clemenza di Tito in 2012. In the same year, he made his debut as Tamino at the Dutch National Opera in Amsterdam in Simon McBurney’s celebrated production under the direction of Marc Albrecht. In René Jacobs’ production of Mozart’s Il Seraglio with Akademie für Alte Musik Berlin, he took on the role of Belmont (CD available from Harmonia Mundi, France). In 2016, Maximilian Schmitt made his debut in another major Mozart piece, Idomeneo, at the Opéra National du Rhin in Strasbourg, followed by his debut performance at the Vienna State Opera as Don Ottavio. The climax and finale of his 2016/17 season will be his debut at the Teatro alla Scala in Milan, this time as Pedrillo in Mozart’s Il Seraglio under Zubin Mehta. In addition to his passion for opera, concert singing is also of great importance to Maximilian Schmitt. His widely-diversified repertoire stretches from Monteverdi via Mozart to Mendelssohn, guesting for famous directors such as Franz Welser-Möst, Daniel Harding, Thomas Hengelbrock, Fabio Luisi, Andrés Orozco-Estrada, Trevor Pinnock, René Jacobs and Robin Ticciati, and orchestras such as Akademie für Alte Musik Berlin, Zürich’s Tonhalle Orchestra, the symphony orchestras of Bayerischer Rundfunk (BR), Mitteldeutscher Rundfunk (MDR) and Westdeutscher Rundfunk (WDR), the Wiener Symphoniker, the Cleveland Orchestra, the Swedish Radio Symphony Orchestra and the Gewandhausorchester Leipzig. Maximilian Schmitt is also a regular guest at various Parisian orchestras (Orchestre de Paris, Ensemble Orchestral de Paris, Orchestre National de France), and even had the opportunity to play music at one of Claudio Abbado’s final concerts at the Lucerne Festival. A close partnership with Philippe Herreweghe allows Schmitt to consistently display his wide repertoire. The 2016/17 season opened for Maximilian Schmitt with the Danish National Symphony Orchestra in Copenhagen, and Beethoven’s Symphony No. 9 under the direction of Manfred Honeck. He was also a guest artist under François-Xavier Roth in Berlioz’s Requiem at the BBC Symphony Orchestra in London. Later, he went on tour with the Freiburg Baroque Orchestra, the first time under the direction of René Jacobs in Mozart’s Requiem, followed by a second tour

performing in Bach’s Christmas Oratorio under Hans-Christoph Rademann. The first tour was a specially-written production, recorded onto CD. As part of the Hamburg Elbphilharmonie’s series of opening concerts, he played the role of tenor in Haydn’s Creation Mass under the direction of Thomas Hengelbrock and supported by the NDR Elbphilharmonie Orchestra. A busy season concluded with the role of Evangelist with the Cleveland Orchestra in Bach’s St John Passion under the direction of Franz Welser-Möst, and another tour, this time with the Orchestre des Champs-Élysées under Philippe Herreweghe. Recitals have a special significance in Maximilian Schmitt’s calendar, performing together with Gerold Huber at Amsterdam’s Concertgebouw, the Heidelberger Frühling, Cologne’s Philharmonic Orchestra and the Tonhalle Düsseldorf. Ever since his debut at London’s Wigmore Hall, he has been regularly invited back. After his debut album Träumend wandle ich bei Tag (Robert and Clara Schumann) was released, he recorded Schubert’s Die schöne Müllerin in 2013 (both available from Oehms Classics), and was able to present both in his celebrated debut at the Schubertiade in Schwarzenberg. In 2017, Maximilian Schmitt can be enjoyed at the Schlosstheater Celle, at Wigmore Hall again, and in a special duet evening with Christina Landshamer at the aforementioned Schubertiade in Schwarzenberg. In addition to his own recordings, Maximilian Schmitt has also guested for numerous labels: in Haydn’s The Creation (Freiburg Baroque Orchestra, René Jacobs/ Harmonia Mundi, France), Bach’s Matthäus-Passion (Gewandhausorchester, Riccardo Chailly/ Decca; BR Choir, Concerto Köln, Peter Dijsktra/ BR-Klassik), Dvořák’s Stabat mater and Requiem as well as Stravinsky’s Threni – Requiem Canticles (Royal Flemish Philharmonic, Philippe Herreweghe/ PHI), and Haydn’s The Creation and The Seasons (Orchestre des Champs-Élysées, Philippe Herreweghe/ PHI). He can also be seen on the DVD production of Bach’s Christmas Oratorio (Akademie für Alte Musik Berlin, BR Choir, Peter Dijkstra/ BR-Klassik). At the beginning of 2016, he recorded his first arias in Wie freundlich strahlt der Tag (WDR Sinfonieorchester Köln, Patrick Lange/ Oehms Classics), exploring German Romanticism for the first time. Mozart – La clemenza di Tito, 17.09, page 164

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Biographies

photo: Eleanor Skan

Nicholas Sharratt Nicholas Sharratt, tenor, studied at the Royal Northern College of Music and the National Opera Studio in London. His recent roles include his Royal Opera House debut in Shostakovich’s The Nose, Nanki-Poo in Sullivan’s The Mikado, Remendado in Bizet’s Carmen and Richard in Stuart MacRae’s The Devil Inside (Scottish Opera), John in Richard Ayres’ Peter Pan (Welsh National Opera), Lucano/Soldier in Monteverdi’s The Coronation of Poppea (Opera North), Fernando in Donizetti’s Il furioso all’isola di San Domingo (English Touring Opera) and the title role in Rossini’s The Count Ory (Blackheath Halls Opera). Other roles include Camille in Lehár’s The Merry Widow, Pedrillo in Mozart’s Die Entführung aus dem Serail, Flute in Britten’s A Midsummer Night’s Dream, Shepherd/Sprite in Monteverdi’s L’Orfeo (Opera North), Frederic in Sullivan’s The Pirates of Penzance and the title role in Offenbach’s Orpheus in the Underworld (Scottish Opera), Ferrando in Mozart’s Così fan tutte in Tokyo, Brighella in Strauss’ Ariadne auf Naxos (Garsington Opera), Hotel Porter in Britten’s Death in Venice in concert in London and First Prisoner in Beethoven’s Fidelio for Glyndebourne and at the Théâtre du Châtelet, conducted by Simon Rattle. He also specialises in contemporary work and has created several roles, particularly by British composer Jonathan Dove, including Soppy Hat in Swanhunter (Opera North),

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Adam in The Walk from the Garden (Salisbury/Lichfield Festivals), Soldier in For An Unknown Soldier (London Mozart Players) and Lampwick in The Adventures of Pinocchio; he made his debut at the Edinburgh International Festival as Sam in the world premiere of Ghost Patrol by Stuart MacRae, winner of a South Bank Sky Arts Award for best opera. In concert, as well as his recent performances of Britten’s Saint Nicholas with the NFM Choir, he has sung the Bach’s St John Passion arias for Trondheim Barokk, Handel’s Messiah at Cadogan Hall, Rossini’s Petite messe solennelle at St John’s Smith Square, and was a soloist in Vaughan Williams’ Serenade to Music at the BBC Proms (with the London Symphony Orchestra, conducted by Andrew Davis). Next season, he makes his debut at the Teatro Real, Madrid as Daniel Buchanan in Kurt Weill’s Street Scene. Nicholas’s recordings include Prince Dominic in Maconchy’s The Sofa for Independent Opera and Chandos, as well as Andrés in Granados’ María del Carmen and Judge in Weinberger’s Schwanda the Bagpiper for Naxos. Et exspecto resurrectionem, 11.09, page 82

photo: Maria Conradi

Rundfunkorchester, Gewandhausorchester Leipzig, NDR Elbphilharmonie Orchester, Bamberger Symphoniker, Swedish Radio Symphony Orchestra, Concerto Köln, Balthasar-NeumannEnsemble, and Akademie für Alte Musik Berlin. During summer 2011, Stuber celebrated her debut performance at the 100th edition of Bayreuther Festspiele in Richard Wagner’s Tannhäuser, under the baton of Thomas Hengelbrock. Building on this success, between 2012–2014 she appeared solo at summer festivals under the direction of Christian Thielemann and Axel Kober, among others. Stuber has sung under the direction of renowned conductors including Herbert Blomstedt, Daniel Harding, Peter Dijkstra, HansChristoph Rademann, Thomas Hengelbrock, Helmuth Rilling and Lothar Zagrosek. In the season of 2009/10 Stuber was employed at the Staatstheater am Gärtnerplatz in Munich, and she has been an ensemble member at the Hessisches Staatstheater in Darmstadt since the beginning of the season in 2014/15. Stuber has made numerous operatic and concert recordings for well-known labels including SONY, Oehms Classics, Deutsche Harmonia Mundi and Naxos. Telemann – Brockes-Passion, 15.09, 16.09, page 140, 162

photo: Shirley Suarez

Katja Stuber

Lydia Teuscher

Katja Stuber, soprano, graduated from the Academy for Music and Theatre Munich in 2008 after studying under Christian Gerhaher, later completing master classes in Saarbrücken under Ruth Ziesak. As a concert soloist, Stuber has performed with renowned orchestras including the Münchner Symphoniker and

Lydia Teuscher, soprano, studied at the Welsh College of Music and Drama and at the Hochschule für Musik in Mannheim. On the concert platform she has sung with Graham Johnson in recital in London, Cologne and Antwerp, with the Bachakademie Stuttgart and Helmuth Rilling, the Ludwigsburger Festspiele, Kammermusikfestival Schloss Moritzburg,

Hamburg Camerata, Barockorchester L’Arco, and Fronteras Festival London. She has appeared with the Hanover Band in Brighton and London, the Gürzenich Orchestra Cologne with Markus Stenz, the Royal Concertgebouw Orchestra under Sir Roger Norrington, with Double Bande with René Jacobs (with whom she has also recorded Telemann’s Brockes-Passion), the Orchestra of the Age of Enlightenment in London and on tour in Korea and Japan, and the Tonhalle Orchestra Zürich with David Zinman. She has toured Europe with Ton Koopman and the Amsterdam Baroque and performs regularly with Bernard Labadie. Recent concert engagements include J.Ch. Bach’s Lucio Silla with Ivor Bolton for the Salzburg Mozartwoche, Haydn’s Paukenmesse with the BBC Scottish Symphony Orchestra and Bernard Labadie, Bach’s B-Minor Mass with Arcangelo and Jonathan Cohen, Handel’s Aci, Galatea e Polifemo with Le Concert d’Astrée under Emmanuelle Haïm, and the St Matthew Passion with the Royal Concertgebouw Orchestra and Ivor Bolton. She has toured the Vivaldi and Bach Magnficats with Il Giardino Armonico, and performed with the San Francisco Symphony, St Louis Symphony, Chicago Symphony Orchestra, Sydney Symphony Orchestra and Les Violons du Roy under Bernard Labadie. The 2017/2018 highlights included Cherubini’s Les deux journées with the Beethoven Orchester Bonn and Christoph Spering; under Bernard Labadie she performed Bach Cantatas in Québec and Montreal with Les Violons du Roy, a programme of Handel and Mozart with Miami’s New World Symphony and Mozart’s Mass in C Minor in Vienna and Oslo. She sang Bach and Telemann with Arcangelo and Jonathan Cohen at London’s Wigmore Hall, La finta giardiniera (Serpetta) with the Münchner Rundfunkorchester, a chamber concert performance of Schoenberg’s Pierrot lunaire at the Bayerische Staatsoper, Mozart’s Mass in C Minor with the Deutsche Kammerphilharmonie Bremen and Sylvain Cambreling and Mahler’s Symphony No. 4 with the London Symphony Orchestra and Daniel Harding in Shanghai. Lydia was a resident artist at the Semperoper in Dresden, where her roles included Pamina, Susanna, Aennchen, Valencienne and Gretel. She has since appeared with the Bayerische Staatsoper as Pamina and as Ighino in the new production of Pfitzner’s Palestrina; at the Glyndebourne Festival as Gretel, Susanna and Cherubino; at the Aix-en-Provence Festival

and the Salzburg Mozartwoche with René Jacobs; at the Deutsche Staatsoper Berlin as Pamina; and most recently at the Saito Kinen Festival Matsumoto with Seiji Ozawa as Cherubino. In the 2016/17 season she sang Susanna at the Staatstheater Karlsruhe and at the Hyogo Performing Arts Center, Japan. Telemann – Brockes-Passion, 15.09, 16.09, page 140, 162

photo: Łukasz Rajchert

Warmiński. In 2006 he was invited to work with the Wrocław Baroque Orchestra and has been its artistic director ever since. A disc of Beethoven’s Cello Sonatas op. 5 and Variations WoO 45, recorded with the pianist Katarzyna Drogosz, has been released in February 2017. Moniuszko – Phantoms, 12.09, page 90

photo: Franz Vitali

Jarosław Thiel

Massimiliano Toni

A graduate of the Poznań School of Talents, he studied cello at Music Academies in Poznań and Łódź. He participated in master classes run by Christine Kyprianides at the Dresdner Akademie für Alte Musik and then completed his postgraduate studies at the Universität der Künste in Berlin, in the Baroque cello class of Phoebe Carrai and Markus Möllenbeck (diploma with distinction). Jarosław Thiel has focused mainly on historical performance. He performs regularly as a soloist and chamber player, receiving invitations to play at numerous Polish and international festivals of early music. He has collaborated with the most important Polish early music ensembles. Since 2000 the artist has been the principal cellist of the Dresdner Barockorchester, and since 2006 a member of Laurence Cummings’ FestspielOrchester Göttingen. His other partnerships include leading German ensembles, such as Cantus Cölln, Akademie für Alte Musik Berlin or Lautten Compagney. He runs the Baroque cello class at the Academy of Music in Poznań and teaches during the Varia Musica Festival in Lidzbark

Massimiliano Toni graduated in organ from the Conservatorio di Musica Santa Cecilia in Rome. Before his degree he was awarded two scholarships at the National Organ Competition in Noale (Italy). In Switzerland he studied at Schola Cantorum Basiliensis, where he was in charge of the opera class in 1997/1998. He worked with Alessandro De Marchi as a musical assistant from 1997 to 2008. He has collaborated as a musical assistant, harpsichordist or organist with conductors such as Alberto Zedda, Jesús López Cobos, Víctor Pablo Pérez, Attilio Cremonesi, Konrad Junghänel and Ivor Bolton. From 2003 to 2007 he was René Jacobs’ musical assistant. He has been leading the ensemble La Terza Prattica since 2005, creating many productions such as: Effetto Venezia, Et in Arcadia ego ovvero il Guercino tra sacro ed arcano, Mozart e Novara: processo ad una lettera, In Tympano et Sono, Les Liaisons Dangereuses, L'incoronazione di Poppea: studio per 5 cantanti ed un attore, BaroccArmonica: concerto inusuale per lirica antica. He conducted La serva scaltra by Hasse, (Teatro Coccia, Novara – live DVD

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Biographies edited by Kicco Music), La Diana schernita by Cornacchioli (Teatro Jovellanos, Gijon), Così fan tutte by Mozart (Teatro Sociale di Como, tournée in major italian opera houses – Opera domani project), Il combattimento di Tancredi e Clorinda by Monteverdi (Oslo Opera House). He was invited to teach thorough bass at the Early Music Department of ESMUC in Barcelona, and founded Nuova Fabbrica dell’Opera Barocca at Civico Istituto Musicale Brera in Novara, where he was artistic director from 2011 to 2013. By the Innsbrucker Festwochen der Alten Musik he conducted Monteverdi’s L’incoronazione di Poppea, and he will conduct Cavalli’s Gli amori d’Apollo e di Dafne in 2018. The world premiere of his work Orfeo 2.0 – a baRock Opera will be performed in Germany on 23 September 2017. Rosa del ciel – musical treasures of Wrocław University Library, 10.09, 11.09, page 70, 88

Handel, Bach & Scarlatti and Bach – Motets. He performed the role of the Shepherd in Stravinsky’s Oedipus Rex alongside the London Symphony Orchestra at the Barbican Centre and for the LSO’s CD release. Recent solo performances include: Handel’s Dixit Dominus for HRH The Prince of Wales in Buckingham Palace; Monteverdi’s Vespers in New York’s Carnegie Hall, King’s College Cambridge, and Château de Versailles; Mozart’s Requiem in the Royal Albert Hall; Handel’s Messiah in the Colston Hall; Mendelssohn’s Elijah in London’s St John’s Smith Square; Schumann’s Das Paradies und die Peri as the ‘Jüngling’ in Leipzig’s Gewandhaus; Scarlatti’s Stabat Mater in Cologne’s Philharmonie and Vienna’s Konzerthaus; Elgar’s The Dream of Gerontius in Trinity College Cambridge; Bach’s Cantata 198 – Trauerode in Pisa Duomo; Orff’s Carmina Burana in Gloucester Cathedral. Gareth also composes sacred choral works, which have been performed and recorded across the UK, America and Australia. A Song Was Heard at Christmas and Blessed be that Maid Marie were recently recorded by the BBC Singers, and several works have since been published by Boosey & Hawkes. Monteverdi – Il ritorno d’Ulisse in patria, 7/8.09, page 34

photo: Brian Tarr

Gareth Treseder Gareth Treseder, tenor, after graduating from both the University of Bristol and the Royal Welsh College of Music and Drama, he became an Apprentice for Sir John Eliot Gardiner’s Monteverdi Choir. Solo engagements during his Apprenticeship included Bach’s Cantata 61 and Cantata 70 in Paris’ Cité de la Musique, Berlin’s Philharmonie and London’s Cadogan Hall. He has since performed as a consort soloist in the following Soli Deo Gloria recordings: Live at Milton Court:

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photo: Garreth Wong

Robin Tritschler Acclaimed for his ‘radiantly lyrical’ voice, Irish tenor Robin Tritschler has garnered praise from critics and audiences for his performances. In concert, Robin has appeared

with many leading orchestras including the London Philharmonic Orchestra (Yannick Nézet-Séguin and Vladimir Jurowski), Orchestre National de Lyon (Yutaka Sado), Gulbenkian Orchestra Lisbon, the Hong Kong Philharmonic Orchestra (Edo de Waart), the Rotterdam Philharmonic Orchestra (Philippe Herreweghe), the Moscow Virtuosi (Vladimir Spivakov), and the BBC Philharmonic (Juanjo Mena). With the RTÉ Concert Orchestra, Tritschler performed the Messiah before Pope Benedict XVI to celebrate the 80th Anniversary of the Vatican State, and gave the UK premiere of C.Ph.E. Bach’s St John Passion with the Bournemouth Symphony Orchestra under Kirill Karabits. With Welsh National Opera, Robin Tritschler’s operatic roles include Count Almaviva in Rossini’s Il barbiere di Siviglia, Nemorino in Donizetti’s L’elisir d’amore, Narraboth in Strauss’ Salome, Ferrando in Mozart’s Così fan tutte, Don Ottavio in Don Giovanni and Belmonte in Die Entführung aus dem Serail. He recently made his debut with the Royal Opera House, Covent Garden in Wozzeck, and with Garsington Opera as Ferrando. He also enjoys performing contemporary opera, creating the tenor roles in Roger Waters’ Ça Ira and Will Gregory’s Piccard in Space, and appearing in Jonathan Harvey’s Wagner Dream (WNO) and productions of John Cage’s Europeras 1 & 2 and Louis Andriessen’s De Materie with the Ruhr Triennale Festival. Tritschler frequently appears in recital at London’s Wigmore Hall with leading accompanists Graham Johnson, Malcolm Martineau, Iain Burnside and Julius Drake. He has also performed recitals at many other renowned venues such as the Köln Philharmonie, Concertgebouw, and the Kennedy Center (Washington DC), and at the Aldeburgh Festival, Aix-en-Provence Festival, the Klavierfest Ruhr and the West Cork Chamber Music Festival. In 2012 Tritschler was selected as a BBC New Generation Artist and has broadcast extensively with their orchestras, including appearing at the BBC Proms. He also broadcasts regularly across Europe, including the Britten Centenary Song recitals for Radio France and the Danish Radio. His growing discography includes a critically acclaimed recording of Britten’s Winter Words with Malcolm Martineau (Onyx), Poulenc: The Complete Songs with Graham Johnson (Hyperion), a recording of World War One songs with Malcolm Martineau, and a Britten and Schubert disc with Iain Burnside as part of the Wigmore Hall Live series.

Robin Tritschler’s recent highlights include an appearance at the BBC Proms with the Hallé Orchestra conducted by Sir Mark Elder and an all-Schubert recital at the Wigmore Hall with Malcolm Martineau. In the 2016/17 season, he performs Beethoven’s Leonora with the Münchner Rundfunkorchester, Elijah on tour with Pygmalion (Raphael Pichon), Mendelssohn’s Symphony No. 2 with the NDR Radiophilharmonie and Mozart’s Requiem with the London Philharmonic Orchestra (Nathalie Stutzmann), and he makes debut with the Teatro Colón, Buenos Aires in De Materie. Telemann – Brockes-Passion, 15.09, 16.09, page 140, 162

The ensemble La Fenice has recorded for the major European labels. It should be noted that the continuing series made with Ricercar, The Heritage of Monteverdi, has been singled out as one of the ensemble’s finest achievements. Jean Tubéry teaches cornett and gives classes of interpretation at the Conservatories of both Paris and Lyon, as well as at the Royal Conservatory of Brussels. He is also regularly invited to give master classes throughout the world: Luxembourg, New York, Cleveland, Basel, Oxford, Helsinki, etc. As a director, he was awarded the prestigious distinction ‘Prix Liliane Bettencourt’ for his work with the Namur Chamber Choir (2002–2008). In 2001, Jean Tubéry was appointed Chevalier de l’ordre des Arts et des Lettres by the French government and in 2007 he was voted Personality of the Year by Le Soir, the Belgian national newspaper. His recording of Charpentier’s Te Deum was selected as the best version, by the magazine Classica in 2010. Monteverdi – Vespers, 9.09, page 62

photo: Phillipe Matsas

Jean Tubéry Jean Tubéry, fascinated by 17th-century Italian music, began his studies in Toulouse and in Amsterdam as a recorder player; he later focused on studying the cornett. After specialising with Bruce Dickey at the Schola Cantorum Basiliensis, he worked with several renowned early music groups (Clemencic Consort, Les Arts Florissants, La Petite Bande), before founding his own ensemble in 1990. Ever since, the ensemble La Fenice has been a leading force in the European early music scene.

Conservatory (Renaissance and Baroque Singing) and at Alma Mater Studiorum – University of Bologna (Cultural Heritage). The artist won several important awards in international competitions, such as 6th International Competition ‘Città di Bologna’ 2012, 5th Renata Tebaldi International Voice Competition 2013 in San Marino (in the category of Ancient & Baroque Repertoire). In 2012-13 Carlo Vistoli made his stage debut as Sorceress in Purcell’s Dido & Aeneas in Cesena and Ravenna and later appeared at the Teatro Comunale in Bologna as Licida in Mysliveček’s L’Olimpiade. Les Ambassadeurs and Alexis Kossenko invited him in Poitiers and Warsaw, where he made his debut in the title role of Handel’s Tamerlano. In Rome and Bologna he sang Purcell’s King Arthur. He appeared as Piritoo in Elena by Cavalli conducted by Leonardo García Alarcón, in Rennes and Nantes (Aix-en-Provence Festival production). In Shanghai he sang Tolomeo in Handel’s Giulio Cesare first performance in China with Opera Fuoco conducted by David Stern. From 2015 Carlo Vistoli is a member of the Le Jardin des Voix Academy conducted by William Christie, with whom he toured France, Australia, China and Far East, with concerts in Paris, Moscow, New York (Lincoln Center) and Lucerne Festival. In June 2015 he took part to the world premiere of L’Amore che move il sole by Guarnieri at the Ravenna Festival, a piece to be revived in 2016 Spoleto Festival. Vistoli was Febo in Dafne by Caldara in Venice, with Teatro La Fenice Orchestra and Giovanni Montanari, Spirit in Dido and Aeneas in Turin, Teatro Regio, with conductor Federico Maria Sardelli, and in April 2016 he sang Ottone in Handel’s Agrippina at Brisbane Baroque Festival. In 2016–17 season he appeared in concerts in the Far East with Le Jardin des Voix; he also took part to Monteverdi Orfeo with Les Arts Florissants and made his debut at Aix-enProvence Festival with Cavalli’s Erismena. Monteverdi – Il ritorno d’Ulisse in patria, 7/8.09, page 34

photo: Phillipe Delval

Carlo Vistoli Carlo Vistoli, after studying classical guitar and piano, began his vocal training as a countertenor in 2005 with William Matteuzzi and Sonia Prina. He graduated at Ferrara

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Biographies

photo: Kristof Fischer

Vocalconsort Berlin The Vocalconsort Berlin is regarded as one of the best and most flexible chamber choirs in Germany. Founded in 2003 and the youngest of three professional choirs of Berlin, the Vocalconsort deliberately has no principal conductor; instead, it works together with steady artistic partners such as Daniel Reuss, James Wood, Folkert Uhde and Sasha Waltz. The direction and composition of the Vocalconsort Berlin is determined primarily by program and orientation, thereby allowing it to work with conductors such as Marcus Creed, Jos van Immerseel, Ottavio Dantone, Christoph Rousset, Iván Fischer, Pablo Heras-Casado and Peter Ruzicka. Along with the company Sasha Waltz & Guests and the Akademie für Alte Musik Berlin, it is one of the three ‘ensembles in residence’ of the innovative concert venue Radialsystem V in Berlin. Versatile in its cast and repertoire, but always stylish and impressively homogenous, the Vocalconsort Berlin has been able to celebrate its success in different fields, ranging from Monteverdi’s L’Orfeo directed by René

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Jacobs at the Innsbruck Festival and Haydn’s The Seasons, directed by Christopher Moulds in Rotterdam, to Bernstein’s A Quiet Place under the direction of Kent Nagano and Peter Ruzicka’s Inseln, Randlos, conducted by the composer himself. In Schoenberg’s Moses und Aron, directed by Vladimir Jurowski and produced by Barrie Kosky, the Vocalconsort Berlin supported the opera chorus of the Komische Oper Berlin on the stage. The ensemble has also been instrumental in many successful choreographed productions by Sasha Waltz & Guests, such as in Dido & Aeneas by Purcell, L’Orfeo by Monteverdi, Medea by Dusapin and Matsukaze by Hosokawa. Among the ensemble’s CD recordings include Handel’s Ode for Queen Anne and Dixit Dominus with Andreas Scholl and the Akademie für Alte Musik Berlin, Handel’s Athalia with Núria Rial and the Kammerorchester Basel and the motets of Bach under the direction of Marcus Creed. For the recording of the second book of Gesualdo’s Sacrae Cantiones, under the direction of James Wood, the Vocalconsort

Berlin received the 2013 ECHO Klassik Award. 2015 brought the recording of Prophetiae Sibyllarum by Orlando di Lasso, conducted by Daniel Reuss. Soon after its release, the CD was regarded as a benchmark recording. Sven Helbig’s composition for choir and orchestra I Eat the Sun and Drink the Rain was premiered and recorded in 2016. In its own projects, the Vocalconsort Berlin enjoys extending itself beyond the boundaries of classical genres and disciplines: Über das Verlangen/Allegory of Desire was produced in collaboration with the Belgian ensemble Zefiro Torna and the Tunisian singer Ghalia Benali; From Inside combines works by Gesualdo and Giacinto Scelsi in a concert staged by Hans-Werner Kroesinger; Libera Me brings the music of Lobo, des Prez and Gesualdo together with contemporary dance. And most recently SoS – Songs of Suffering was developed jointly with the composer James Wood. The choir concert creates a contemporary lamento by combining the elegies of Lobo and Tallis with a new work by James Wood in a spatial video projection by the visual artist Arnim Friess. The Vocalconsort Berlin makes regular appearances in the music capitals and at major festivals in Europe, including performances in Amsterdam, Barcelona, London, Vienna, Paris and Salzburg. Highlights of the 2017 agenda include the choreographic, spatial and musical exploration the Elbphilharmonie Hamburg with Sasha Waltz & Guests featured the performance of Poulenc’s Figure humaine and Ligeti’s Lux Aeterna. In Hamburg, Moses und Aron was performed once again and the ensemble gave concerts in Schwetzingen, Thuringia, St. Gallen and give its debut at the Berlin Philharmonie. Vocalconsort Berlin: Kathleen Danke, Cécile Kempenaers, Inga Philipp, Inga Schneider – mezzo-sopranos Beat Duddeck, Martin Fehr, Dan Martin , Hartmut Schröder – 1st tenors Christian Aretz, Johannes Klügling, Florian Schmitt, Markus Schuck – 2nd tenors Martin Backhaus, Christoph Drescher, Clemens Heidrich, Thomas Heiß – basses Elina Albach – chest organ 500 Years of Reformation, 13.09, page 110

photo: Phillipe Delval

photo: artist's collection

photo: Yann Bougaran

John Taylor Ward

Przemysław Wasilkowski

Johannes Weisser

John Taylor Ward, baritone, is a graduate of the Eastman School of Music and holds two advanced degrees from Yale University. He is a recipient of the Margot Fassler Award for Excellence in Research and Performance (2012), the Yale School of Music Alumni Prize (2013), the Harriet Hale Wooley Scholarship for American Artists in Paris (2013), the Carmel Bach Festival’s Virginia Best Adams Fellowship (2014), and the Helpmann Award for Best Classical Chamber Music Performance (Australia, 2015). This season, he has appeared as a principal artist on five continents, joining ensembles such as Les Arts Florissants (as a laureate of the Le Jardin des Voix Academy), Collegium Vocale Gent, the Boston Camerata, and the Grammy-winning chamber ensemble Roomful of Teeth. Other recent credits include several roles in the Boston Early Music Festival’s cycle of Monteverdi operas, the premiere staging of Orfeo Chamán with the ensemble L’Arpeggiata, and performances of Claude Vivier’s Kopernikus and Kaija Saariaho’s La Passion de Simone under the direction of Peter Sellars. John Taylor is the co-founder and associate artistic director of the Lakes Area Music Festival (Brainerd, MN) as well as a founding core member of Cantata Profana, which was recognised with Chamber Music America’s 2015 award ‘for Adventurous Programming’. Monteverdi – Il ritorno d’Ulisse in patria, 7/8.09, page 34

Przemysław Wasilkowski – graduated from the Faculty of Drama, National Academy of Film, Television and Theatre (PWSFTviT) in Łódź. In 1994–1999 he was a trainee in Workcenter of Jerzy Grotowski, Pontedera, Italy. Member of artistic crew and performer of creative opus of Workcenter called Action. From 1999 – leader and tutor of workshops entitled States of Shock held in Western Europe and Poland. At present he is a tutor in Actor’s Studio Olsztyn and a PhD student at PWSFTviT in Łódź. His major theatrical engagements as an actor include the New Theatre in Łódź, the Polish Theatre in Poznań, the Bretoncaffe Theatre and the Studio Theatre in Warsaw, the Silesian Theatre in Katowice, and lately, the Institute of Jerzy Grotowski as a part of the Master’s Season (Mauzer, dir. Theodoros Terzopoulos). The major activities of the artist outside Poland include cooperation with Il Mutamento Zona Castalia, Torino (Italy) and ARCAT in Paris. Wasilkowski is an active theatrical stage director (MC HCW Project – based on Attempts on Her Life by M. Crimp, Zona Tenebrarum based on Steppenwolf by H. Hesse, Black on White-andBlue based on Crave by S. Kane, The End of a Long Day based on works of Samuel Beckett). He is also responsible for stage movement (Balladyna, Dictionary of Khazars – the Jan Kochanowski Theatre in Opole, the Polish Thermopylae – the New Theatre in Łódź). His own (as a director and performer) theatrical works were widely presented on stages from Poland through Italy, France, Greece, Finland to Japan. Recently he is occupied with various individual artistic projects, created in cooperation with the Center of Education and Cultural Initiatives in Olsztyn and the Raft Association. Moniuszko – Phantoms, 12.09, page 90

Johannes Weisser has appeared in opera houses and festivals such as the Salzburg Festival, Staatsoper Berlin, Festspielhaus Baden-Baden, Theater an der Wien, Théâtre de la Monnaie in Brussels, Théâtre des Champs-Élysées, Teatro Real Madrid, Canadian Opera Company, Megaron Athens, Norwegian National Opera, Royal Danish Opera, Edinburgh International Festival, and Innsbrucker Festwochen der Alten Musik. His roles include the title role in Tchaikov sky’s Eugene Onegin, the title role and Leporello in Mozart’s Don Giovanni, Guglielmo in Così fan tutte, Papageno in Die Zauberflöte, Schaunard in Puccini’s La Bohème, Malatesta in Donizetti’s Don Pasquale, Mr. Flint in Britten’s Billy Budd, Agamemnon in Gluck’s Iphigénie en Aulide, as well as a large number of roles in baroque and contemporary operas. Johannes Weisser is a much sought-after concert and oratorio singer and he regularly appears in concert venues and festivals throughout Europe, Asia and North America with many of today’s leading orchestras and conductors. He is an exceptionally communicative Lied-singer and his recitals have attracted much attention, notably the concerts with the pianist Leif Ove Andsnes. He has made a number of recordings, especially the title role in Don Giovanni and a highly acclaimed CD with songs by Grieg. Telemann – Brockes-Passion, 15.09, 16.09, page 140, 162

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Willard White Sir Willard White, bass-baritone, was born in Jamaica, where he commenced his musical training at the Jamaican School of Music and then went on to the Juilliard School in New York. Since his operatic debut with the New York City Opera in 1974, he has sung regularly at the Royal Opera, Covent Garden, the Metropolitan Opera, New York, English National Opera, San Francisco Opera, the opera houses of Munich, Amsterdam, Berlin, Brussels, Geneva, Hamburg, Los Angeles, Madrid, Paris, and at the Glyndebourne, Aixen-Provence and Salzburg festivals. In 1989, White performed the role of Othello in Trevor Nunn’s production for the Royal Shakespeare Company, alongside Sir Ian McKellen as Iago and Imogen Stubbs as Desdemona. Recent highlights include Trinity Moses in Weill’s Aufstieg und Fall der Stadt Mahagonny for Rome Opera and at the Royal Opera House, Covent Garden, Arkel in Debussy’s Pelléas et Mélisande with the Los Angeles Philharmonic and at the Metropolitan Opera with Esa-Pekka Salonen, Ibn-Hakia in Tchaikovsky’s Iolanta for Lyon Opera and the Festival d’Aix-en-Provence, Vodnik in Dvořák’s Rusalka for Scottish Opera, Il Commendatore in Don Giovanni by Mozart at La Monnaie, Wotan in Wagner’s Das Rheingold with the Mariinsky Theatre, Klingsor in Parsifal, Pope Clement VII in Berlioz’ Benvenuto Cellini for English National Opera, Hercules in Gluck’s Alceste at the Teatro Real, Priest in the world premiere of Jörg Widmann’s Babylon at the Bayerische Staatsoper, and Gorianchikov in Janáček’s From the House of the Dead at the Berliner Staatsoper with Sir Simon Rattle.

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On the concert platform, White sings regularly with the world’s major conductors and orchestras, including the London Symphony, London Philharmonic, BBC Symphony, The Hallé, Royal Philharmonic, Royal Concertgebouw, La Scala, Boston Symphony, New York Philharmonic, Los Angeles Philharmonic, Cleveland orchestras, and Berliner Philharmoniker, and he has appeared as soloist many times at the BBC Proms, including the First and Last Night of the Proms and at the Proms in the Park. He has most recently performed Méphistophélès in Berlioz’ La damnation de Faust with the Cleveland Orchestra and at the Verbier Festival with Charles Dutoit; Golaud in Pelléas et Mélisande with the Chicago Symphony Orchestra; Bartók’s Bluebeard’s Castle with the Royal Philharmonic Orchestra at the Royal Festival Hall, Marke in Act II of Wagner’s Tristan & Isolde under Valery Gergiev; a concert performance of Pelléas et Mélisande and Gershwin’s Porgy and Bess with the Berliner Philharmoniker and Sir Simon Rattle; and Bluebeard’s Castle with the Los Angeles Philharmonic and Esa-Pekka Salonen. Highlights this season include Schigolch in William Kentridge’s new production of Berg’s Lulu at English National Opera and for Rome Opera, Doctor in Wozzeck for Dutch National Opera, Orest/Giove in Cavalli’s Il Giasone at the Grand Théâtre de Genève, Shaman in Purcell’s The Indian Queen on a European tour with Teodor Currentzis, Creon, Tiresias and Messenger in Stravinsky’s Oedipus Rex with Esa-Pekka Salonen and the Philharmonia Orchestra at the Royal Festival Hall, and a return to the Salzburg Festival in summer 2017 for Publio in Mozart’s La clemenza di Tito. In future seasons White will return to the Royal Opera House, Covent Garden, Paris Opera and to La Monnaie. Sir Willard White was awarded the CBE in 1995 and was knighted in the Queen’s Birthday Honours in 2004. He is currently President of the Royal Northern College of Music, having succeeded the Duchess of Kent in this role. Mozart – La clemenza di Tito, 17.09, page 164

Wrocław Baroque Orchestra: Zbigniew Pilch (concertmaster), Mikołaj Zgółka, Radosław Kamieniarz, Juliusz Żurawski, Bernardeta Braun, Paweł Stawarski, Małgorzata Kosendiak – 1st violins Adam Pastuszka, Małgorzata Malke, Joanna Walczak, Dominika Małecka, Michał Piotrowski – 2nd violins

(also recorded), Beethoven’s Symphony No. 9 with Mercury Orchestra (Houston), and Zadok in Handel’s Solomon in Hannover. Future engagements include Zachary’s debut with the San Francisco Symphony for performances of Messiah and Everardo in Zingarelli’s Giulietta e Romeo with Theater und Orchester Heidelberg. Monteverdi – Il ritorno d’Ulisse in patria, 7/8.09, page 34

photo: artist's collection

Zachary Wilder Zachary Wilder, tenor, was a member of Le Jardin des Voix with William Christie and has since performed widely all over Europe and throughout the US with groups such as Les Arts Florissants, Boston Early Music Festival, Collegium Vocale Gent, Orchestre de Chambre de Paris, San Antonio Symphony, Cappella Mediterranea, American Bach Soloists, Festival d’Aix-en-Provence, Early Opera Company, and Early Music Vancouver. A keen performer of Baroque repertoire, Zachary’s performance highlights include Un Sylphe in Rameau’s Zaïs in France and Amsterdam with Les Talens Lyriques (CD released under the label Aparté), Tirsi in Gagliano’s La Dafne in Bruges with Leonardo García Alarcón and Cappella Mediterranea, and St John Passion (Brussels, Barcelona, Seville) with Philippe Herreweghe. He has also performed parts in Handel’s works: Damon in Acis & Galatea in California with the American Bach Soloists and Septimius in Theodora with Early Music Vancouver (USA and Canada). Zachary sung in Haydn’s Die Sieben letzten Worte unseres Erlösers am Kreuze in Paris with Orchestre de Chambre de Paris under the baton of Leonardo García Alarcón, Mass in B Minor with the Grand Rapids Symphony, and Lucano in L’incoronazione di Poppea and Telemaco in Il ritorno d’Ulisse in patria by Monteverdi, both for Boston Early Music Festival. More recently, Zachary has performed Mozart’s Requiem in St Paul’s Cathedral under John Rutter, performances and a recording of Bach’s Magnificat with Arion Baroque Orchestra in Montreal, Handel’s Messiah with the Alabama Symphony Orchestra, Trasimede and l’Interesse in Cavalli’s L’Oristeo in Marseille, Euryale in Persée by Lully in Paris and Versailles

photo: Łukasz Rajchert

Wrocław Baroque Orchestra The Wrocław Baroque Orchestra was founded by Andrzej Kosendiak in 2006. It is a resident ensemble of the National Forum of Music in Wrocław, one of few performing arts organisations in Poland that can boast a Baroque orchestra playing historical instruments. During each NFM season the orchestra presents its own concert series, always ardently received by the audience. The repertoire encompasses works from early Baroque to Romanticism, from chamber compositions to great oratorios. The superb cellist Jarosław Thiel has been artistic director of the WBO ever since the onset of its activities. Nowadays the Wrocław Baroque Orchestra ranks among the most important Polish ensembles playing historical instruments. The output and artistic level of this group – acclaimed by critics and audiences alike – bears fruit in collaborations with the greatest names on the international early music scene. The orchestra is invited to prestigious festivals, participates in broadcasts and recording sessions. It has performed under

the baton of Philippe Herreweghe, Giovanni Antonini, Andrew Parrott, Paul McCreesh, Andreas Spering, Hans-Christoph Rademann, Laurence Cummings, Rubén Dubrovsky, and Christian Curnyn. The guests of the WBO have been excellent ensembles and soloists, i.a. Collegium Vocale Gent, Cantus Cölln, Taverner Consort, Dresdner Kammerchor, Gli Angeli Genève, Olga Pasichnyk, Julia Lezhneva, Renata Pokupić, Nicholas Mulroy, Daniel Taylor, and Aleksandra Kurzak. The WBO’s recording activities are intense, resulting in a wide range of releases. Their first album won Fryderyk Award 2011 in the Phonographic Debut of the Year category, and the following three discs were awarded nominations to Fryderyk. In 2017 a fruitful collaboration with Paul McCreesh and Gabrieli Consort & Players resulted in the release of Haydn’s The Seasons. Another album is due soon, entitled Music in Wrocław’s 17thCentury Churches, recorded with Gli Angeli Genève and Concerto Palatino under the direction of Stephan MacLeod.

Dominik Dębski, Piotr Chrupek, Michał Mazur, Anna Nowak-Pokrzywińska, Elżbieta Stonoga – violas Jarosław Thiel, Bartosz Kokosza, Edyta Maksymczuk-Thiel, Anna Katyńska – cellos Janusz Musiał, Stanisław Smołka, Tomasz Iwanek – double basses Dóra Ombódi, Małgorzata Klisowska – flutes Marek Niewiedział, Patrycja Leśnik – oboes Alvaro Iborra, Juan Ullibarri – clarinets Jani Sunnarborg, Carles Vallès – bassoons Daniele Bolzonella, Kostas Siskos, Fabio Forgiarini, Giovanni Catania – horns Thomas Steinbrucker, Gerd Bachmann – trumpets Johanes Kronfeld, Ferdinand Hendrich, Masafumi Sakamoto – trombones Hans-Martin Schlegel – ophicleide Christopher Lane – timpani Jarosław Kopeć, Adrian Schmid – percussion Moniuszko – Phantoms, 12.09, page 90

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photo: artist's collection

Iga Załęczna photo: artist's collection

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Soyoung Yoon

So Young Sim

Soyoung Yoon studied at the Korea National University of Arts under Nam-yum Kim, as well as at the University of Music and Dance in Cologne and the University of the Arts in Zurich under Zakhar Bron. Currently concertmaster of the Basel Symphony Orchestra, Soyoung Yoon performs internationally both as a soloist and a chamber musician. Soyoung Yoon rose to international prominence at the age of 17, when she won 1st prize at the Yehudi Menuhin Competition. She has been a prize winner at the International Tchaikovsky Competition (2007), the Queen Elisabeth Competition (2009), the International Violin Competition of Indianapolis (2010), and in 2011 she won 1st prize at the 14th International Henryk Wieniawski Violin Competition in Poznań. As a soloist, Soyoung Yoon has performed with NDR Sinfonieorchester, the Russian National Orchestra, the National Orchestra of Belgium, the Polish National Radio Symphony Orchestra, the Bern Symphony Orchestra, the Trondheim Symphony Orchestra and the Zurich Chamber Orchestra. She has collaborated with conductors including Gilbert Varga, Mario Venzago, Krzysztof Urbański, Muhai Tang, Jesko Sirvend, Krzysztof Penderecki, and Antoni Wit. Soyoung Yoon was a member of Stradivari Quartett Zurich between 2009 and 2012, and in that year she founded the ORION String Trio with Veit Hertenstein and Benjamin Gregor-Smith. In 2016, the group received both 1st prize and the audience award at the 15th Chamber Music Competition Migros-Kulturprozent in Zurich. In 2012 she recorded concerts by Tchaikovsky and Sibelius, releasing her second album in 2015 with the recording of The Four Seasons by Astor Piazzolla and Concerto for Violin and Piano by Mendelssohn-Bartholdy with Ksenia Kogan and the Korean Chamber Orchestra. On tour following the release, Soyoung Yoon performed concerts in Seoul, London, Berlin, and other cities. In the 2016/17 season, Soyoung Yoon played Beethoven’s Violin Concerto with the Deutsche Kammerphilharmonie Bremen under Krzysztof Penderecki, at the inauguration of the 15th International Henryk Wieniawski Violin Competition in Poznań. She plays on the 1773 ex-Bückeburg G.B. Guadagnini violin. End of Time, 9.09, page 54

Sim So Young studied at the Sookmyung Women’s University in Seoul, where she graduated in piano with highest honors. At the same University she attended the master course for two years. She continued her studies in Italy, where she graduated in piano, harpsichord, chamber music and did the specialisation course of Maestro Répétiteur at the ‘Giuseppe Verdi’ Conservatory of Music in Milan. She also graduated at the Accademia del Teatro alla Scala as Maestro Répétiteur. In 2008 she started her professional career as coach, house and stage Maestro and accompanist in different opera productions, among others Mozart’s Così fan tutte conducted by Ottavio Dantone and Le nozze di Figaro conducted by Giovanni Antonini at Milano Teatro alla Scala. She also accompanied Cecilia Bartoli in several recitals and she was soloist at Wratislavia Cantans in a concert celebrating ten years of the death of György Ligeti playing Hungarian Rock on the harpsichord. From 2012 Sim So Young is regularly invited to Salzburg Festival, where she takes part in stage productions with Cecilia Bartoli of Giulio Cesare and Ariodante by Handel, Norma by Bellini, Cenerentola and La donna del lago by Rossini. She is also a répétiteur and an assistant at international vocal master classes in Gstaad (Switzerland) with Silvana Bazzoni Bartoli. Currently she is music assistant of Dante Mazzola, professor of the Accademia del Teatro alla Scala, and official pianist at chamber music classes at the ‘Giuseppe Verdi’ Conservatory of Music in Milan. End of Time, 9.09, page 54

Iga Załęczna is a choreographer, arts animator and actor. In 2015 she completed a training course of Teatr Forum and in the same year began her work based on the methodology of participatory theatre in the School of Culture Animators in Wrocław. She held scholarships of the Minister of Culture and National Heritage in 2010, 2011 and 2017. She is a founding member of the Chorea theatre, with which she produces her own theatre performances (Wiatr w sosnach; Koguty, borsuki i inne kozły; Córka swojej matki; Isla Cisneros – produced on commission from the Institute of Music and Dance), as well as producing arts education projects (a.o. Antyk – taniec w ReKonstrukcji; Geometria i pustka: przestrzenie ciała/ciało w przestrzeni). She collaborates with Paweł Passini as a member of his independent theatre company neTTheatre – Theatre of Networks and Connections. She has played in several Passini’s productions, including Tehillim/Psalmy; Wszystkie rodzaje śmierci; Turandot; Kukła. Księga blasku; Ala ma sen. She participates in indie theatre projects (including Vulva directed by Joanna Lewicka, Lublin 2014). She runs workshops and trainings for people working in arts education. In the autumn of 2015 she received a scholarship funded by the Knowledge Education Development Operational Programme 2014–2020 for international internship for trainees and graduates of professional training schools, thanks to which she had a two-month internship in Florence at the Foundation Fabbrica Europa and in Pontedera at the Teatro Era – Centro per la Sperimentazione e la Ricerca Teatrale. Moniuszko – Phantoms, 12.09, page 90

photo: artist's collection

Furio Zanasi

Michał Ziemak

Furio Zanasi, baritone, began his musical activity devoting himself to Early Music, with a repertoire spanning from the madrigals to cantatas, from oratorios to Baroque operas. He appears in the main opera houses and most prestigious festivals in Italy as well as all over Europe, the USA and Japan, singing under famous conductors. He has sung title role in Monteverdi’s L’Orfeo, recorded by Naïve, on tour as well as in a new production at the Norwegian National Opera in Oslo. He was Ulisse in Il ritorno d’Ulisse in patria at La Scala in Milan, where he as well took part in the Monteverdi Trilogy with Rinaldo Alessandrini. Furio Zanasi has recorded for the main European radios and has appeared on more than 60 CDs for different labels. Monteverdi – Il ritorno d’Ulisse in patria, 7/8.09, page 34

Michał Ziemak, bas, is a student of Bogdan Makal at the Academy of Music in Wrocław. He participates regularly in master classes, including those run by Eytan Pessen at the Teatr Wielki – Polish National Opera. He won a prize at the 14th National Franciszka Platówna Vocal Competition (an award in the over 21 years of age category). Active in opera and oratorio repertoire since 2015, still as a student of secondary music school he guest-appeared as Il Commendatore in Mozart’s Don Giovanni for Wrocław Opera. As an undergraduate, he participated in the production of Ravel’s L’enfant et les sortilèges. As Il Commendatore and Masetto in Don Giovanni, he appeared, among others, at Opera Nova in Bydgoszcz and in Kudowa-Zdrój. He has collaborated with the Lower Silesian Philharmonic in Jelenia Góra, performing Die Zauberflöte by Mozart and King Arthur by Purcell. Moreover, his repertoire includes Mozart’s Coronation Mass, Bach’s Aus der Tiefen rufe ich, Herr, zu dir, BWV 131, Telemann’s Die Tageszeiten, Liszt’s Requiem, and Żebrowski’s Magnificat (Wratislavia Cantans 2016). For years now, as a soloist and chorister, Michał Ziemak has performed orthodox church music with the Oktoich Choir of the Orthodox Church Chaplain Service of the Polish Army. Moniuszko – Phantoms, 12.09, page 90

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OKIS Bielawa

Bardo Bardo, a town of less than 3,000 inhabitants has been blessed by Providence with a fascinating history, wonderful nature and scenic situation. Hidden amid the picturesque hills of the Bardzkie Mountains, adorned with the gorge of the Nysa Kłodzka river, enriched with numerous monuments and spiritually elevated by the prayers of pilgrims, Bardo is an ideal base for weekend excursions for those seeking respite from the noisy city life. A one-time border castle, a pilgrim destination for centuries, Bardo connects its future with the development of active tourism. Alongside picturesque tourist tracks, mountain biking paths and urban tourist walks, rafting and canoeing down the Bardo Gorge have become an absolute hit. Water sports are celebrated regularly during the Ogólnopolski Spływ Kajakowy na Nysie Kłodzkiej (National Canoeing on Nysa Kłodzka), Spływy Świętojańskie (St John’s Day Rafting), Spływ na ‘BeleCzym’ (Rafting on Whatever). The Easter Bazaar full of festive traditions and the Festival of Bardo Miracles organised during the Days of Bardo are hugely popular. In the holiday period in Minor Basilica of the Visitation of the Blessed Virgin Mary in Bardo you can listen to the concerts of ‘Bardo Organ Summer’ and enjoy the beautiful sound of the renovated organ, accompanied by other instruments and singers. Bardo with its monastery and numerous traces of Cistercians is one of the most important stopovers on the Cistercian track. The over-900-year-long history of the town is permeated with the presence of the Virgin Mary in her Miraculous Figurine of Our Lady of Bardo – the Guard of the Holy Faith, visited since the 13th century by pilgrims from Bohemia and Silesia. The figurine is also the oldest sacred sculpture in Poland. According 228

Bielawa to the latest research it was made around 1011. The huge shrine it reigns over was built in 1686–1704 and it owes its spectacular decoration to well-known Silesian artists. The main altar draws your attention to the picture of Annunciation by Michael Willman. Of particular value is the renewed organ built in the 18th century by Franz Eberchard, with its impressive baroque decoration sculpted by Heinrich Hartman.

Bielawa is a town with a population more than of 32,000, located in the central part of Lower Silesia, in Dzierżoniów district. Its key advantage is the location among the oldest mountains in Europe – the Owl Mountains. That is why we offer to our tourists numerous hiking, mountain biking, and walking tourist routes, as well as the recreation and leisure places for whole families. More information available on the website: www.bielawa.pl.

For more information about Bardo see www.bardo.pl

Of the town’s attractions, we especially recommend visiting the tower of the Assumption of the Blessed Virgin Mary Church, as it is the view point with the third highest tower in Poland (101 m). The tower has four observation terraces, two of which are equipped with teleoptical devices. Visitors may enjoy the panoramic view of beautiful Bielawa, the Owl Mountains, and the nearby area. With its illumination the tower looks amazing even when the dusk falls. For entry tickets, please visit Tourist Information Centre at ul. Wolności 128b, phone: 74 8334024. We also invite everyone who is interested to visit OWW Sudety recreational complex with a 24 ha water reservoir whose common name is Jezioro Bielawskie and which is a perfect place to do water sports. The wide and sandy beach is perfect for sunbathing. Another leisure place is the Aquarius Swimming Pool (www.aquariusport.pl) with four pools: for sport, relaxation, a children’s pool and a jacuzzi. In the same building there is also a fitness centre Aquariusport with a gym, a sauna and a massage room (www. aquariusport.pl). Roller-skating and bicycle motocross enthusiasts should visit one of the best skate parks in Poland, located just by the urban park. Additionally, during the summer season there are a ropes course and water sports available in the urban park.

Diverse topography of the area creates perfect conditions for mountain biking, for which special cycling routes have been marked up. Bielawa has co-organised numerous mountain biking events on the Lower Silesian, national, and international level.

model of an ecological town. This strategy has been implemented by the commune by spreading ecological awareness among their citizens and making ecology-related investments.

The main role in the cultural development of the town belongs to the City Culture and Arts Centre, where vocal, vocalinstrumental, and dance bands, as well as numerous interest clubs operate. In the Centre there is also a theatre, where stage activities for children, teenagers, and adults take place, which stands for the foundation of the amateur artistic movement, and also for the continuation of the rich tradition of the Workers’ Theatre. Supplementary to the Centre’s operations, there is also Cooperative Culture Centre affiliated to the housing cooperative. One of its resident ensembles is the Song and Dance Company ‘Poloneziaki’. Two professional theatres operate in the form of a street theatre in Bielawa: Teatr Prawdzi wy (True Theatre) and Teatr Żywy (Alive Theatre). Main city events are: Regałowisko (August) – reggae music lovers festival held in the picturesque, natural mountain and water scenery in the territory of OWW Sudety. International stars contribute to the event every year (www.regalowisko.pl), A Gladiator's Race – an extreme survival race of around 7 kilometers, attracting ca. 1000 runners from across Poland, Rockmania (April) – a national festival of rock bands, Lines of Bielawa – national competition for the skateboarding enthusiasts (July-August). Aside from tourism, ecology is one of the most important directions of the town’s development. For over 10 years now, Bielawa has been making great efforts to become the 229

PARTNER CITIES

Głogów

Bolesławiec For every reason, Bolesławiec is an attractive town. Situated picturesquely on the river Bóbr and surrounded by fabled Bory Dolnośląskie [Lower Silesian Forests], its atmosphere is created by numerous monuments reminding us of the over 750-year history of Bolesławiec. Records mention pottery workshops in the 14th century, with exports to the most distant parts of Europe. Some scholars date the history of Bolesławiec to the times of King Bolesław Chrobry, others, in accordance with the oldest chronicles, ascribe its beginning to Duke Bolesław Wysoki [the Tall]. The first mention of its name goes with the name of Castellan Nankier and is dated 1202, whereas the first record of the municipal rights of Bolesławiec is from 1251. While in Bolesławiec, it is worth your while to have a walk in the footsteps of famous people. There are seven pedestrian walks under the name ‘In the Footsteps of Famous Europeans’. The walks have been themed around personalities, historical monuments and phenomena that exerted a strong influence on the shape, history and culture of Bolesławiec and thanks to which the town built its specific profile. The trails follow the traces left by gold miners and medieval builders, Renaissance poets; architects and business people; natural scientists and landscape architects; ceramic artists and sculptors; monks and chroniclers. There is also a Napoleonian track. Direct experience of historical places will enable you to feel the magic of this wonderful town. The most important monuments are: Basilica of Our Lady, the Town Hall, tenements around the town market, the church of Our Lady of Perpetual Help, the Castle Square, the group of sculptures ‘Jesus, Friend of Children’; the 230

Museum of Ceramics, the statue of Field Marshal M.I. Kutuzov, the Odeon, the former Free Masonry Lodge, the theatre (previously the arsenal), the court of law (previously high school), Bolesławiec Baths, and a railway viaduct. The town is in the area of Lower Silesian Forests, the largest forest in south-west Poland. This picturesque location encourages outdoor activities. The surrounding lakes and ponds, and the rivers Bóbr and Kwisa create opportunities for fishing and water sports, including exciting dinghy and kayak rafting. Bolesławiec is the biggest town i n the Bol esł aw i ec-Zgorzel ec Forest , welcoming tourists, mushroom and berry pickers, amateurs of animal photography on their quest for deers, roe-deers, boars, foxes and hares. People live active lives in Bolesławiec: there is a water park, kilometres of bike paths in and around the town, modern sport centres and pitches, a skating rink, water sports centre, and thermal salt springs in the historical spa. The cultural offer is rich, attracting young people and adults with exhibitions, concerts, theatre performances, meetings with artists, and happenings. A busy calendar of sports and cultural events will satisfy different tastes. The flagship events are the Bolesławiec Festival of Ceramics, Festival of Culture of Southern Slavs, International Open Air of Ceramics and Sculpture. Bolesławiec is also a good place for investment. At the 13th edition of the prestigious Lower Silesian Griffin – Business Prize, Bolesławiec was awarded in the local government category for its successful business co-operations. The town has also received an international f lag and certif icate of

investment attractiveness ‘Prime Business Destination’, awarded by Europe Business Assembly (EBA) in London. The international EBA experts appreciated the development and investment potential of Bolesławiec.

Głogów is a town of many cultures and nations creating a Heritage of this genuinely European place for a Thousand Years. Also in music Głogów has left a strong mark as an important cultural centre. Głogów is famous for a songbook called the Glogauer Liederbuch – it is a monument of musical culture of European value, considered the richest and most universal collection of medieval city songs in Europe. One of the sons of Głogów has been Andreas Gryphius, recognised as one of the most important German dramatists. Another notable phenomenon in the history of European culture, with a whole chapter written in Głogów, was the Jesuit theatre. Towards the end of the 17th century, plays staged in Głogów included musical settings and choruses. It was at that time that multimedia theatre was born in the historical sense of the word. The performances included illusionist tricks, music, dance and parades. Głogów is the native town of Johann Ernst (1726–1793) – the grandfather of Johann Peter Emilius, who wrote the melody of the Danish national anthem. The Municipal Theatre organised concerts and theatre performances. In 1826 it hosted the Berlin Opera company, and in 1843 Franz Liszt. Since the end of World War II the theatre has been waiting for a comeback to its former glory. The contemporary Głogów has organised over 30 editions of Głogów Jazz Meetings, 10 editions Andreas Gryphius Festival, the Festival of Film Directors and the Mayday Rock Festival. Today’s Głogów is home to numerous youth ensembles and soloists winning awards during national and international Competitions. Many concerts of early and contemporary music are held regularly.

Established in 1985 the Głogów Jazz Meetings support and promote both renowned jazz stars and artists at the beginning of their careers. The Festival is addressed not only to jazz connoisseurs, but also to the youngest audience. The Festival programme encompasses education Concerts for children called The Jazz Academy. Club concerts, meetings with artists and star performances are the essence of the event. The festival has been crucial in creating performance opportunities for improvising young artists based in Głogów: Seweryn Graniasty, Mateusz Pliniewicz, Dominik Mąkosa, Mateusz Kwapień, and Tomasz Szczepaniak. The Głogów Jazz Meetings enable contact with improvised music of the highest order. The festival roster features all the biggest names in Polish jazz, including long collaborations with. Leszek Możdżer, Henryk Miśkiewicz, Jan Ptaszyn Wróblewski, Lora Szafran, and Ewa Bem. The Jazz Gala has invited world-class artists, among others Terri Lyne Carrington, Vastie Jackson, Keith Dunn, Al Di Meola, Johnny Griffin, and Deborah Brown.

and Joanna Szczepkowska. Mariusz Kiljan, Zbigniew Zamachowski, Anna Dereszowska, and Jan Nowicki were hosts of concerts attended by Głogowians and tourists. For six days, Głogów was a capital of cinematography. The last edition of the festival gave us lots of unforgettable and joyous cinematic experiences. The Mayday Rock Festival is one of the biggest rock events in Poland. It has been held for over 20 years now, and has triggered the careers of such bands as Ira, Houk, Łzy, Ilussion, and Pivo. This year the festival played host to Hey, Kaliber 44, and Sweet Noise. All these events add up to the rich cultural tapestry of our town. Come to Głogów!

The International Andreas Gryphius Summer Festival ‘Words and Music’ was a series of concerts presenting a broad classical repertoire and taking place in Głogów’s important historical places. The mission of the festival was to present concerts combining music with recited fragments of poetry, drama and fiction. A focus was the work of Andreas Gryphius, but ample time and space were also given to literary people from Głogów, including contemporary poets. For two years now, Głogów has hosted a Festival of Film Directing. So far, our town has invited Jerzy Hoffman, Daniel Olbrychski, Zygmunt Malanowicz, Robert Gonera, 231

PARTNER CITIES

KALISZ

Kłodzko

KALISZ PHILHARMONIC ORCHESTRA

Kłodzko can be proud of an over one thousand years old history. Its beginnings go back to the 10th century. According to the 12th century Chronicle of the Czech by Kosmas ‘castellum Kladsco’ belonged to the property of Sławnik, the father of the Saint Adalbert. Kosmas wrote about Kłodzko before the year of 981. This is the oldest known record on Kłodzko.

Winner of the Grammy Award 2014 in the Best Large Jazz Ensemble Album category.

The orchestra is active in the oldest Polish city, where Poland’s oldest Musical Society was established in 1818, and a theatre run by the father of Polish public theatre Wojciech Bogusławski staged plays since 1800. It is in Kalisz that Fryderyk Chopin, Henryk Wieniawski and other outstanding European virtuosos of the 19th century gave concerts en route from Vienna or Berlin to St Petersburg. The last huge success of the Orchestra, i.e. the Grammy Award 2014 in the Best Large Jazz Ensemble Album category, is also closely connected with the Kalisz history. For the celebrations of Kalisz’s 1850th anniversary, Włodek Pawlik was commisioned to write a piece entitled Night in Calisia. The premiere concert featured the legendary trumpeter Randy Brecker, the Włodek Pawlik Trio and the Kalisz Philharmonic Orchestra under the baton of Adam Klocek. In November 2012 Night in Calisia was published on a CD, and on a chart run by Rzeczpospolita daily it won the titles of Album of the Year 2012 and the Hit of the Year 2012. Its American edition (Summit Records) was prestigiously listed as one of 50 records most often aired by all jazz broadcasters in the USA. In September 2014, the album won double platinum and continues to be a bestseller in Poland. In 2010 a three-CD set Preisner’s Voices was released, with the Kalisz Philharmonic featured on the third disc Dance Macabre. The CD also became a bestseller. 232

At present the Kalisz Philharmonic is recognised by artists and critics as one of the distinguished Polish symphony orchestras. Adam Klocek has been general and artistic director of the Kalisz Philharmonic since 2006.

The castle town with the defence character was located on the Fortress Hill on the border of the Polish and Czech states. Because of its strategic location it often constituses a reason of fierce political competition between the Piast and Przemyślidzi Dynasties. The period of fights and disputes ended with peace in Kłodzko in 1137 beetween Bolesław Krzywousty and Sobiesław I. By virtue of – so called – the Pantecost peace the Kłodzko land was included to the Czech. The chartering (location) of the town took place in about 1250. Medieval Kłodzko roomed a relatively big number of sacred structures. Churches and monasteries belonged to the order of the Joannites, the Franciscans, the Augustini ans and the Bernardinians who developed their activity here. One of the pupils of the Joannites School was Arnost from Pardubice – who later became the Prague Archbishop. Arnost initiated in Kłodzko the construction of the Assumption of the Blessed Virgin Mary parish church. A new period of the history of Kłodzko began in the middle of the 15th century. In 1454 Jerzy from Podiebrad became the ruler of Kłodzko and he made the Kłodzko land a country. The 16th century was the period of economic and cultural development of Kłodzko. A great investment of this period was the

Krotoszyn reconstruction of the caste in the Fortress Hill. Just on the eve of the thirty years’ war Kłodzko was a Protestant town. The town capitulation was signed on 26.10.1622 and it started a period of Austrian ruling. During the Silesian Wars (1740–1763) Kłodzko land several times was overtaken by the Protestants of Prussia or Catholic Austria. Finally it became the Prussia’s property under its sceptre. During the Prussian reign the architecture of Kłodzko changed. It became a garrison town with barracks, storerooms, and the extended fortress towering over them. In 1807, during the Napoleonic Wars, Kłodzko was besieged by the French. After the signing of the Prussian-French treaty, despite its surrender, the city continued to be part of Prussia. In the second half of the 19th century in the town landscape totally new structures also appeard. They were connected with the construction of the railway of Silesia. Within the scope of the intensified constructions trends also new public utility facilities were erected most of them were new ones: a district head office and a post office, a gas station, a modern pipeline plant, an investigation prison. New barracks were also built and hospitals. During the World War I and World War II, Kłodzko escaped damages, and, as a result of the decision of the triumphant world powers, it became the territory of Poland.

In the area of Krotoszyn the oldest traces of humans date back to prehistoric times, as the first people came here 10,000 years ago, and built their first settlements 6,000 years ago. The sepulchral mounds located in the neighbouring forests are their most visible and exciting traces and a testimony to the spirituality of the first Krotoszynians. In the Middle Ages this area became part of the state of Poland, and in 1405 the first record of the village, to be given the urban status ten years after by the knight called Łodzia Wierzbięta. 2015 sees the celebrations of 600 years of Krotoszyn. The town was located in accordance with the law of Magdeburg, and the shape of the Market Square has remained unchanged to date. The town’s development gained momentum in the 2nd half of the 16th century, when the Doliwa Rożdrażewski family became the town’s owners. The oldest two historic monuments come from that period: the wooden Saints Fabian and Sebastian Church and the laid with brick Church of St John the Baptist. At that time Krotoszyn became an important hub of crafts and trades in the region of Wielkopolska. In the 2nd half of the 18th century Krotoszyn became a truly multicultural town. Since the 16th century the Jewish settlers had been coming here, and since the 1st half of the 17th century Krotoszyn had seen the increase of German settlement. In the 19th century the number of Germans equaled the Polish and Jewish populations, and thus the ethnic makeup of Krotoszyn included the three nations in almost identical proportions.

Wielkopolskie Uprising, the only successful uprising in the history of Poland. Krotoszyn and the rest of Wielkopolska became part of the reborn Poland in 1918. Nowadays Krotoszyn is the seat of the district and a hub of machine, light and food industries, in addition to well-developed agriculture. The numerous NGOs operati ng here prove the acti ve attitude of Krotoszynians. The motto of the town is WE ACT TOGETHER! Krotoszyn enjoys the privilege of being for another year one of the partners of International Festival Wratislavia Cantans. The Krotoszyn Culture Centre, the Regional Museum of Hieronim Ławniczak and the Krotoszyn Public Library are the cultural institutions managed by the local government. Krotoszyn collaborates with its sister towns in Holland (Brummen), Germany (Dierdorf), France (Fonteney-le-Compte), Turkey (Bucak), and Lithuania (Meishogola). A collaboration agreement with Oki Islands in Japan was signed earlier this year. Krotoszyn’s Old Town was revitalised last year with the Market Square being a true jewel of architecture and a place for the arts of the highest order. For two years now, culture and the arts of the highest order have added vibrancy to this place, including a concert series ‘Więc Wiec’.

I n the period of the German rule, the independence-oriented activities of Krotoszynians contributed to the success of the 233

PARTNER CITIES

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Środa Śląska

Oleśnica

Syców

Oleśnica is one of the oldest towns in Lower Silesia, boasting a rich history and great traditions. It was here that various cultural influences of several nationalities have crossed over. Nowadays, Oleśnica is an attractive, modern and at the same time eye-pleasing town. Above all, Oleśnica is buzzing with the activities of its well-developed civil society. The inhabitants are people actively participating in cultural events and open to artistic performances, curious about new trends in the arts, which makes our town stand out. Artistic life is thriving in Oleśnica, thanks to the local cultural institutions and educational centres, as well as due to residents’ and visitors’ active participation.

The community of Syców is situated in the north-east of the Lower Silesian province, within the Oleśnica administrative district, 50 km away from Wrocław. The town lies on the boundary of Twardogórskie and Ostrze szowskie Hills, and is historically referred to as the Silesia – Geater Poland borderland. The oldest historical record about Syców comes from a document issued by Wrocław’s Prince Henryk IV Probus dated 1276, where its name is spelt ‘Syczowe’. From 1489 Syców was a free state and its consecutive owners came from the von Malzan, von Braun, von Dohna and Biron von Curland families. Over the centuries the town belonged to Poland, Czech, Austria, Prussia and Germany, and the Biron von Curland family owned it until 1945 when Syców, following the international peace treaties after WW2 found itself within Polish borders. Historic monuments testify to the town’s rich past: 1z1

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• Catholic Church of Sts Peter and Paul, built in the Gothic style in the 15th century, with numerous memorabilia of Syców’s former owners. • Evangelical Church of Apostles John and Peter built at the end of the 18th century in the Classicist style, designed by Carl Gotthard Langhans (author of Berlin’s Brandenburg Gate), with a cylindrical tower. • The old gate tower, at present a belfry and viewing point, built in the 15th century and 56.2 metres high. • Historic urban network of Syców and the remains of city walls. Historic tenements in the centre from the 18th and the 19th centuries. One of them hosts the Regional Museum. 234

In 2010, with a huge support from the Norwegian Finacial Mechanism, the most important communal facilities were modernised, including the drainage system, ecological developments, revitalization of the park, and a new playground for children. The Syców Culture Centre plays the most important role in the cultural development, host to vocal ensembles and many other leisure activities (www.cksycow.pl). 8 km away from Syców, in the village of Strad omia Wierzchnia there is a retention reservoir, excellent for water sports and other recreational activities. In its vicinity there is a forest arboretum founded in 1993 and boasting a beautiful park with rhododendrons and one of the biggest pinewoods in Poland.

Amongst the many cities and villages of the Lower Silesia, there is a place where the spirit of the distant past of Middle Ages can be still seen in the dynamically developing, still changing reality. 1z1

Środa Śląska, located in the central part of the Lower Silesia, in the place where the trail connecting Eastern and Western Europe once existed, is a very important center of the region in terms of transport, economy, and culture. The Środa Śląska district area is 215 km 2 and is inhabited by over 19,000 people, of whom 9,000 live in Środa Śląska. The settlement network is formed by 27 villages, for example: Szczepanów, Ciechów, andRakoszyce, among others. Środa Śląska lies between two important centres: Wrocław and Legnica. Its district is situated on the junction of important communication trails, allowing for convenient connections with the most important cities both in the country and Europe: road no. 94 and provincial road no. 346 connected to the A-4 motorway. Transportation to and from Środa Śląska is also possible on the railway line, on the Odra water trail, and by plane, as the Wrocław airport is only 29 km away.

We invite everyone to visit Środa Śląska which prides itself on its history, the residents’ hospitality, and impressive economic potential.

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For several years now we have wittness many Wrocławians come for leasiure activities to Środa Śląska, encouraged by the short distance between Wrocław and Środa, good road connections and competitive prices. Everyone can find something of interest in the town’s free-time offer, prepared by the Culture Centre in Środa Śląska with a modern digital Cinema, the Średzki Water Park and Sports and Leisure Centre, in addition to historic monuments, the green belt, biking paths and tourist tracks. It is impossible to describe he beauty of this place in just a few sentences. Feel invited to come to Środa Śląska during Wratislavia Cantans and throughout the year.

The town earned fame and publicity due to the Millennium Treasure discovered there in the 1990s. The Treasure, however, is not the only advantage of Środa Śląska. Alongside with sacral and secular monuments dating from Middle Ages, we can find here both attractive leisure and investment areas, Środa Śląska being the location for many companies. Investmentoriented policy of the local authorities and a developed network of organizations and institutions which support enterprises still draws new investors.

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MEDIA PATRONS

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Acknowledgements

ACKNOWLEDGEMENTS

ORGANISERS

MOREOVER, THE ORGANISERS OF THE 52ND ANDRZEJ MARKOWSKI INTERNATIONAL FESTIVAL WRATISLAVIA CANTANS WISH TO THANK: Commune of Wrocław Mayor Rafał Dutkiewicz

Wroclaw.pl Ewa Waplak / Editor in Chief

Office of the Marshal of Lower Silesian Province Marshal Cezary Przybylski

Co Jest Grane Rafał Betlejewski / Editor in Chief

Ministry of Culture and National Heritage Minister Piotr Gliński Polish Radio 2 Małgorzata Małaszko-Stasiewicz / Director

TuWrocław.com Damian Filipowski / Editor in Chief Rzeczpospolita daily Bogusław Chrabota / Editor in Chief

TVP.pl Krzysztof Kuba Sufin / Editor in Chief

Wysokie Obcasy weekly Ewa Wieczorek / Editor in Chief Monika Tulak-Goll / Deputy Editor in Chief

Polish Television 3 Wrocław Mirosław Spychalski / Director

Nowa Muzyka Krzysztof Stęplowski

Gazeta Wyborcza daily Adam Michnik / Editor in Chief

TVP Kultura Mateusz Matyszkowicz / Director

Zwierciadło magazine Anna Bimer / Editor in Chief

La Vie magazine Kuba Wojtaszczyk

Charaktery magazine Bogdan Białek / Editor in Chief

Monogram magazine Magdalena Kargol / Editor in Chief

Radio Wrocław and Radio RAM Tomasz Duda / Editor in Chief

Tygodnik Powszechny weekly Piotr Mucharski / Editor in Chief Jacek Ślusarczyk / CEO

Gmina Polska. Krajowy Przegląd Samorządowy magazine Tomasz Miarecki

Music in the City magazine Piotr Matwiejczuk / Editor in Chief

Kapitał Dolnego Śląska magazine Marcin Prynda / CEO of Prasa Dolnośląska PIK.wrocław.pl Dorota Olearczyk / Editor in Chief Co Jest Grane 24 Agata Żelazowska-Cieśla / Editor in Chief

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Bardo City and Commune Office Krzysztof Żegański / Mayor Fr Mirosław Grakowicz CSsR / Rector of the Minor Basilica of the Visitation of the Blessed Virgin Mary

Bielawa City Office Piotr Łyżwa / Mayor Jan Gładysz / Director of the Municipal Centre for Culture and Arts Fr Dr Stanisław Chomiak / Rector of the Church of the Assumption of the Blessed Virgin Mary Fr Daniel Marcinkiewicz / Priest of the Church of the Assumption of the Blessed Virgin Mary Bolesławiec City Office Piotr Roman / Mayor Ewa Lijewska-Małachowska / Director of the Culture Centre Fr Zygmunt Wirkowski / Rector of the Parish of Our Lady of Perpetual Help Głogów City Office Rafael Rokszewicz / Mayor Barbara Mareńczak-Piechocka / Director of the City Centre for Culture Fr Witold Pietsch / Rector of the Parish of Our Lady the Queen of Poland Kalisz Adam Klocek / Artistic and General Director of the Kalisz Philharmonic Kłodzko City Office Michał Piszko / Mayor Marek Mazurkiewicz / Director of the Centre for Culture, Sports and Recreation Fr Robert Mól / Superior, Rector of the Parish of the Assumption of the Blessed Virgin Mary Krotoszyn City Office Franciszek Marszałek / Mayor Wojciech Szuniewicz / Director of the Culture Centre Fr Dr Aleksander Gendera / Rector of the Church of St John the Baptist

Oleśnica City Office Michał Kołaciński / Mayor Anna Zasada / Director of Library and Culture Forum in Oleśnica

General Director Andrzej Kosendiak

Syców City and Commune Office Sławomir Kapica / Mayor of the City and Commune of Syców Paulina Syposz-Ciemny / Director of the Culture Centre in Syców Fr Rafał Miller / Rector of the EvangelicalAugsburg Church of Apostles John and Peter in Syców

Festival Coordinators Jolanta Galary – Assistant to Artistic Director Oliwia Grela

Środa Śląska City Office Adam Ruciński / Mayor Grzegorz Ptaszyński / Director of the Culture Centre Fr Wiesław Pindel / Rector of the Church of St Andrew the Apostle

Festival Promotion Kamila Janaszkiewicz Paulina Jendrychowska

Wrocław Fr Paweł Cembrowicz / Rector of the Cathedral of St John the Baptist and Acting Rector of the Church of the Holy Cross Fr Piotr Mikołajczak / Rector of the Church of St Mary Magdalene, Polish National Catholic Cathedral Fr Arkadiusz Krziżok / Rector of the Parish of the Blessed Name of Jesus Fr Col Janusz Radzik / Dean of the Air Force Decanate, Rector of the Basilica Minor of St Elizabeth Bishop Ryszard Bogusz / Rector of the Evangelical-Augsburg Parish of Divine Providence Bente Kahan Foundation, Jewish Community in Wrocław

Artistic Director Giovanni Antonini

Image concept of the 52nd Andrzej Markowski International Festival Wratislavia Cantans Prof Tomasz Bogusławski

Press Office Agnieszka Frei Dagmara Bielak Olga Benedyktowicz

NFM Team Mateusz Ancygier, Teresa Benedyczak, Olga Benedyktowicz, Dagmara Bielak, Bogusław Beszłej, Agata Błędowska, Zbigniew Bodzek, Joanna Borek, Paweł Chmielewski, Maria Czerwińska, Katarzyna Darul-Tylicka, Olga Dereń-Stefaniuk, Agnieszka Frei, Anna Gabryluk, Karol Gawroński, Monika Gatner, Małgorzata Gimbut, Anna Gościńska, Izabela Grad, Krystyna Guzek, Krzysztof Haremza, Piotr Harewski, Adrianna Hołdys, Kamila Janaszkiewicz, Paulina Jendrychowska, Maciej Kabała, Natalia Klingbajl, Izabela Kłys, Karolina Kostwicka, Łukasz Kowal, Rafał Kowalczyk, Magdalena Kubica, Natalia Kubik, Andrzej Kurowski, Gabriela Kwarta, Olga Kwiatek, Olga Kończak, Joanna Kowalska, Elżbieta Klemberska, Anna Kruczkowska, Joanna Lenart, Agnieszka Lenczewska, Maria Lubczyńska, Anna Maciałek, Joanna Malus, Monika Mały, Anna Marks, Elżbieta Matczak, Agata Michalak, Barbara Migurska, Martyna Mizerkiewicz, Anna Musiał, Marta Niedźwiecka, Aleksandra Nowak, Halina Ołdakowska, Anna Opala, Agnieszka Ostapowicz, Dominika Otmar, Piotr Papier, Nathalie Paprić, Michał Pawlak, Halina Piecka, Izabela Piekielnik, Marcin Piłat, Paweł Piotrowicz, Marta Piwowar, Alicja Pogłódek, Agata Półtorak, Katarzyna Popiel, Halszka Potrzebowska, Anna Przybylińska, Renata Puczyńska, Magdalena Pyra, Łukasz Rajchert, Joanna Rokita, Kalina Rosińska, Aleksandra Rupniak, Ewa Schubert, Bożena Sławińska, Anna Sławińska, Ewa Służyńska, Dorota Sosna, Sebastian Sroka, Wioletta Stasik, Aleksandra Staszczak, Jan Straus, Witold Styczeń, Anna Szczepańska, Michał Szczerek, Monika Szczucińska-Parczyk, Agnieszka SzklarczukWach, Ira Terebenets, Jarosław Thiel, Katarzyna Toczyńska, Agnieszka Tracz, Justyna TrochanowskaDrąg, Piotr Turkiewicz, Joanna Tyczyńska, Joanna Wagner, Joanna Warchlewska, Zbigniew Wasik, Monika Wasilewska, Karolina Wąsowicz, Piotr Wierzbicki, Jolanta Wiewiórska, Małgorzata Woźnicka, Michał Występek, Marcin Zając, Aleksandra Zegar, Dorota Żak

Wratislavia Cantans volunteers

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INDEX

COMPOSERS AND WORKS

Agricola Alexander De tous biens plaine (three versions), p. 50, 60, 80

Caresana Cristoforo Tarantella from Duo. Opera seconda (Naples, 1693), p. 50, 60, 80

Anonymous Aeterna Christi munera – plainchant, p. 132 Benedictus qui venit in nomine Domini – plainchant, p. 132 Divina Consoladora (Sardinian tradition, arr. V. Ghielmi), p. 104, 130 Et ne avertas faciem tuam a puero tuo – plainchant, p. 132 Gotzos de su nefressariu (Sardinian tradition), p. 104, 130 La Battaglia (Ms. British Library, c. 1560), p. 50, 60, 80 La Gamba, p. 50, 60, 80 La Morte della Ragione – pavana (Ms. British Library, c. 1560), p. 50, 60, 80 La passion de Jèsus Crist (Gascoigne tradition arr. V. Ghielmi), p. 104, 130 Libera me, Domine (Sardinian tradition), p. 104, 130 Stabat Mater (Sardinian tradition), p. 104, 130 Uppon la mi re (16th c.), p. 54, 64, 90, 104, 130 Virginem mire pulchritudinis (Buxheimer Orgelbuch), p. 104, 130

Castello Dario Sonata 14 a quattro from Sonate concertate in stil moderno, Libro II (Venice, 1629), p. 50, 60, 80

Bach Johann Sebastian Die Kunst der Fuge, BWV 1080, p. 40, 58, 78 Baird Tadeusz Cztery sonety miłosne (Four Love Sonnets), p. 118, 158, 160

Chilcott Bob The Dove and the Olive Leaf, p. 44 The Shepherds Sing, p. 44 Debussy Claude La plus que lente (arr. for piano and cello by Z. Kocsis), p. 54 La terrasse des audiences du clair de lune from the second book of Preludes, p. 54 Del Buono Giovanni Pietro LXXVII: Obligho di dui Zoppi e dui Ciechi sull’Ave Maris Stella from Canoni, obblighi et sonate (Palermo, 1641), p. 50, 60, 80 Sonata VII: Stravagante, e per il cimbalo cromatico from Canoni, obblighi et sonate (Palermo, 1641), p. 50, 60, 80 Dove Jonathan Seek Him that Maketh the Seven Stars, p. 44

Baldwine John 4 Vocum (Ms. British Museum, 1603), p. 50, 60, 80

Dunstable John Puzzle canon (Henry VIII Ms., c. 1510–1520), p. 50, 60, 80

Benevolo Orazio Magnificat for 16 voices, p. 132 Regna Terrae – motet, p. 132 Si Deus pro nobis – mass for 16 parts, p. 132

Ešenvalds Ēriks Northern Lights, p. 44

Besler Samuel Ich bitt o Herr, p. 110 Patris sapientia, p. 110

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Cazzati Maurizio Ti giurai la mia fede from cantata Amor costante from Arie e cantate a voce sola (1649), p. 70, 88

Eyck Jacob van Fantasia & Echo from Der Fluyten Lust-hof (Amsterdam, 1649), p. 50, 60, 80

Frescobaldi Girolamo Canzon Vigesimanona a 8, p. 132 Toccata Ottava from Toccate e partite, libro primo, p. 70, 88 Gabrieli Giovanni Sonata XIII a otto voci from Canzoni e Sonate (Venice, 1615), p. 50, 60, 80 Ghizeghem Hayne van De tous biens plaine (Henry VIII Ms., c. 1510–1520), p. 50, 60, 80 Gombert Nicolas La rose – chanson from Canzon… per sonar (Venice, 1588), p. 50, 60, 80 Hassler Hans Leo Wir glauben all’ an einen Gott, p. 110 Jančevskis Jēkabs Odpływ, p. 44 Kapsperger Giovanni Girolamo Toccata e Passacaglia in A Minor, p. 70, 88 Lange Gregor Benedicat tibi, p. 110 Velum templi, p. 110 MacMillan James The Gallant Weaver, p. 44 Macque Giovanni de Seconde Stravaganze (Ms. British Library, 1617), p. 50, 60, 80 Mahler Gustav Die zwei blauen Augen from Lieder eines fahrenden Gesellen (arr. C. Gottwald), p. 44 Mainerio Giorgio Gagliarda from Primo libro de balli (Venice, 1578), p. 50, 60, 80 Schiarazula marazula, Ungarescha and Saltarello from Primo libro de balli (Venice, 1578), p. 50, 60, 80

Merula Tarquinio La Pedrina – canzona from Canzoni… op. 12 (Venice, 1637), p. 50, 60, 80 Messiaen Olivier Et exspecto resurrectionem mortuorum, p. 82 Quatuor pour la fin du temps, p. 54 Moniuszko Stanisław Phantoms, p. 90 Monteverdi Claudio Cantate Domino – motet, p. 132 Il ritorno d’Ulisse in patria, SV 325, p. 34 Rosa del ciel and Vi ricorda o boschi ombrosi from L’Orfeo, p. 70, 88 Vespro della Beata Vergine, SV 206, p. 62 Mozart Wolfgang Amadeus Adagio and Fugue in C Minor, K. 546, p. 164 Great Mass in C Minor, K. 427 (excerpts), p. 164 La clemenza di Tito, K. 621, p. 164 Mauerische Trauermusik, K. 477, p. 164 Obizzi Domenico Deh consoli il mio tormento, Hor che fatto hà partita, E si grave il tormento, O sospiro amoroso spirto from Madrigali et arie a voce sola, opera seconda (1627), p. 70, 88 Ortiz Diego Recercada (arr. V. Ghielmi), p. 104, 130 Palestrina Giovanni Pierluigi da Beata es, Virgo Maria, p. 132 Pater noster, p. 132 Peccavimus, p. 132 Palestrina Giovanni Pierluigi da / Bassano Giovanni Tota pulchra est, p. 70, 88 Parma Orazio Bassani da „Vergine bella che di sol vestita” alla bastarda, p. 104, 130

Parma Santino Garsi da Corrente, p. 104, 130 La Mutia, p. 104, 130 La ne mente per la gola, p. 104, 130

Schein Johann Hermann Christ lag in Todesbanden, p. 110 Erbarm’ dich mein, o Herre Gott, p. 110 Padouana from Banchetto Musicale, p. 70, 88

Pärt Arvo Stabat Mater for three solo voices and three viols, p. 104, 130

Schütz Heinrich Verleih uns Frieden / Gib unsern Fürsten, p. 110

Prez Josquin des Agnus Dei from Missa Gaudeamus, p. 110 Credo from Missa Gaudeamus, p. 110 De tous biens playne from Harmonice Musices Odhecaton A (Venice, 1501), p. 50, 60, 80 Déploration sur la mort de Jean Ockeghem (c. 1497), p. 50, 60, 80 Miserere, p. 110 Stabat Mater, p. 104, 130 Victimae paschali laudes, p. 110

Storace Bernardo Ciaccona, p. 70, 88

Pstrokońska-Nawratil Grażyna Uru Anna / Light of the Sky, p. 82

Tye Christopher In Nomine ‘Crye’, p. 50, 60, 80

Rigatti Giovanni Antonio Filli mia vita – dialogo a doi from Musiche diverse a voce sola (1641), p. 70, 88 La mia Fillide è brunetta from Musiche diverse a voce sola (1641), p. 70, 88

Venosa Gesualdo da Canzon Francese del Principe (Ms. British Library, 1617), p. 50, 60, 80

Ruffo Vincenzo Dormendo un giorno from Capricci in musica (Mediolan, 1564), p. 50, 60, 80 Sances Giovanni Felice Chi nel regno almo d’Amore from Il quarto libro delle cantate (1636), p. 70, 88 Scarlatti Alessandro San Casimiro, re di Polonia, p. 118, 158, 160 Scheidt Samuel Galliard Battaglia from Ludi Musici (Hamburg, 1621), p. 50, 60, 80

Sykulski Jacek Stoi lód na Prośnie, p. 44 Telemann Georg Philipp Brockes-Passion, TWV 5:1, p. 140, 162 Treece Roger Brief Eternity, p. 44

Viadana Lodovico Grossi da La Napoletana a 8 from Sinfonie musicali (Venice, 1610), p. 50, 60, 80 Walter Johann Christ lag in Todesbanden, p. 110 Erbarm’ dich mein, o Herre Gott, p. 110 Wir glauben all’ an einen Gott, p. 110 Verleih uns Frieden, p. 110 Zanetti Gasparo La Bella Pedrina from Il Scolaro (Milan, 1645), p. 50, 60, 80

243

PUBLISHER

Publisher of the Programme Book The Witold Lutosławski National Forum of Music pl. Wolności 1 50-071 Wrocław Executive Editor Marta Niedźwiecka Assistant Izabela Kłys Programme Book Music Editor Krzysztof Komarnicki Authors of the programme notes Agata Adamczyk Artur Bielecki Tomasz Dobrzański Paweł Gancarczyk Krzysztof Komarnicki Piotr Maculewicz Marcin Majchrowski Michał Mendyk Bożena Muszkalska Anna Ryszka-Komarnicka Barbara Świderska Krzysztof Teodorowicz

Translations Anna Kaspszyk Krzysztof Komarnicki Anna Marks Maciej Słomczyński Irena Wypych Copy-editing Krzysztof Komarnicki Agnieszka Kurpisz Illustrations for the programme book Prof Tomasz Bogusławski Layout DTP Service Miłosz Wiercioch

Printed by Wrocławska Drukarnia Naukowa PAN

The edition was closed on 25 July 2017. Information sent after this deadline was not included in this book. The Organiser reserves the right to make changes to the programme.

ISBN: 978-83-64875-39-7