54th Wratislavia Cantans 2019 | programme book (English) by National Forum of Music, Wrocław, Poland

PRESENTED BY

THE NATIONAL FORUM OF MUSIC IS CO-MANAGED BY

THIS PROJECT IS PART OF THE COMMEMORATION OF THE CENTENNIAL OF THE REGAINING OF INDEPENDENCE AND REBUILDING POLISH STATEHOOD

HONORARY PATRONAGE PROFESSOR PIOTR GLIÅ&#x192;SKI MINISTER OF CULTURE AND NATIONAL HERITAGE FESTIVAL IS A MEMBER OF

FESTIVAL IS HONOURED WITH EFFE LABEL

Festival Calendar

Festival Calendar 6.09.2019 Friday, 7 pm Wrocław, Collegiate Church of the Holy Cross and St Bartholomew (kolegiata Świętego Krzyża i św. Bartłomieja), pl. Kościelny 1

Coptic Hymns Michael Ghattas / Radi Morcos / Coptic Orthodox Church Choir of Sacred Music

s. 30 Programme: Coptic hymns

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

6.09.2019 Friday, 7 pm Szczawno-Zdrój, Henryk Wieniawski Theatre (Teatr Zdrojowy im. Henryka Wieniawskiego), ul. Kościuszki 19 Tickets: N 25 zł / R 15 zł

7.09.2019 Saturday, 5 pm Wrocław, NFM, Red Hall (Sala Czerwona), pl. Wolności 1 Tickets: VIP 70 zł, N 50 zł / R 30 zł

7.09.2019 Saturday, 7 pm Bielawa, Church of the Assumption of the Blessed Virgin Mary (kościół pw. Wniebowzięcia NMP), pl. Wyszyńskiego 1 Free entry

Domenico Scarlatti – Tolomeo e Alessandro Jarosław Thiel / soloists – participants of the 44th Oratorio and Cantata Music Interpretation Course / Wrocław Baroque Orchestra

Programme:

D. Scarlatti Tolomeo e Alessandro – concert version (shortened)

Domenico Scarlatti – Tolomeo e Alessandro Jarosław Thiel / soloists – participants of the 44th Oratorio and Cantata Music Interpretation Course / Wrocław Baroque Orchestra

s. 44

Programme:

D. Scarlatti Tolomeo e Alessandro – concert version (shortened)

Coptic Hymns Michael Ghattas / Radi Morcos / Coptic Orthodox Church Choir of Sacred Music

s. 36

s. 46 Programme: Coptic hymns

In the Shade of the Holy Mount Athos Greek Byzantine Choir

s. 48 Georgios Konstantinou / Greek Byzantine Choir

s. 56

Programme:

Works in honour of the Mother of God – traditional music from the Holy Mount Athos, compositions by the Byzantine master I. Koukouzelis

Israel Philharmonic Orchestra & Zubin Mehta Mahler – Symphony No. 3

Zubin Mehta / Mihoko Fujimura / NFM Choir / NFM Boys’ Choir / Israel Philharmonic Orchestra

Programme:

G. Mahler Symphony No. 3

Pedro Memelsdorff / Mala Punica

Krzeszów, Basilica of the Assumption of the Blessed Virgin Mary (bazylika Wniebowzięcia NMP), pl. Jana Pawła II 1 Tickets: N 10 zł / R 5 zł

7.09.2019 Saturday, 8:30 pm Wrocław, NFM, Main Hall (Sala Główna) pl. Wolności 1 Tickets: VIP 250 zł, I – N 200 zł / R 180 zł, II – N 160 zł / R 140 zł, III – N 110 zł / R 90 zł; VIP Room 100 zł

Beatum incendium Medieval Manuscripts

s. 62

7.09.2019 Saturday, 7 pm

Programme:

J. Ciconia, anonymous works from medieval manuscripts

8.09.2019 Sunday, 4:30 pm Wrocław, Church of St Stanislaus, St Dorothy and St Venceslaus (kościół pw. św. Stanisława, św. Doroty i św. Wacława), pl. Wolności 3 Tickets: VIP 80 zł, N 60 zł / R 40 zł

s. 72

Domenico Scarlatti – Tolomeo e Alessandro

Jarosław Thiel / soloists – participants of the 44th Oratorio and Cantata Music Interpretation Course / Wrocław Baroque Orchestra

Programme:

D. Scarlatti Tolomeo e Alessandro – concert version (shortened)

8.09.2019 Sunday, 5 pm Legnica, Military Academy, Royal Hall (Akademia Rycerska, Sala Królewska), ul. Chojnowska 2 Tickets: N 10 zł / R 5 zł

Festival Calendar 8.09.2019 Sunday, 7:30 pm Bardo, Minor Basilica of the Visitation of the Blessed Virgin Mary (bazylika mniejsza Nawiedzenia NMP), pl. Wolności 5

Coptic Hymns Michael Ghattas / Radi Morcos / Coptic Orthodox Church Choir of Sacred Music

s. 74 Programme: Coptic hymns

Tickets: N 25 zł / R 15 zł

8.09.2019 Sunday, 8 pm Wrocław, Collegiate Church of the Holy Cross and St Bartholomew (kolegiata Świętego Krzyża i św. Bartłomieja), pl. Kościelny 1

In the Shade of the Holy Mount Athos Greek Byzantine Choir Georgios Konstantinou / Greek Byzantine Choir

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

9.09.2019 Monday, 7 pm Wrocław, NFM, Black Hall (Sala Czarna) pl. Wolności 1 Tickets: VIP 50 zł, N 30 zł / R 20 zł

9.09.2019 Monday, 7 pm Bolesławiec, Minor Basilica of the Assumption of the Blessed Virgin Mary and St Nicholas (bazylika mniejsza Wniebowzięcia NMP i św. Mikołaja), ul. Kościelna 3 Free entry

Programme:

Works in honour of the Mother of God – traditional music from the Holy Mount Athos, compositions by the Byzantine master I. Koukouzelis

Fairy Tales. Finding or Losing Our Identity – a MusMA concert Katarzyna Tomala-Jedynak / Jessica Bäcklund / Elin Lannemyr / Love Tronner / David Wijkman / Stina Ekblad

s. 78

Programme:

A. Tarrodi, A. Strootman, L. Decrock, J.-F. Jung, K. Rau

In the Shade of the Holy Mount Athos Greek Byzantine Choir Georgios Konstantinou / Greek Byzantine Choir

s. 76

Programme:

s. 84

Works in honour of the Mother of God – traditional music from the Holy Mount Athos, compositions by the Byzantine master I. Koukouzelis

Coptic Hymns

s. 86 Michael Ghattas / Radi Morcos / Coptic Orthodox Church Choir of Sacred Music

Programme: Coptic hymns

9.09.2019 Monday, 7 pm Oleśnica, Minor Basilica of St John the Apostle and Evangelist (bazylika mniejsza św. Jana Apostoła i Ewangelisty), ul. Zamkowa 1 Free entry

A Mediterranean Mosaic Mozarabic Chant

s. 88 Marcel Pérès / Ensemble Organum

Programme:

Mozarabic chant and Moroccan tradition Samaa

10.09.2019 Tuesday, 7 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

A Mediterranean Mosaic Mozarabic Chant

s. 94 Marcel Pérès / Ensemble Organum

Programme:

Mozarabic chant and Moroccan tradition Samaa

11.09.2019 Wednesday, 7 pm Głogów, Collegiate Church of the Assumption of the Blessed Virgin Mary (kolegiata Wniebowzięcia NMP), pl. Kolegiacki 10 Free entry

s. 96

Alessandro Scarlatti – Rediscovered Works 12.09.2019 Thursday, 7 pm

Paolo Da Col / Odhecaton

Programme:

A. Scarlatti Missa defunctorum; Miserere mei, Deus; Magnificat

Wrocław, University Church of the Blessed Name of Jesus (kościół uniwersytecki pw. Najświętszego Imienia Jezus), pl. Uniwersytecki 1 Tickets: VIP 80 zł, N 60 zł / R 40 zł

Festival Calendar 12.09.2019 Thursday, 7 pm Nowogrodziec, Centre for Culture and Art ‘Muza’ (Centrum Kultury i Sztuki „Muza”) ul. Lubańska 39 Tickets: N 10 zł / R 5 zł

13.09.2019 Friday, 7 pm Wrocław, NFM, Main Hall (Sala Główna) pl. Wolności 1 Tickets: VIP 110 zł, I – N 90 zł / R 75 zł, II – N 70 zł / R 55 zł, III – N 50 zł / R 35 zł; VIP Room 100 zł

13.09.2019 Friday, 7 pm Środa Śląska, Church of the Exaltation of the Holly Cross (kościół pw. Podwyższenia Krzyża Świętego), ul. Tadeusza Kościuszki 51 Free entry

13.09.2019 Friday, 7 pm Syców, Church of the Holy Apostles Peter and Paul (kościół pw. św. św. Apostołów Piotra i Pawła), ul. Wałowa 6 Tickets: N 25 zł / R 15 zł

Songs from the Forests and Fields Traditional Polish Folk Music Feliksa Cierlik / Oliwia Łuszczyńska / Joanna Matusiak / Michalina Mrozik / Zofia Tarasiewicz / Highland-style song theatre ensemble ‘Dunawiec’ from Zbylutów / The ‘Gościszowianie’ ensemble from Gościszów / Lemko ensemble

‘Łastiwoczka’ from Przemków / The ‘Waliszowianie’ ensemble from Nowy Waliszów / Henryk Dumin

Programme:

Traditional Polish folk music

Vivaldi – Juditha triumphans Giovanni Antonini / Il Giardino Armonico / Sonia Prina / Julia Lezhneva / Mary-Ellen Nesi / Raffaella Milanesi / Francesca Ascioti / NFM Choir

A. Vivaldi Juditha triumphans – oratorio, RV 644

s. 120

‘Łastiwoczka’ from Przemków / The ‘Waliszowianie’ ensemble from Nowy Waliszów / Henryk Dumin

Programme:

Traditional Polish folk music

Alessandro Scarlatti – Rediscovered Works Paolo Da Col / Odhecaton

s. 114

Programme:

s. 104

Programme:

s. 122

A. Scarlatti Missa defunctorum; Miserere mei, Deus; Magnificat

s. 124

Songs from the Forests and Fields Traditional Polish Folk Music

Feliksa Cierlik / Oliwia Łuszczyńska / Joanna Matusiak / Michalina Mrozik / Zofia Tarasiewicz / Highland-style song theatre ensemble ‘Dunawiec’ from Zbylutów / The ‘Gościszowianie’ ensemble from Gościszów / Lemko ensemble

s. 126

‘Łastiwoczka’ from Przemków / The ‘Waliszowianie’ ensemble from Nowy Waliszów / Henryk Dumin

Wrocław, NFM, Red Hall (Sala Czerwona) pl. Wolności 1 Tickets: VIP 80 zł, N 60 zł / R 40 zł

Programme:

Traditional Polish folk music

Sud, sud – a Musical Journey from Rome Beyond the Mediterranean Sea

Giovanni Sollima / Michele Pasotti

14.09.2019 Saturday, 5 pm

Programme:

Music of the South – Baroque, Folk and Contemporary

14.09.2019 Saturday, 7:30 pm Krotoszyn, Minor Basilica of St John the Baptist (bazylika mniejsza św. Jana Chrzciciela), ul. Farna 10 Free entry

Inspirations from Venice

s. 130 Andrzej Kosendiak / Wrocław Baroque Ensemble

Programme:

M. Zieleński Offertoria et communiones totius anni (excerpts)

14.09.2019 Saturday, 8 pm Wrocław, University Church of the Blessed Name of Jesus (kościół uniwersytecki pw. Najświętszego Imienia Jezus), pl. Uniwersytecki 1 Tickets: VIP 80 zł, N 60 zł / R 40 zł

s. 136

Sud, sud – a Musical Journey from Rome Beyond the Mediterranean Sea

Giovanni Sollima / Michele Pasotti

Programme:

Music of the South – Baroque, Folk and Contemporary

15.09.2019 Sunday, 4 pm Wrocław, The White Stork Synagogue (Synagoga pod Białym Bocianem), ul. Włodkowica 7 Tickets: VIP 110 zł, N 90 zł / R 70 zł

Festival Calendar 15.09.2019 Sunday, 6:30 pm Strzegom, Minor Basilica of the Holy Apostles Peter and Paul (bazylika mniejsza św. św. Apostołów Piotra i Pawła), ul. Jana Pawła II 10 Free entry

15.09.2019 Sunday, 7 pm Wrocław, NFM, Main Hall (Sala Główna) pl. Wolności 1 Tickets: VIP 250 zŁ, I – N 200 zł / R 180 zł, II – N 160 zł / R 140 zł, III – N 110 zł / R 90 zł; VIP Room 100 zł

Inspirations from Venice Andrzej Kosendiak / Wrocław Baroque Ensemble

s. 138 Programme:

M. Zieleński Offertoria et communiones totius anni (excerpts)

Summertime – Porgy and Bess Wayne Marshall / Derrick Lawrence / Indira Mahajan / Angela Renée Simpson / Ronald Samm / Hertfordshire Chorus / NFM Wrocław Philharmonic

s. 140

Programme:

G. Gershwin Porgy and Bess – concert version (shortened)

ACCOMPANYING EVENTS 14.09.2019, Saturday, 3:30 pm Wrocław, NFM, Black Hall (Sala Czarna) pl. Wolności 1

29.08–8.09.2019 Wrocław 9.09.2019 Wrocław

Introduction to ‘Songs of Forests and Fields. Traditional Polish Folk Music’ concert – lecture of Henryk Dumin Songs of Pre-Time in Modern Expression Free entrance tickets to the lecture can be collected at the NFM Box Office.

44th Oratorio and Cantata Music Interpretation Course p. 42 46th Symposium on Oratorio and Cantata: Music and Performance Practice p. 43

Biographies of artists and ensembles

s. 146

Tickets VIP – VIP tickets N – normal tickets R – reduced tickets I, II, III – price zones VIP Room – VIP Room access tickets Bookings: phone: +48 71 715 97 00, rezerwacje@nfm.wroclaw.pl (Mon–Fri: 9 am–5 pm, Sat: 3 pm–8:30 pm) Box Office: (entrance from pl. Wolności) Working hours: Mon–Fri: 11 am–6 pm (or until the hour of the evening concert; break between 3 pm and 3:30 pm) Sat: 3 pm–8:30 pm (or until the hour of the evening concert) Sun: two hours before the concert For events held outside the NFM, the Box Office is also open one hour before the concert at the concert venue. Tickets online: www.bilety.nfm.wroclaw.pl

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

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

2 3

Concert Places in Wrocław 1

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

The National Forum of Music (Narodowe Forum Muzyki) pl. Wolności 1

Church of St Stanislaus, St Dorothy and St Venceslaus (kościół pw. św. Stanisława, św. Doroty i św. Wacława) pl. Wolności 3

University Church of the Blessed Name of Jesus (kościół uniwersytecki pw. Najświętszego Imienia Jezus) pl. Uniwersytecki 1

The White Stork Synagogue (Synagoga pod Białym Bocianem) ul. Włodkowica 7

Introduction

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.

Andrzej Markowski (1924–1986)

THE FOUNDER AND ARCHITECT OF THE WROCŁAW ORATORIO-CANTATA FESTIVAL WRATISLAVIA CANTANS

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 instruments – für Chor, Sprechstimme und Orchester – pour Grande Orchestre et Choeur. 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.

ANDRZEJ MARKOWSKI

Conductor and composer. 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 at the Trinity College of Music in London (composition with Alec Rowley, 1946–47) and at Warsaw’s State Higher School of Music (composition with Piotr Rytel and Tadeusz Szeligowski, conducting with Witold Rowicki, 1947–55). In 1955–59, he was a conductor at the Silesian Philharmonic in Katowice, and in 1959–64 – Artistic Director and Principal Conductor of Cracow Philharmonic Orchestra. In 1959, he founded a chamber orchestra in Kraków and later organised a concert cycle entitled Musica Antiqua et Nova, as well as the Cracow Spring of Young Musicians festival, where many compositions by Krzysztof Penderecki, Grażyna Bacewicz, and others were premiered. With his Chamber Orchestra ‘Filarmonica di Cracovia’ he toured Italy, Belgium, and the United States. 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 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. From 1970, he held the post of conductor at Groningen Philharmonic and from 1982 – the post of artistic director at Łódź Philharmonic. He greatly contributed to the promotion of Polish music both at home and abroad. He conducted orchestras in Berlin, Milan (La Scala), Amsterdam (Concertgebouw), Brussels (Palais des Beaux-Arts), as well as Paris, Barcelona, Madrid, Cologne, Florence, Leipzig, Dresden, Montreux, Frankfurt, Teheran, Beirut, Melbourne, Moscow, Copenhagen, Oslo, Darmstadt, Buenos Aires, and Mexico. He performed with such world famous artists as Artur Rubinstein, David Oistrakh, Isaac Stern, Maurizio Pollini, Henryk Szeryng, Krystian Zimerman, Stefan Askenase, Julius Katchen, and Vlado Perlemutter. Andrzej Markowski gained recognition and fame as a pioneering interpreter of early music, conducting Polish premieres of such works as Monteverdi’s Vespro della Beata Vergine and Il combattimento di Tancredi e Clorinda, Handel’s Messiah and Judas Maccabaeus, but also Debussy’s Pelléas et Mélisande. He also gained renown as an eminent interpreter of Baroque and contemporary music and promoted this music in Poland and abroad. He repeatedly led concerts at the Biennale di Venezia and the Sagra Musicale Umbra festival in Perugia. He conducted more than 25 concerts of the Warsaw Autumn festival. He was also a member of that Festival’s Repertoire Committee in 1971–81. At the Warsaw Autumn, he presented world and Polish premieres of compositions by Krzysztof Penderecki, Henryk Mikołaj Górecki, Kazimierz Serocki, Tomasz Sikorski, Kazimierz Sikorski, Bolesław Szabelski, Witold Szalonek, Paweł Szymański, György Ligeti, Pierre Boulez, Hans Werner Henze, Charles Ives, Iannis Xenakis, Luigi Nono, and Bruno Maderna. He also won tremendous renown with his music for more than 35 short and feature films, including such Polish classics as Andrzej Wajda’s A Generation, The Ashes and Roly Poly, Jerzy Hoffman’s Colonel Wołodyjowski, as well as experimental films by Andrzej Munk, Walerian Borowczyk, Jan Lenica, and Tadeusz Makarczyński. He inspired Andrzej Wajda’s film The Orchestra Conductor. He also wrote theatre music. In 1965, he received the Minister of Culture and Art Award, 2nd Class, and in 1974 – State 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. 19

Andrzej Kosendiak

GENERAL DIRECTOR INTERNATIONAL FESTIVAL WRATISLAVIA CANTANS NATIONAL FORUM OF MUSIC

photo: Łukasz Rajchert

For Mickiewicz, Moniuszko and many other Polish artists, the synonym of the South was the sunny Italy, with its beautiful landscapes, rich architecture and traces of antiquity. It was a place where Poles were pilgrimaging to get to know the beginnings of European culture. The country became a Mecca for painters – they were attracted by an amazing light that allowed them to rediscover the richness of colours. Italy is also the cradle of modern music. In our Polish minds, history, however, takes place primarily along the parallels: we know perfectly well what the East is and what the West is. On the way from the east to the west and from the west to the east, we always see ourselves as part of Western Europe, although geographically, considering Poland’s borders in the past, for so many centuries of our history we were part of Eastern Europe. All hopes, victories as well as losses and defeats defined this division. But for other countries, relations along the meridians were more important – for the Italians Milan is in the north, the south begins somewhere near Naples and reaches the sands of the Sahara. Let’s try, at least for a moment, to move away from our thinking, from the stereotypes of perceiving our position in the world. This year’s Wratislavia Cantans will be an opportunity to see how many connections our culture has with what is in the south. Thank you, Giovanni Antonini, for taking us on a journey to warm countries and I invite everyone to this great music festival to Wrocław and other towns in Lower Silesia. I wish you great experiences and many bright and warm emotions.

ANDRZEJ KOSENDIAK

Director of the Witold Lutosławski National Forum of Music in Wrocław, conductor, and teacher, one of the most active musicians and promoters of musical life in Poland. He is a graduate of the Department of Composition, Conducting and Theory of Music at the Academy of Music in Wrocław. In 2013, he obtained a postdoctoral degree and is currently working as a professor at his alma mater. In 2005, he became Director of the Wrocław Philharmonic and the International Festival Wratislavia Cantans and effected structural and profile transformation of both institutions, finally merging them into the National Forum of Music. The opening of the new venue of the NFM – which was constructed thanks to his ideas and efforts – was honoured with the Coryphaeus of Polish Music 2016 award in the Event of the Year category. Andrzej Kosendiak is also chairman of the Board of the Society of Polish Philharmonics (for the third term) and vice-chairman of the Council for Artistic Institutions. As Director of the NFM, he created new artistic ensembles, i.a. the NFM Choir, Wrocław Baroque Orchestra, and the NFM Boys’ Choir. He also initiated Leo Festival. In addition, he was one of the co-founders of Muzyka w Mieście monthly, published by the NFM from 2012–2018. Music of the past is of particular interest to Andrzej Kosendiak. In 1985, he founded the ensemble Collegio di Musica Sacra, and in 2013 Wrocław Baroque Ensemble, of which he is artistic director. From 2001–2009, he was the head of the Inter-Departamental Study of Early Music at the Wrocław Academy of Music. He has recorded previously unknown works from Wrocław University Library and Strasbourg Library, works of Grzegorz Gerwazy Gorczycki (awarded Wrocław Music Prize), Bartłomiej Pękiel and Marcin Mielczewski; most of these recordings were nominated for the Fryderyk award, and Mielczewski II won Fryderyk 2019 (Album of the Year – Early Music). The near future will see more albums with Polish early music being released, i.a. with compositions by Stanisław Sylwester Szarzyński and Mikołaj Zieleński. Andrzej Kosendiak regularly conducts the NFM Wrocław Philharmonic, NFM Choir, Wrocław Baroque Orchestra, Wrocław Baroque Ensemble, and philharmonic orchestras across Poland and around the world. He has performed in many countries in Europe, the USA (including a collaboration with University of North Carolina, Chapel Hill), and China. He is extremely active in the field of education. He initiated educational projects: Singing Wrocław, Singing Poland, international meetings of choirs Singing Europe, and thanks to his support or initiative the following have been created at the NFM: the National Polish Youth Choir, Choral Academy, Early Music Academies combining master classes with concerts, NFM Orchestra Academy preparing musicians to work in professional ensembles, as well as the NFM Education Centre. He is the father of the Musica polonica rediviva programme, whose premise is to encourage performances of Polish music by young artists around the world with the support of conservatories and festivals (so far collaborations with the Royal Conservatoire in The Hague, Conservatorio di Musica Luca Marenzio in Brescia and Conservatorio Superior de Música de Aragón in Zaragoza). Andrzej Kosendiak has also initiated the recording series 1000 Years of Music in Wrocław and Witold Lutosławski. Opera omnia. Thanks to his efforts, a joint phonographic project by Paul McCreesh and the NFM Choir is being carried out, including recordings of great oratorio works; hitherto released albums have twice won the BBC Music Magazine Award, Diapason d’Or, and the Editor’s Choice of Gramophone magazine. In 2018, a record of Moniuszko’s Phantoms was released under the direction of Andrzej Kosendiak – recorded by eminent singers, actors, the NFM Choir, and Wrocław Baroque Orchestra; this CD won the Fryderyk 2019 award in the category Album of the Year – Choral Music, Oratorio and Opera. Andrzej Kosendiak has many awards and distinctions to his credit, among others the Award of the President of Wrocław (2016), Lower Silesian Key of Success in the category ‘The greatest personality in the promotion of the region’ (2016), awards of Radio Wrocław Kultura – Emotions in the categories Personality of the Cultural Season (2017) and Classical Music (2018), Austrian Honorary Cross of 1st Class for Merit in Science and Art (2018), Diamond of Wrocław (2018), and Honorary Badge of Merit for the Lower Silesian Voivodship (2018).

Everyone has their own vision of the South. For the inhabitants of Wrocław, this idea may embody my native Italy, meanwhile, living in Milan every day, I feel more like a resident of the North and think of further regions of Italy as the South. Certainly this is the direction that attracts us, in the biographies of many artists we find noteworthy memories of the journey to the south. Goethe, when he reached Sicily, is believed to have said that he found the source of everything. We have also created a well-established myth of the South, an ideal place in which dolce vita prevails. This year’s Wratislavia Cantans turns to the South, looks at the inspirations constantly coming from there, observes the cross-over of traditions, and looks for sources of our contemporary culture in this region.

Giovanni Antonini

ARTISTIC DIRECTOR INTERNATIONAL FESTIVAL WRATISLAVIA CANTANS photo: Kemal Mehmet Girgin

During the festival, we will see how many different religious rites of Christianity formed in the south. The Wratislavia will be inaugurated by the vocal music of the Coptic Church originating from Egypt, and thus outside of Europe – even further to the south. Two days later we will listen to the Byzantine chorale of the Orthodox Church from the south of Europe – Greece. Marcel Pérès with Ensemble Organum and Moroccan artist will present Mozarabic singing in the Catholic Church on the Iberian Peninsula during the Moorish era – when the South somehow entered Europe. So we have a lot of vocal concerts fitting in with the tradition of Wratislavia, showing how European culture has been shaped through the meetings of various religious and ethnic groups. A concert with typically southern, African elements will be the programme presented by Giovanni Sollima, specially prepared for the Wrocław festival. Sollima, fascinated by folklore, and especially by the rhythm in ethnic music, will in his concert alternate works by composers associated with Naples, and thus the south of Italy, with indigenous music from Africa.

Naturally, the question arises about the music from the other extreme, from the North – the answer is the ‘Fairy Tales’ programme also referring to folk culture manifesting itself in fairy tales: we will listen mainly to Dutch and Scandinavian works. I am very interested in a programme with Polish folklore (‘Songs from the Forests and Fields’). Folk music around the world had a major impact on the development of classical art in the 19th century, and today we observe a return to ‘music of our ancestors’ which may be related to our own time of redefining the identity of Europeans. The South at the festival is of course also present in concerts with Italian music. With Il Giardino Armonico and soloists, I will present the Antonio Vivaldi’s Juditha triumphans previously performed on Wratislavia in the 1970s that is several decades ago. The form of the work best suits the festival devoted especially to oratorio and cantata music, and Vivaldi’s very valuable sacred music still needs propagation. We will hear two generations of the Scarlattis, a family connected with the city of Naples, which was in the 18th century the centre of avant-garde in music. Odhecaton of Paolo da Col will perform with the accompaniment of basso continuo the recently discovered and still lesser-known sacred works of Alessandro Scarlatti, their quality being comparable to Bach’s compositions. Domenico, son of Alessandro, is associated with keyboard music present in the repertoire of the majority of great pianists. During Wratislavia, we will get acquainted with Tolomeo e Alessandro opera rediscovered in the 21st century. One of the best Italian ensembles specialising in medieval music, Mala Punica under the direction of Pedro Memelsdorff, will present works from historical manuscripts: anonymous works and pieces by Johannes Ciconia, a Flemish composer, who moved to Italy to develop his career – many other artists did the same later. Mikołaj Zieleński was a composer who found inspiration in novelties appearing in Italian art, among others polychoral music. His work is an example of the continuous flow of ideas between the south and the north of Europe and the openness of Poland to inspiring influences from outside. This year’s Wratislavia shows how elements of different cultures or religious rituals have mixed in music. Already on the second day of the festival, we will hear a spectacular work involving vast performance forces – Gustav Mahler’s Symphony No. 3. The concert will be a tribute to the great conductor Zubin Mehta, who will be standing on the conductor’s podium in Wrocław a month before his planned retirement – it will be one of his last concerts as Music Director of the Israel Philharmonic Orchestra. The musicians will perform together with the NFM Boys’ Choir and NFM Choir – the collaboration of guest artists with Wrocław artists has been an important part of Wratislavia Cantans for many years. The festival will end with one of the greatest operas of the 20th century, Porgy and Bess by George Gershwin, a work that arouses controversy and is certainly still very important, combining the classical form with jazz, spirituals and folklore. The first Afro-American opera tackles the subject of the influence of the South – the African continent – on today’s North America. I am happy that Wayne Marshall, Principal Conductor of the WDR Funkhausorchester Köln, a specialist in jazz and American music, will be at the festival. He is the author of the concert version of this opera, prepared in consultation with the Gershwin Foundation.

GIOVANNI ANTONINI

Born in Milan, Giovanni Antonini studied at the Civica Scuola di Musica and at the Centre de Musique Ancienne in Geneva. He is a founder member of the Baroque ensemble Il Giardino Armonico, which he has led since 1989. With this ensemble, he has appeared as conductor and soloist on the recorder and Baroque transverse flute in Europe, the United States, Canada, South America, Australia, Japan, and Malaysia. He is Artistic Director of the Wratislavia Cantans International Festival in Poland and Principal Guest Conductor of the Mozarteum orchester Salzburg and Kammerorchester Basel. He has performed with many prestigious artists including Cecilia Bartoli, Kristian Bezuidenhout, Giuliano Carmignola, Isabelle Faust, Sol Gabetta, Sumi Jo, Viktoria Mullova, Katia and Marielle Labèque, Emmanuel Pahud, and Giovanni Sollima. Renowned for his refined and innovative interpretation of the Classic and Baroque repertoire, Antonini is also a regular guest with the Berliner Philharmoniker, Royal Concertgebouw Orchestra, Tonhalle-Orchester Zürich, Gewandhausorchester Leipzig, London Symphony Orchestra, and Chicago Symphony Orchestra. His opera productions have included Mozart’s Le nozze di Figaro and Handel’s Alcina at Teatro alla Scala in Milano and Opernhaus Zürich, Handel’s Giulio Cesare and Bellini’s Norma with Cecilia Bartoli at the Salzburg Festival. In 2018, he returned to Opernhaus Zürich for Mozart’s Idomeneo. In the 2018/19 season, performances include debuts with the Yomiuri Nippon Symphony Orchestra (soloists Viktoria Mullova & Avi Avital) and Czech Philharmonic, return visits to Kammerorchester Basel for concert performances of Beethoven’s Fidelio and Mozart’s Don Giovanni, Orchestra of the Age of Enlightenment for Mozart’s symphonies and Gluck & Mozart arias with Magdalena Kožená, as well as Handel’s Orlando at Theater an der Wien. With Il Giardino Armonico, Antonini has recorded numerous CDs of instrumental works by Vivaldi as part of his wider recorded repertoire of 17th and 18th century Italian composers, J. S. Bach (Brandenburg Concertos), as well as Biber and Locke for Teldec. With Naïve he recorded Vivaldi’s opera Ottone in villa, and in the recent years he has been recording with Il Giardino Armonico for Decca, including Alleluia with Julia Lezhneva. With the Kammer orchester Basel he has recorded Beethoven’s symphonies and most recently a disc of flute concertos with Emmanuel Pahud entitled Revolution. In 2013, he conducted a recording of Bellini’s Norma for Decca in collaboration with Orchestra La Scintilla. Giovanni Antonini is Artistic Director of the ‘Haydn2032’ project, created to realise a vision to record and perform with Il Giardino Armonico and Kammerochester Basel, the complete symphonies of Joseph Haydn by the 300th anniversary of the composer’s birth. Volumes 1-6 have been released on the Alpha Classics label with two further volumes planned for release each year in the future.

Ladies and Gentlemen, The 54th International Festival Wratislavia Cantans is a celebration of music that throughout its history has gained international recognition and held an important place on the world map of music festivals. It is with deep satisfaction that I observe it incessant development, bringing the art at the highest performance level to classical music lovers. This is made possible by contracting excellent artists across Poland and from abroad. Thanks to this year’s edition, whose motto is ‘South’, the listeners will have a unique opportunity to experience music inspired by this part of the world. Alongside pieces bringing to us the ethnic sounds of Africa, works by composers seeking inspiration in the cultural heritage of Italy have been programmed. A special event will be the performance of Tolomeo e Alessandro by the Baroque master Domenico Scarlatti, whose complete score was found only twelve years ago. The concert of the Israel Philharmonic Orchestra under the baton of Maestro Zubin Mehta is also a promise of fascinating impressions. I extend my thanks to the organisers and artists participating in the 54th International Festival Wratislavia Cantans. I wish you endless passion in your further artistic research. My wishes of a truly intellectual feast while experiencing the artistry of music go to all the music lovers.

Professor Piotr Gliński

DEPUTY PRIME MINISTER MINISTER OF CULTURE AND NATIONAL HERITAGE photo: Danuta Matloch

Yours faithfully, Professor Piotr Gliński Deputy Prime Minister Minister of Culture and National Heritage

Ladies and Gentlemen, I warmly welcome you to Wrocław and the Andrzej Markowski International Festival Wratislavia Cantans! We are opening the 54th edition of Wratislavia Cantans, one of the most important and, in my opinion, greatest festivals of classical music in Europe. I am happy that our city is once again hosting world-class artists as well as exceptional audiences for whom music is an indispensable part of life. This year, Giovanni Antonini, Artistic Director of the Festival, will take us on a wonderful, magical journey to the South close to us, Europeans, and more distant, exemplified by the concert with music of the Coptic Church, opening the festival this year. During this feast, there will be quite a few Polish themes and elements of Northern music, like in the concert ‘Fairy Tales. Finding or Losing our Identity’. I am convinced that Wratislavia Cantans, which has a long tradition of high artistic value, excellent organisation and sophisticated repertoire, will again meet the high expectations of music lovers. I wish you many wonderful moments and unforgettable emotions, also those evoked by our beautiful city.

Jacek Sutryk Mayor of Wrocław

Jacek Sutryk MAYOR OF WROCŁAW photo: Filip Basara

Ladies and Gentlemen,

Cezary Przybylski

MARSHAL OF THE LOWER SILESIA VOIVODSHIP photo: UMWD

Ahead of us is the 54th edition of the International Festival Wratislavia Cantans. This event has become a symbol of WrocĹ&#x201A;aw and Lower Silesia and for many years has enjoyed unflagging recognition among music lovers from around the world. This year, once again, its programme has been prepared by Giovanni Antonini, Artistic Director of the festival, with great diligence. In it he reaches for the sources of European culture, and he seeks them in the south of the continent in the oldest Christian musical accounts. A great musical feast is awaiting the participants, as well as a journey through history and various musical styles. It will be initiated by mysterious Coptic hymns and Byzantine sacred music, and listeners will experience the fascinating intermingling of cultures and religious rites. Later in the festival there will be works inspired by fairy tales and old sagas and legends, there will also be works originating from folklore and folk inspirations. The announced repertoire arouses joy and awakens admiration for the richness of the programme. As every year, the festival offers the listeners opportunities to interact with world-class artists seeking answers to the universal questions and dilemmas that are common to all people, societies and nations. The festival symbolises the importance of our region, and is the best example of the ambitions and possibilities of the Lower Silesians. I am sure that this momentous event, like each year, will bring us all a lot of unforgettable experiences and let us succumb to deep, spiritual raptures. This is what I would like to wish to all participants of the 54th International Festival Wratislavia Cantans. I cordially thank the organisers and wish them further successes.

Cezary Przybylski Marshal of the Lower Silesia Voivodship

Ladies and Gentlemen,

Paweł Hreniak

LOWER SILESIAN VOIVODE photo: Tomasz Gola

Music as speech – referring to the title of the great book by Nikolaus Harnoncourt, I would like to welcome you to the 54th Andrzej Markowski International Festival Wratislavia Cantans. The splendour of this musical feast, which for over half a century has attracted the attention of music lovers and performers from around the world, has become a recognised brand that evokes unique emotions. The thematic perspective of the Festival creates not only an interesting line-up, but also opens various opportunities for musical travel through history, narratives and cultures. Harnoncourt, talking about early music and ways of performing it, refers especially to Baroque music, while this year’s Wratislavia Cantans takes us into even more distant and fascinating times. Focusing on the concept of the South, it presents the traditions and inspirations flowing from this direction. We will hear the performance of the hymns of the Coptic Church, the traditional music from the Holy Mount of Athos and the work of the Byzantine master Ioannis Koukouzelis, in addition to Mozarabic chant featuring Moroccan singer. I am sure that a meeting with songs seemingly so far away from us will prove how much and in what ways music can be understood. If we are in the South, of course, we cannot miss the Italian oeuvre represented, among others, by the work of the universally adored composer Antonio Vivaldi. In this case, the magnificence and sophisticated aesthetics of Baroque had a worthy master. I would like to take this opportunity to draw your attention to the performance of Gustav Mahler’s Symphony No. 3 by the Israel Philharmonic Orchestra under the baton of Zubin Mehta, because it will be one of the last concerts in which Maestro will conduct the orchestra. Participation in this event will be a thanks to this artist of world renown. Appreciating the contribution of the Wratislavia Cantans Festival to the promotion of music education of the best quality, I want to underline its achievements of over fifty years. It is not easy to attract the attention of experienced music lovers, but it is even more difficult to constantly expand the audience – listeners who often just start their adventure with music by participating in the Wrocław festival. That is why Mr Andrzej Kosendiak, Director of the National Forum of Music, and Maestro Giovanni Antonini, Artistic Director of Wratislavia Cantans, deserve special acknowledgements and congratulations.

Paweł Hreniak Lower Silesian Voivode 27

Programme notes

6.09.2019, Friday, 7 pm

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

Coptic Hymns Performers: Michael Ghattas – conductor Radi Morcos – cantor Coptic Orthodox Church Choir of Sacred Music

Programme: I. Hymn of Peace ` Pouro ` nte (chanted during the entrance procession of weddings; when receiving the patriarch or bishops; during the Offering of the Holy Bred on the Liturgies of the Feasts of Jesus Christ) II. Hymn * (chanted for the procession of the Holy Bred and before Psalm 108:24-25) III. Hymn Apetj/k ` ebol (chanted before the reading of the Catholic Epistle)

IV. Hymn <ere ne Maria (chanted as response during the reading of the Acts of the Apostles) V. Glorification hymns for Saint Mary Hymn Rase ne ` w ]yèotokoc

Hymn Deute pent/c ` ilài ton ar,iaggeli

VI. Hymn Hwc ` erof ` arihou` o (chanted at the hymns of midnight for the Three Holy Children) VII. Hymn of the Holy Week Ke ` upertou (chanted each hour during the Holy Week before readings of the New Testament) VIII. Hymn Golgoya (chanted at the end of the Twelfth Hour of Good Friday) IX. Hymn <rictoc ` anect/ in Greek (chanted during the procession on the Feast of the Ascension) X. Hymn of the Holy Spirit’s Descent Pìpneuma (chanted before the reading of the Gospel on the day of the Feast of Pentecost) XI. Hymn ` Acwmen tw Kuriw (chanted during the Holy Communion on the Feast of the Holy Spirit and during the Feast of Apostles)

We would like to thank Robert Pożarski for his expert consultation.

Time 75'

Programme note

MICHAEL GHATTAS

In the Coptic language there is no single word to describe the act of singing. The definition of ‘Hos’ is both ‘to praise’, ‘to extol’ as well as ‘to sing’. On the other hand the word ‘Go’ can be translated as ‘to speak’, ‘to recite’, ‘to express oneself’’ and also ‘to sing’, whereas ‘r.tore’ includes such meanings as ‘to strike’, ‘to stomp’, ‘to beat rhythm’ as well as ‘to sing’.

Practically every word in the Coptic liturgy is sung. As in every plainchant, word accent determines the metre – both in melody’s rhythm and in distribution of musical accents. The grade of a particular ceremony during which sacred texts are sung affects the tempo, namely the speed of speaking the words. Pitch however, depends on the personality of the cantor and has no prescribed value. Specific types of texts, such as biblical texts, prayers and hymns are performed in specific, differing ways. Biblical texts and prayers are chanted by the priest. A priest celebrating a religious service sings various melodic formulae in an arbitrary chosen rhythm and embellishes them in an improvisatory manner. As a rule the deacon’s short recitations are syllabic in character with a few melismata and a closing cadenza. During Holy Week and Christmastide the singing is decidedly more celebratory. Hymns can be performed in various ways: 1) by soloist only; 2) in the manner of a responsory – the cantor sings the whole hymn but at certain moments is interrupted by the choir or congregation who intone a brief Alleluia or Amen; 3) in the form of antiphonal singing, i.e. where two choirs or cantor and choir sing alternating verses or sections of two verses. In Coptic music it is necessary to distinguish the following types of singing: 1) recitation singing – close to a declamation; 2) syllabic singing – one or maximum two notes for each syllable of the text; 3) melismatic singing – long embellished phrases (melismata) are performed to one syllable of the text. Of all the musical embellishments such as trills, vibratos, turns and melismata particularly noteworthy is the typical Coptic ornament named vocalise. Coptic music – its types of melodies, tropes and scope of improvisation – has not yet been studied theoretically. When describing melody types, it is often customary to reach for the Arabic word ‘Iahn’ (Arabic for melody, tone) or the Greek word ‘ἦχος’ (tone). Coptic manuscripts as well as printed liturgical volumes contain many instances of numerous musical terms (termini technici) borrowed from Byzantium. 32

In ancient manuscripts we can find divisions into melody types. The French musicologist Guillaume Andre Villoteau (1826) mentions ten. However, the work of Abu Ishaq Al-Muthana Ibn al-Asala dated 1260, enumerates as many as 16 psalm tones. One of the oldest known texts that deals with the question of singing during rituals and religious services, is the work of Coptic theologian and theorist, Abul Barakat (14th century), entitled La lampe des Tenebres et l’exposition du service; the author combines characteristic terms of Byzantine chant with symbolic Coptic conceptualisation. 1. The first and fifth tones generate serenity. Hence the first appears in liturgy on celebrations filled with joy, particularly on days marking the nativity or resurrection of Jesus Christ; the fifth resounds on Ascension Day. The expression of these tones is ‘hot and humid’. 2. The second and sixth tones express humility and modesty, hence are heard during Holy Week and periods of atonement: ‘cold and humid’ are their assigned characteristics. 3. The third and seventh tones express sadness and are used during funeral processions, burials and prayers for the dead; they are defined as ‘hot and dry’. 4. The fourth and eighth tones are of a motivating and uplifting character. They accompany remembrances of martyrdom, defined as ‘cold and dry’. The Copts recognise eight tones, drawing on terminology from the Arabic language: 1. Adam tone; 2. Vatos tone; 3. Singari tone (also called solemn) so named after an ancient Egyptian city; 4. Kiahki tone (also called Advent tone); 5. Adribi tone expressing sadness; 6. Siami tone (also called Lent tone); 7. Hazayni tone (painful, penitential); 8. Eistasima tone (Anastasimon). The first two are heard predominantly in psalmody. The Adam tone resounds at dawn, the Vatos tone – at dusk. The cited terms, which can be found in old liturgical manuscripts, are used to this day in the Coptic Church, moreover their meaning not having changed since antiquity.

Biographies of artists and ensembles are provided in an alphabetical order on pages 146-181. 33

Texts I. Hymn of Peace ` Pouro ` nte (chanted during the entrance procession of weddings; when receiving the patriarch or bishops; during the Offering of the Holy Bred on the Liturgies of the Feasts of Jesus Christ)

IV. Hymn <ere ne Maria (chanted as response during the reading of the Acts of the Apostles)

` Pouro ` nte ]hir/n/ { moi nan ` ntekhirin/ { cemni nan ` ntekhir/n/ { <a nennobi nan ` ebol\

V. Glorification hymns for Saint Mary

Jwr ` ebol ` nnijaji { ` nte ]ek` kl/cia { ` aricobt ` eroc { ` nneckim sa ` eneh\ Emmanou/l Pennou] { qen tenm/] ]nou { qen ` p` wou ` nte Pefiwt { nem Pìpneuma eyouab\ ` Ntef` cmou ` eron t/ren { ` nteftoubo ` nnenh/t { ` nteftal;o ` nniswni { ` nte nen.u,/ nem nencwma\

Hymn

Rase ne ` w ]yèotokoc

Rase ne ` w ]yèotokoc { Maria ` ymau ` nI7 P8\ Rase ne ` w tseri ` nCiwn { yel/l ` mmau ` ymau ` m`pouro\ Yel/l ` m` Vnou] ` mpenbo/yoc { ]laloi ` m`Vnou] ` nIakwb\ ` Fnayel/l ` nje Iakwb { ` fnaounof ` nje pIcra/l\

Tenouwst ` mmok ` w P8 { nem Pekiwt ` n` agayoc { nem Pìpneuma eyouab { je ak` i akcw] ` mmon nai nan\

Cena yel/l sa nìeneh { ` nceouonh ` nouhelpic\

II. Hymn * (chanted for the procession of the Holy Bred (Lamb) and before Psalm 108:24-25)

Apah/t ` eou` frana { eybe palac qen ouyel/l\

* { vai pe pìehoou ` eta ` P;oic yamiof { marenyel/l ` ntenounof ` mmon ` nq/tf { ` w ` ` P;oic ek` enahmen { ` w ` P;oic ek` ecouten nenmwit { ` f` cmarwout ` nje v/eyn/ou { qen ` vran ` m` P;oic { *

Hymn

III. Hymn Apetj/k ` ebol (chanted before the reading of the Catholic Epistle) Apetj/k ` ebol { ` nje pìcmou tou logou ` viwt ` i af;icarx hwc rwmi ` ntelioc\ Doxa patri ke ` Uiw ke agiw ` Pneumati\ Apetqelqwlf nau ` erof { apetqelqwlf sop nemwten { apetqelqwlf asf hijen pìctauroc\ Ke nun ke ` ài ke ic touc ` èwnac twn ` èwnwn { ` am/n\ 34

<ere ne Maria { ]` ;rompi eynecwc { y/` etacmici nan { ` m` Vnou] pilogoc\

Vayel/l cwtten ` elol { hiten noten ` mperkotten\ Yaforman hormona { nem nayel/l hàmpekran\

Deute pent/c ` ilài ton ar,iaggeli Deute pent/c ` ilài ton ar,iaggeli {` mmon an ` napenpomen { ,ere Maria ke ,aritoumen/ { o kurioc meta cou\ Amwini ` nnilaoc t/rou { ` ntennau apiar,iaggeloc efjw ` mmoc { je ,ere Maria { arejimi gar ` nou` hmot { ouoh ` P;oic sop neme\ <ere yeotoke { ton ,wron ton kocmon { ton logon to petro { ,ere Maria ke ,aritomen/ { o kurioc meta cou\ <ere yeotoke { ton kocmon ton ,wron { ton logon to petro { ,ere ` tselet ,ere ` tcabe { ke,aritomen/ { o kurioc meta cou\

<ere yeotoke { ton ` pneuma ke ` upomen/ { t/c pinepa nem n/yeb miyare nem veuye { yeodoxacye ke ologoc { carkoki dinamic { yin ouranon { aggelon etaki { tecin tecina { pen` tropic ` vranaya { apot/c ` ila { ton ar,iaggeli { alyinna bapticma { ton ar,iaggeli { rase Maria { ke ,aritomen/ { o kurioc meta cou\

VI. Hymn Hwc ` erof ` arihou` o (chanted at the hymns of midnight for the Three Holy Children) Hwc ` erof ` arihou` o ;acf sa nìeneh\

VII. Hymn of the Holy Week Ke ` upertou (chanted each hour during the Holy Week before readings of the New Testament) Ke ` upertou kataxiwy/ne ` /mac { t/c akro ` acewc tou ` agiou euaggeliou { kurion ke ton yeon ` /mwn { ` ikateucwmen covia oryi ` akoucwmen tou ` agiou euaggeliou\

VIII. Hymn Golgoya (chanted at the end of the Twelfth Hour of Good Friday) Golgoya ` mmethebreoc { pìkranion ` mmetoueinin { pima etauask ` P;oic ` nq/tf { akvwrs ` nnekjij ` ebol { au` isi nemak ` nkeconi ` cnau { catekouinam nem catekja ;/ { ` nyok ek,/ qen toum/] { ` w picwt/r ` n` agayoc\ Doxa patri ke ` Uiw ke agiw ` Pneumati\ Afws ` ebol ` nje piconi { etcaouinam efjw ` mmoc { je ` aripameu` i ` w Pa;oic { ` aripameu` i ` w Pacwt/r { ` aripameu` i ` w Paouro { aksan` i qen tekmetouro { af` erouw naf ` nje ` P;oic { qen ou` cm/ ` mmetremraus { je ` mvoou ek` eswpi nem/i { ` n` hr/i qen tametouro\ Ke nun ke ` ai ke ic touc { ` èwnac twn ` èwnwn ` am/n\

IX. Hymn <rictoc ` anect/ (chanted during the procession on the Feast of the Ascension) <rictoc ` anect/ eknekrwn { yanatw yanaton pat/ cac { ke tic en tic ` mn/maci { zw/n ,aricamenoc\ Doxa patri ke ` Uiw ke agiw ` Pneumati { ke nun ke ` ài ke ic touc ` èwnac twn ` èwnwn { ` am/n\

X. Hymn of the Holy Spirit’s Descent Pìpneuma (chanted before the reading of the Gospel on the day of the Feast of Pentecost) Pìpneuma ` mparakl/ton { v/` etaf` i ` ejen nìapoctoloc { qen ` psai ` n]pent/koct/ { aucaji qen hanm/s ` nlac\ Acswpi ` etaujwk ` ebol { ` nje nìehoou ` nte ]pentkoct/ { nauyou/t t/rou hìoma { ` nje pim/t ` cnau ` n` apoctoloc.\ Pìpneuma ` mparakl/ton { etaf` i ` epec/t ` ebolqen ` tve { afvwrs ` ejen ` vouai ` vouai { aucaji qen hanm/s ` nlac\

XI. Hymn ` Acwmen tw Kuriw (chanted during the Holy Communion on the Feast of the Holy Spirit and during the Feast of Apostles) ` Acwmen tw Kuriw { endoxwc gar dedoxacye{ ` Anelywn ic ouranoc { axiton parakl/ton { to ` Pneuma t/c ` al/yiac { ` am/n *\ Marenhwc ` è P;oic { je qen ou` wou gar af;ìwou{ Afsenaf ` èpswi ` enivhoui { afouwrp nan ` mpiparakl/ton { Pìpneuma ` nte ]meym/i { ` am/n *\ Touc dèo ` kticac ic ` ena { ton ouranon ke t/n g/n{ ` Anelywn ic ouranoc { axiton parakl/ton { to ` Pneuma t/c ` al/yiac { ` am/n *\ Pentafer pìcnau ` nouai { ` ` ete vai pe ` tve nem ` pkahi{ Afsenaf ` èpswi ` enivhoui { afouwrp nan ` mpiparakl/ ton { Pìpneuma ` nte ]meym/i { ` am/n *\

6.09.2019, Friday, 7 pm

Szczawno-Zdrój, Henryk Wieniawski Theatre (Teatr Zdrojowy im. Henryka Wieniawskiego), ul. Kościuszki 19

Domenico Scarlatti – Tolomeo e Alessandro Performers:

Programme:

Jarosław Thiel – conductor

Domenico Scarlatti (1685–1757) Tolomeo e Alessandro – concert version (shortened)

Soloists – participants of the 44th Oratorio and Cantata Music Interpretation Course Wrocław Baroque Orchestra

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

Time 150'

The concert has a 20-minute intermission.

Programme note

ANETA MARKUSZEWSKA

Following the death of John III and a failed attempt by the Sobieski dynasty to retain the crown, Maria Casimira decided to leave the Polish-Lithuanian Commonwealth and make her way to Rome. She arrived in the Eternal City in March 1699, after a journey lasting almost half a year. The official reason for her arrival in the city was the jubilee year 1700, celebrated in the capital of Christianity with great pomp. In the end the Widow-Queen remained in Rome for fifteen years.

Maria Casimira soon became known as an esteemed patron of music. Her residence in the Palazzo Zuccari in Trinità de’ Monti (next to the Spanish Steps, which did not yet exist) was a venue for renditions of commemorative cantatas and serenatas celebrating the memory of her distinguished husband, as well as performances of improvised comedies and dance. In 1709 Maria Casimira Sobieski organised in her palace a private opera theatre, where operas to librettos by Carlo Sigismondo Capece with music by the young Domenico Scarlatti were staged until 1714. One of the works presented at the time was the dramma per musica Tolomeo e Alessandro, ovvero la corona disprezzata by Capece-Scarlatti. The opera had its premiere on 17th January 1711. About the performance an anonymous chronicler wrote: ‘On Monday evening in her residence on Trinità de’ Monti, the Queen of Poland opened performances of an opera featuring female singers and good musicians [instrumentalists] which was generally acknowledged as superior to others.’ In a letter to her eldest son Jakub Sobieski, who was staying in Oława, Maria Casimira related that: ‘the whole work was composed in three weeks . . . and is considered to have been prepared with extremely good taste.’ It must be said that Tolomeo e Alessandro had serious competition of the operas presented that year during the carnival in palaces of the Eternal City’s most powerful patrons – Cardinal Pietro Ottoboni and Prince Francesco Maria Ruspoli, as well as of the Teatro Capranica, at the time the only public theatre of Rome. Reigning over the mentioned stages were the works of Filippo Amadei and Antonio Caldara. After its carnival presentation, the opera was again performed during the summer in a roofed theatre built outside the Queen’s palace, probably in the gardens of the residence. About the event one of the Eternal City’s most important intellectuals, Giovanni Maria Crescimbeni, wrote: ‘The theatre was most beautiful, proportional and ideally suited to the occasion: pleasant voices, interesting action, superb costumes based on an excellent project, magnificent music, outstanding orchestra and most of all a poetic composition worthy of respect; hence everyone acknowledged this entertainment as worthy of a Queen’s hand that initiated it.’

Noticeable in the libretto are references to events which took place in Poland following the death of John III and the imprisonment in Saxon castles of princes Jakub and Konstanty Sobieski by the armies of Augustus II. In fact, after the abdication of Augustus II, the King of Sweden Charles XII supported the candidature of Prince Aleksander to the Polish throne, but Aleksander – to the dismay of the Swedes and his compatriots favourably disposed towards the Sobieski family – declined. He explained this decision as concern for the lives of his brothers, in the light of public threats made by Augustus II to eliminate the imprisoned Sobieskis should he accept the throne. He allegedly replied that he had no intention of ‘ascending the throne over the corpses of [his] brothers and wear purple robes stained with their blood’. In his determination he could not be swayed even by his mother’s letters sent from Rome. The noble motives of Aleksander Sobieski are emphatically highlighted in operatic Alessandro’s monologue addressed to his beloved Elisa (Act II, scene 9): Alessandro does not wish for a royal robe stained with the colour of brotherly blood. Purple dyed by way of blood is the purple of shame rather than honour.

The opera, quite typically, consists of three acts preceded by a tripartite overture. On the basis of the score we can deduce that Scarlatti had at his disposal instrumentalists playing on oboe, flute (traverse), violin, viola and among those performing the basso continuo part: harpsichord, lute, cello and double bass. Apart from single instances, we do not know the names of the orchestra members. It is reasonable to suppose that Domenico Scarlatti led the ensemble from the harpsichord with the continuo part played on lute by the instrument’s virtuoso Silvius Leopold Weiss, who had come to Rome from Silesia with Prince Aleksander Sobieski’s retinue. Most of the arias are in da capo form, the singers being accompanied by a string orchestra, occasionally with solo-treated wind instruments, and only four arias by basso continuo. This element of orchestration places Domenico’s work in a transitional period between operas composed within 17th-century traditions and works of the 18th century. In Domenico Scarlatti’s operas, vocal virtuosity is subordinated to the word and represents an excellent example of musical rhetoric (an element that links Domenico with the approach of his father Alessandro Scarlatti). In the arias even the longest and most complicated coloraturas are generally there to embellish key words or vitally important lines. Another noticeable element of Domenico Scarlatti’s style is a willingness to suspend the continuity of the melodic line with pauses or short, often singlebar, instrumental interpolations. In his arias this occurs more frequently than in the music of his father, who preferred a continuous presentation of the text. Such measures may have been dictated by Capece’s poetry, which contains questions and passages of a more contemplative nature. In order to better convey them, Scarlatti shaped his musical phrases out of short motifs based on leaps downwards or upwards, followed by a pause. This certainly served to reinforce the meaning of the posed question, simultaneously however it made the singer’s part more demanding in terms of acting.

Unfortunately most names of singers who appeared in Tolomeo e Alessandro are unknown, apart from Paola Alari in the role of Dorisbe and Anna Maria Giusti as Seleuce, who was holding the title of virtuosa of the Queen of Poland. Maria Casimira Sobieski wrote to her son complaining she could not afford to engage the finest vocalists and out of necessity had to be satisfied with a small theatre, well matched voices that are neither the best or the worst, and good musical taste. She was absolutely correct about the latter. Domenico Scarlatti known today mainly as a harpsichord virtuoso and author of immortal harpsichord sonatas, guaranteed music of the highest order for the Queen’s guests to hear, music they could honestly delight in and admire. One should also bear in mind that the beginnings of Scarlatti’s compositional career are inextricably linked with the name of the Polish Widow-Queen. Thanks to her superb intuition or that of Prince Aleksander, who for some time was living with his mother in Rome or perhaps on the good advice of Rome’s patrons, Maria Casimira engaged Domenico at her court. It was for her that the young genius composed his works, thanks to which the Sobieski name resounded throughout Rome, bringing solace to the Queen’s rapidly ailing son and guaranteeing Maria Casimira Sobieski an enduring place in the history of baroque Rome.

Biographies of artists and ensembles are provided in an alphabetical order on pages 146-181. 39

Synopsis Tolomeo e Alessandro, ovvero la corona disprezzata libretto: Carlo Sigismondo Capece music: Domenico Scarlatti premiere: Rome, 19 January 1711

Tolomeo – King of Egypt, under the assumed name of shepherd Osmino Alessandro – brother of Tolomeo Seleuce – wife of Tolomeo under the assumed name of Delia the shepherdess Araspe – king of Cyprus Elisa – sister of Araspe Dorisbe – daughter of Isaur Prince of Tyre, under the assumed name of Clori the gardener

ACT I Tolomeo bemoans the cruel fate that deprived him of everything he loved – his wife, kingdom and fair-minded mother. His lament is interrupted by the call of a drowning man. Without hesitation Tolomeo runs to his aid only to discover that the survivor is his brother Alessandro whom he suspects of evil intent. He leaves him on the beach. The castaway is spotted by Elisa. Her image stirs feelings of passion in Alessandro. Araspe declares his love for Delia (Seleuce) but fails to understand why she rejects his advances. Araspe’s new-found love elicits anger and resentment in his previous mistress – Dorisbe, who decides to reveal her identity to Seleuce. Araspe welcomes the newly arrived Alessandro to the island. Elisa makes Tolomeo aware of her feelings for him. Her admission does not please him and he seeks solace for his soul in sleep. Seleuce notices the sleeping shepherd. As she approaches Tolomeo, she is seen by Araspe. Startled by the king’s sudden outcry, Seleuce flees, leaving on stage the sleeping Tolomeo, who awakes to see Araspe’s sword over him. Tolomeo pacifies the jealous king, assuring him that all he desires is peace and the return of his beloved wife whose shadow he saw in his dream. The ruler of Cyprus is appeased by Tolomeo’s stance. 40

ACT II Alessandro declares his love for Elisa. She is not glad to hear it. In turn Tolomeo reveals to her his identity in the hope that she understands his difficult situation. This information however has the opposite effect. Elisa no longer hides her love for Tolomeo. She forbids him however to reveal her secret to Araspe, wanting to check for herself that Tolomeo does not love Seleuce (Delia). Dorisbe (Clori) on the other hand wishes to exact revenge on her unfaithful lover. Seleuce appeases Dorisbe by revealing her identity. Elisa arranges a meeting between Tolomeo and Seleuce and concludes they are in love. Seleuce however pretends not to recognise her husband. Scorned and rejected by Tolomeo, Elisa informs Alessandro that she will become his wife providing Tolomeo meets his death. Her cruelty terrifies Alessandro. Dorisbe shows Alessandro the place where Tolomeo is staying. She also makes him swear to save Tolomeo’s life and help her to win back Araspe. Husband and wife roam the woods in search of each other. Araspe hurries after Seleuce. He asks her to give him her hand. When she protests, Tolomeo comes out of hiding in defence of his wife. Araspe orders him to be chained and remains unmoved by Seleuce’s pleas of mercy for her husband. Husband and wife bid farewell to each other.

ACT III Araspe decides to hand over Tolomeo to Alessandro and keep Seleuce for himself. Araspe finally agrees to entrust Tolomeo’s fate to Elisa, who promises that if Tolomeo becomes her husband Seleuce’s life will be spared, if not she will die. Out of love for her husband Seleuce agrees to Elisa’s proposal, however Tolomeo prefers death to the Cypriot princess. Araspe informs Alessandro that he holds Tolomeo. The information pleases Alessandro, the more so after receiving news of Cleopatra’s death and riots back home. However, he does not tell Araspe that he intends to restore Tolomeo to his rightful throne. Araspe proposes that Alessandro murder Tolomeo. Alessandro protests vehemently, claiming to be horrified at the thought of staining his hands with his brother’s blood. Araspe concludes that Alessandro will be pleased if Tolomeo’s murder is committed by someone else. The Cypriot king asks Clori for deadly herbs. Alessandro recognises Seleuce in chains and is surprised by her presence on the island in such unusual circumstances. As yet he does not suspect that he has been betrayed by Araspe. Tolomeo drinks the poison brought by Elisa, after which he falls into a deep sleep. At the sight of the man lying breathless, Elisa realises the weight of the deed she has committed. Araspe offers Alessandro his poisoned brother as a present. Alessandro vows revenge. Araspe makes light of his threats but when he learns that Seleuce is also dead, he wants to commit suicide. He is stopped from killing himself by Clori, who reveals her identity and accuses Araspe of betrayal. She also tells him that thanks to her actions the herbs were not poisonous – Tolomeo and Seleuce are alive. In the final scene the protagonists are united in pairs, singing praises to Alessandro for returning the crown to his brother. 41

44TH ORATORIO AND CANTATA MUSIC INTERPRETATION COURSE Wrocław 29 August – 8 September 2019

The Oratorio and Cantata Music Interpretation Course has been an annual event within the International Festival Wratislavia Cantans since 1976. Professor Eugeniusz Sąsiadek is the one who brought this exceptional course to life; since 2000 it has been led by Professor Piotr Łykowski. The idea behind the course was to create a certain platform for university students and adult secondary level students of vocal studies where they could expand their interests and master their skills in combining the performance practice of vocal-instrumental works with the development of historical research, providing ever more complete information on the correct reading of scores. The organisers of the course are: Vocal Faculty (Department of Vocal Studies) of the Karol Lipiński Academy of Music in Wrocław, Witold Lutosławski National Forum of Music, and the Polish Voice Teachers Association. The crowning moment of each course are the young vocalists’ perfor mances, included in the program of the International Festival Wratislavia Cantans. The top course participants have the chance to present their skills before a demanding audience at a high rank music festival. Each year, with the young generation of musicians in mind, the organisers take great effort to organise meetings with renowned contemporary artists and educators. And they are by all means successful: the list of guests of previous editions features such international artists as Ingrid Kremling, Elisabeth Wilke, and Christiane Hampe and such acclaimed Polish singers as Aleksandra Kurzak and Piotr Beczała. Practical and theoretical classes are a great contribution to music education and the development of the artistic personalities of aspiring singers. At this year’s Festival, young artists will present Tolomeo e Alessandro, a work of Domenico Scarlatti, accompanied by the Wrocław Baroque Orchestra – Jarosław Thiel will prepare and conduct the resulting performances. The vocal seminars, always run by top class musicians, are open to public. This year, the voice teachers are: Ewa Marciniec, Olga Pasichnyk, and Piotr Łykowski.

An academic symposium focused on selected topics within the field of oratorio and cantata music has been a highly significant event accompanying the International Festival Wratislavia Cantans almost since its very beginning. It allows participants to harmoniously combine artistic and academic achievements. Theoreticians, musicologists and artists share their thoughts and discoveries in the field of history, performance practice, analysis and many other aspects. The session is organised by the Department of Vocal Studies of the Vocal Faculty of the Karol Lipiński Academy of Music in Wrocław and the Polish Voice Teachers Association. The sessions will be held at the Academy of Music in Wrocław. September 9, Monday 10 am Session begins, participants and observers are welcomed by President of the Academy of Music 10:10 am Dr Tomasz Głuchowski (Academy of Music in Wrocław) Instrumental and vocal-instrumental religious works of Stanisław Moniuszko in the context of his activity as an organist 10:50 am Dr Agata Wiśniewska-Gołębiowska (Brussels) Francis Poulenc: The greatest 20th-century creator of vocal sacred music

46TH SYMPOSIUM ON ORATORIO AND CANTATA: MUSIC AND PERFORMANCE PRACTICE Wrocław 9 September 2019 academic head of session: Prof. Piotr Łykowski secretary: Dr Olga Ksenicz

11:30 am Julieta Gonzalez-Springer, MA (Mexico / Kraków / Wrocław) Composer Manuel de Sumaya and his works against the backdrop of Mexican Baroque 12:10 pm Session break 12:30 pm Dr Maciej Gallas (Academy of Music in Kraków) ‘Försonaren på Oljoberget’, the unknown Swedish oratorio by Peter Frigel, in the performative aspect 13:10 pm Dr Olga Ksenicz (Academy of Music in Wrocław) Cantata BWV 21 ‘Ich hatte viel Bekümmernis’ by Johann Sebastian Bach: Genesis, specific features, analysis 13:50 pm Dr Anna Werecka (Academy of Music in Łódź) French music at the end of the 17th and beginning of the 18th century: Oratorio and cantata forms in the period of absolutism 14:30 pm Session ends

7.09.2019, Saturday, 5 pm

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

Domenico Scarlatti – Tolomeo e Alessandro Performers:

Programme:

Jarosław Thiel – conductor

Domenico Scarlatti (1685–1757) Tolomeo e Alessandro – concert version (shortened)

Soloists – participants of the 44th Oratorio and Cantata Music Interpretation Course Wrocław Baroque Orchestra

The concert has a 20-minute intermission.

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

Time 150'

For programme note, see concert on 6.09, 7 pm in Szczawno-Zdrój on p. 36.

7.09.2019, Saturday, 7 pm

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

Coptic Hymns Performers: Michael Ghattas – conductor Radi Morcos – cantor Coptic Orthodox Church Choir of Sacred Music

IV. Hymn <ere ne Maria (chanted as response during the reading of the Acts of the Apostles) V. Glorification hymns for Saint Mary Hymn Rase ne ` w ]yèotokoc

Hymn Deute pent/c ` ilài ton ar,iaggeli

We would like to thank Robert Pożarski for his expert consultation.

Time 75'

For programme note, see concert on 6.09, 7 pm in Wrocław on p. 30.

7.09.2019, Saturday, 7 pm

Krzeszów, Basilica of the Assumption of the Blessed Virgin Mary (bazylika Wniebowzięcia NMP), pl. Jana Pawła II 1

In the Shade of the Holy Mount Athos Greek Byzantine Choir Performers: Georgios Konstantinou – conductor Greek Byzantine Choir

Programme: Entrance Kontakion of the Akathist (ca 5th–7th c.); 4th plagal mode

5. Troparia from Odes I and IX of the Canon of 8th September, music: Ioannis (19th c.); 2nd mode and 4th plagal mode 6. Verse from Latrinos polyeleos, music: Ioannis Koukouzelis, transcription: Hourmouzios, 1st mode 7. First stanza of the Typika of Psalm 102 (103), transcription: Lykourgos Angelopoulos (1941–2014); 4th plagal mode 8. Verse 10 of Psalm 111, music: Ioannis Koukouzelis; 4th mode *** Part II

Part I

9. Verses of the short polyeleos – Psalm 135 (136), melody: Dionysios Firfiris (1912–1990) in four modes; transcription: Lycourgos Angelopoulos

1. Stichos – poetic verse before Psalm 103 (104), music: Ioannis Koukouzelis (fl. 1300–1350), abridgement: Hourmouzios; 4th plagal mode

10. Trisagion – Dynamis of the Trisagion, melody: Kyriakos Ioannidis; 1st plagal mode 11. Anonymous melody; 2nd plagal mode

2. Vespers verses of psalms; 1st mode

12. The communion Hymn for Sundays; music: Ioannis Koukouzelis; 1st plagal mode

3. Sticheron for the Vespers of the Dormition of the Mother of God, music: Jacob Protopsaltis (19th c.); 1st mode

13. Kratimata, music: Ioannis Koukouzelis; 1st mode

4. Doxastikon set in all eight modes for the Vespers of the Domition, music: Petros Peloponnesios († ca 1777) We would like to thank Robert Pożarski for his expert consultation.

Time 90'

Programme note It is truly right to bless thee, O Theotokos.

ROBERT POŻARSKI

Today’s concert programme in its entirety is dedicated to texts on a Marian theme. All the works adhere to the canons of the Orthodox Liturgy of the Hours known as Ὡρολόγιον. The core of the programme consists of works by Ioannis Koukouzelis – one of the greatest masters of singing from the turn of the 14th century. The surname ‘Koukouzelis’ is an amalgam of two words: ‘κουκιά’, the Greek for broad beans and ‘зеле’, Slavic for herbs, green plants. They are an indication of Koukouzelis’ ancestry, as he was the son of an Albanian father and Bulgarian mother; he was orphaned in childhood. As a result of the Byzantine offensive intended to liberate Albania from the rule of the Angevins, Ioannis was enrolled in the vocal school at the imperial court of Constantinople. The education he received established him as a musical authority of his day.

He soon became the principal cantor of the oldest monastery in Mount Athos Μονή Μεγίστης Λαύρας and was the author of among others, a treatise on a new melodic system called στιχηρὸν καλοφωνικὸν (hymnody of beautiful melodies). However, the complete removal of old practices was not the aim of Koukouzelis’ reforms, as stated by one of the greatest 15th-century Byzantine singers Manuel Doukas Chrysaphes, who wrote: . . . even sticheron kalphonikon composers do not deviate from original melodies [τὰ ἰδιόμελα] but rather follow them precisely, step by step, and thus preserve them. For this reason they take over some unaltered melodies from tradition and music preserved in this manner . . .

This opinion explains why a programme comprising Koukouzelis’ kalophonic works and earlier music by other masters, does not appear incongruous to the listener. On the contrary – the canonical Marian chants form the nucleus around which the entire programme has been elaborately structured. It is diversified and simultaneously coherent, like every well-designed and performed liturgy or service (service being the Orthodox Liturgy of the Hours, as opposed to liturgy which refers exclusively to the Mass). The programme opens with the ancient kontakion ‘Unto you, o Theotokos, invincible Champion’, the first section of the Akathist to the Holy Virgin – a Marian hymn known as early as the 5th and 6th century. Hence we begin with a celebratory incantation to the Mother of God, intended to predispose us to subsequent prayer. Next we have a kalophonic, poetic stichos by Koukouzelis, sung before Psalm 103, followed by numerous incantations to God’s mercy. It is an invitation to a collective service in honour of 50

the Almighty under the auspices of Mary. This part concludes with a festive hymn for Vespers Ἑσπερινός on the The Dormition of the Mother of God. The hymn ‘O, wondrous miracle!’ by the 19th-century composer Jacob Protopsaltis is a celebratory closure to this invitation. No doubt, having heard this hymn one would never have suspected that the composition was not written in the times of Koukouzelis. The listener may be similarly surprised by the Δοξαστικόν ‘By the Divine Command’ – a hymn by the 18th-century composer Petros Peloponnesios. Like during the authentic Liturgy of the Hours, in this part of the concert we hear a type of ‘account’ of the Dormition of the Theotokos. The hymn’s text is seemingly a reading of stories from the life of the apostles. It is almost narrative-like in character, without forfeiting its aspect of prayer underlined by an extraordinary musical style. Only then are we ready to be immersed in the nocturnal liturgy of Ὄρθρος (Lauds), a very complex and long service. The Greek choir will perform only two of its parts – excerpts from the first and ninth, last ode, which constitute a response by the assembled monks to earlier heard biblical readings. This passage has a more meditative character, being a contemplation of holy texts. Here we will hear Ioannis’ compositions from over a century ago. Making an appearance towards the end of this ‘nocturnal’ part of the concert is the celebratory verse from Λατρηνός Πολυέλεος (Latrinos polyeleos, ‘great mercy’ from Mount Latros) – a poetic meditation on the power of God’s mercy, present only during the most solemn celebrations such as the Birth of the Mother of God, here of course in Koukouzelis’ kalophonic version. This verse will be complemented by a piece called Typica, namely a prayer performed when the service is limited to Vespers and when there is no liturgy. It is the first psalm (Ps 102) in a Typica version, heard to this day on Holy Mount Athos and documented at one time by Lykourgos Angelopoulos. Finally, this section will close with the somewhat ominous texts drawn from Psalm 111, in a setting by Koukouzelis. Hence we will anticipate with some anxiety the second part of the concert, which opens with a short polyeleos, seemingly like an echo of ‘great mercy’ from the finale of the first part. This version was composed quite recently by another of the Athonite maestros – Dionysios Firfiris, who died in 1990. If our laudatory service is to continue, the psalm must be followed by a Trisagion – a hymn in praise of the Holy Trinity, which concludes with a dynamis, namely a reinforced phrase. Once again, the service in praise of the Mother of God cannot be completed without sticheron in praise of Mary ‘It is truly right to bless thee, O Theotokos’. Considering we were persuaded earlier that in music based on Byzantine canons the time of creation of individual chants was of no particular significance, it therefore follows that it is entirely appropriate during a given service to feature contemporary pieces alongside 18th-century and early works, like this ancient anonymous sticheron from Mount Athos. Following a splendidly celebrated service, the joy of the faithful is expressed in a prayer of thanksgiving – hence for the finale, the singers of the Greek ensemble propose a festive hymn of praise by Ioannis Koukouzelis entitled ‘Praise the Lord

from the Heavens’, usually performed after Sunday liturgical services. To enhance the elated singing of the choristers, a remarkably expressive Kratimata, also composed by Koukouzelis, has been added. In this way together with the singers every listener can catch a glimpse of the vestibule of heaven . . .

Biographies of artists and ensembles are provided in an alphabetical order on pages 146-181. 51

Texts Κοντάκιο του Ακαθίστου Ύμνου. Ήχος Πλάγιος του Τετάρτου. Τῇ ὑπερμάχῳ στρατηγῷ τὰ νικητήρια, ὡς λυτρωθεῖσα τῶν δεινῶν εὐχαριστήρια, ἀναγράφω σοι ἡ πόλις σου, Θεοτόκε· ἀλλ’ ὡς ἔχουσα τὸ κράτος ἀπροσμάχητον ἐκ παντοίων με κινδύνων ἐλευθέρωσον, ἵνα κράζω σοι· Χαῖρε Νύμφη ἀνύμφευτε. ΜΕΡΟΣ ΠΡΩΤΟ

1. Στίχος από τον 103ο Ψαλμό (104). Σύνθεση του περίφημου βυζαντινού μαΐστορα Ιωάννη Κουκουζέλη, συντμηθέν υπο Χουρμουζίου, Χαρτοφύλακα της Μεγάλης του Χριστού Εκκλησίας. Ήχος Πλάγιος του Τετάρτου. Ἀνοίξαντός σου τὴν χεῖρα, τὰ σύμπαντα πλησθήσονται χρηστότητος. Δόξα Σοι ο Θεός.

2. Στιχολογία Ἑσπερινοῦ (στίχοι) Ήχος Πρώτος. Θοῦ, Κύριε, φυλακὴν τῷ στόματί μου, καὶ θύραν περιοχῆς περὶ τὰ χείλη μου. Μὴ ἐκκλίνῃς τὴν καρδίαν μου εἰς λόγους πονηρίας, τοῦ προφασίζεσθαι προφάσεις ἐν ἁμαρτίαις. Ὅτι ἔτι καὶ ἡ προσευχή μου ἐν ταῖς εὐδοκίαις αὐτῶν κατεπόθησαν ἐχόμενα πέτρας οἱ κριταὶ αὐτῶν. Ὅτι πρὸς σέ, Κύριε, Κύριε, οἱ ὀφθαλμοί μου ἐπὶ σοὶ ἤλπισα, μὴ ἀντανέλῃς τὴν ψυχήν μου. Πεσοῦνται ἐν ἀμφιβλήστρῳ αὐτῶν οἱ ἁμαρτωλοί, κατὰ μόνας εἰμὶ ἐγώ, ἕως ἂν παρέλθω. Ἐκχεῶ ἐνώπιον αὐτοῦ τὴν δέησίν μου, τὴν θλῖψίν μου ἐνώπιον αὐτοῦ ἀπαγγελῶ. Ἐν ὁδῷ ταύτῃ, ᾗ ἐπορευόμην, ἔκρυψαν παγίδα μοι. Ἀπώλετο φυγὴ ἀπ’ ἐμοῦ καὶ οὐκ ἔστιν ὁ ἐκζητῶν τὴν ψυχήν μου.

3. Στιχηρό εσπέριο της Κοιμήσεως της Θεοτόκου (15 Αυγούστου). Μέλος Ιακώβου, Πρωτοψάλτου της Μεγάλης του Χριστού Εκκλησίας. Ήχος Πρώτος. Ἐὰν ἀνομίας παρατηρήσῃς, Κύριε, Κύριε τίς ὑποστήσεται; ὅτι παρὰ σοὶ ὁ ἱλασμός ἐστιν. Ὢ τοῦ παραδόξου θαύματος! ἡ πηγὴ τῆς ζωῆς, ἐν μνημείῳ τίθεται, καὶ κλῖμαξ πρὸς οὐρανόν, ὁ τάφος γίνεται. Εὐφραίνου Γεθσημανῆ, τῆς Θεοτόκου τὸ ἅγιον τέμενος. Βοήσωμεν οἱ πιστοί, τὸν Γαβριὴλ κεκτημένοι ταξίαρχον, Κεχαριτωμένη χαῖρε, μετὰ σοῦ ὁ Κύριος, ὁ παρέχων τῷ κόσμῳ διὰ σοῦ τὸ μέγα ἔλεος.

4. Δοξαστικὸ τοῦ Ἑσπερινοῦ τῆς Κοιμήσεως τῆς Θεοτόκου. Ὀκτάηχο. Μέλος Πέτρου του Πελοποννησίου, Λαμπαδαρίου της Μεγάλης του Χριστού Εκκλησίας. Δόξα Πατρὶ καὶ Υἱῷ καὶ Ἁγίῳ Πνεύματι· καὶ νῦν καὶ ἀεὶ καὶ εἰς τοὺς αἰῶνας τῶν αἰώνων· Ἀμήν. Θεαρχίῳ νεύματι, πάντοθεν οἱ θεοφόροι Ἀπόστολοι, ὑπὸ νεφῶν μεταρσίως αἰρόμενοι. Καταλαβόντες τὸ πανάχραντον, καὶ ζωαρχικόν σου σκῆνος, ἐξόχως ἠσπάζοντο. Αἱ δὲ ὑπέρτατοι τῶν οὐρανῶν Δυνάμεις, σὺν τῷ οἰκείῳ Δεσπότῃ παραγενόμεναι. Τὸ θεοδόχον καὶ ἀκραιφνέστατον σῶμα προπέμπουσι, τῷ δέει κρατούμεναι, ὑπερκοσμίως δὲ προῴχοντο, καὶ ἀοράτως ἐβόων, ταῖς ἀνωτέραις ταξιαρχίαις· ἰδοὺ ἡ παντάνασσα θεόπαις παραγέγονεν. Ἄρατε πύλας, καὶ ταύτην ὑπερκοσμίως ὑποδέξασθε, τὴν τοῦ ἀενάου φωτὸς Μητέρα. Διὰ ταύτης γὰρ ἡ παγγενὴς τῶν βροτῶν σωτηρία γέγονεν, ᾗ ἀτενίζειν οὐκ ἰσχύομεν, καὶ ταύτῃ ἄξιον γέρας ἀπονέμειν ἀδύνατον. Ταύτης γὰρ τὸ ὑπερβάλλον, ὑπερέχει πᾶσαν ἔννοιαν. Διὸ ἄχραντε Θεοτόκε, ἀεὶ σὺν ζωηφόρῳ Βασιλεῖ, καὶ τόκῳ ζῶσα, πρέσβευε διηνεκῶς, περιφρουρῆσαι καὶ σῶσαι, ἀπὸ πάσης προσβολῆς ἐναντίας τὴν νεολαίαν σου· τὴν γὰρ σὴν προστασίαν κεκτήμεθα. Εἰς τοὺς αἰῶνας, ἀγλαοφανῶς μακαρίζοντες.

5. Τροπάρια των ωδών α΄ καὶ θ΄ των κανόνων του Γενεσίου της Θεοτόκου (8 Σεπτεμβρίου). Μέλος Ιωάννου Πρωτοψάλτου της Μεγάλης του Χριστού Εκκλησίας. Ήχοι Δεύτερος και Πλάγιος του Τετάρτου. Ὠδὴ α’. Κανών α’. Ἦχος β’ Δεῦτε λαοί, ᾄσωμεν ᾆσμα Χριστῷ τῷ Θεῷ, τῷ διελόντι θάλασσαν, καὶ ὁδηγήσαντι, τὸν λαὸν ὃν ἀνῆκε, δουλείας Αἰγυπτίων, ὅτι δεδόξασται. Ὑπεραγία Θεοτόκε σῶσον ἡμᾶς. Δεῦτε πιστοί, Πνεύματι θείῳ γηθόμενοι, τὴν ἐξ ἀκάρπου σήμερον, ἐπιδημήσασαν, εἰς βροτῶν σωτηρίαν, ἀειπάρθενον Κόρην, ὕμνοις τιμήσωμεν. Ὑπεραγία Θεοτόκε σῶσον ἡμᾶς. Χαῖρε σεμνή, Μήτηρ καὶ δούλη Χριστοῦ τοῦ Θεοῦ, ἡ τῆς ἀρχαίας πρόξενος, μακαριότητος, τῶν ἀνθρώπων τῷ γένει, σὲ πάντες ἐπαξίως, ὕμνοις δοξάζομεν. Ὑπεραγία Θεοτόκε σῶσον ἡμᾶς. Ἡ τῆς ζωῆς, τίκτεται σήμερον γέφυρα, δι’ ἧς βροτοὶ ἀνάκλησιν, τῆς καταπτώσεως, τῆς εἰς Ἅδου εὑρόντες, Χριστὸν τὸν ζωοδότην, ὕμνοις δοξάζουσιν. Κανών β’. Ἦχος πλ. δ’ Ὑπεραγία Θεοτόκε σῶσον ἡμᾶς. Χορευέτω πᾶσα κτίσις, εὐφραινέσθω καὶ Δαυΐδ, ὅτι ἐκ φυλῆς αὐτοῦ, καὶ ἐκ τοῦ σπέρματος αὐτοῦ, προῆλθε ῥάβδος, ἄνθος φέρουσα τὸν Κύριον, καὶ λυτρωτὴν τοῦ παντός. Δόξα Πατρὶ καὶ Υἱῷ καὶ Ἁγίῳ Πνεύματι. Τρία ἄναρχα δοξάζω, τρία ἅγια ὑμνῶ, τρία συναΐδια, ἐν οὐσιότητι μιᾷ κηρύττω· εἷς γὰρ ἐν Πατρὶ Υἱῷ καὶ Πνεύματι, δοξολογεῖται Θεός. Καὶ νῦν καὶ ἀεὶ καὶ εἰς τοὺς αἰῶνας τῶν αἰώνων. Ἀμήν. Τὶς ἑώρακε παιδίον, ὃ οὐκ ἔσπειρε πατήρ, γάλακτι τρεφόμενον; ἢ ποῦ τεθέαται παρθένος Μήτηρ; Ὄντως ὑπὲρ ἔννοιαν ἀμφότερα, Θεογεννῆτορ ἁγνή. Ὠδὴ θ’. Κανών α’. Ἦχος β’ Ὑπεραγία Θεοτόκε σῶσον ἡμᾶς. Ἡ τὸν πρὸ ἡλίου φωστῆρα, τὸν Θεὸν ἐξανατείλαντα, σωματικῶς ἡμῖν ἐπιδημήσαντα, ἐκ λαγόνων παρθενικῶν, ἀφράστως σωματώσασα, εὐλογημένη πάναγνε, σὲ Θεοτόκε μεγαλύνομεν. Ὑπεραγία Θεοτόκε σῶσον ἡμᾶς. Ὁ τοῖς ἀπειθοῦσι λαοῖς, ἐξ ἀκροτόμου βλύσας νάματα, τοῖς εὐπειθοῦσιν ἔθνεσι χαρίζεται, ἐκ λαγόνων στειρωτικῶν, καρπὸν εἰς εὐφροσύνην ἡμῖν, σὲ Θεομῆτορ ἄχραντε, ἣν ἐπαξίως μεγαλύνομεν.

Ὑπεραγία Θεοτόκε σῶσον ἡμᾶς. Τὴν τῆς ἀποτόμου ἀρχαίας, ἀναιρέτιν ἀποφάσεως, καὶ τῆς Προμήτορος τὴν ἐπανόρθωσιν, τὴν τοῦ γένους τῆς πρὸς Θεὸν αἰτίαν οἰκειώσεως, τὴν πρὸς τὸν Κτίστην γέφυραν, σὲ Θεοτόκε μεγαλύνομεν. Κανών β’. Ἦχος πλ. δ’ Ὑπεραγία Θεοτόκε σῶσον ἡμᾶς. Ἐπάξιον Θεομῆτορ τῆς σῆς ἁγνείας, τὸν τόκον ἐκληρώσω δι᾿ ἐπαγγελίας· τῇ ποτὲ γὰρ ἀκάρπῳ, θεόβλαστος καρπὸς ἐδόθης· διὸ σε πᾶσαι αἱ φυλαὶ τῆς γῆς, ἀπαύστως μακαρίζομεν. Ὑπεραγία Θεοτόκε σῶσον ἡμᾶς. Πεπλήρωται τοῦ βοῶντος ἡ προφητεία, φησὶ γάρ· Ἀναστήσω σκηνὴν τὴν πεπτωκυῖαν, τοῦ ἱεροῦ Δαυΐδ, ἐν σοί, Ἄχραντε προτυπωθεῖσαν, δι᾿ ἧς ὁ σύμπας τῶν ἀνθρώπων χοῦς, εἰς σῶμα ἀνεπλάσθη Θεῷ. Δόξα Πατρὶ καὶ Υἱῷ καὶ Ἁγίῳ Πνεύματι. Ἀλλότριον τοῖς ἀνόμοις ἐστὶ δοξάζειν, τὴν ἄναρχον Τριάδα, Πατέρα καὶ Υἱόν τε, καὶ τὸ Ἅγιον Πνεῦμα, τὴν ἄκτιστον παγκρατορίαν, δι᾿ ἧς ὁ σύμπας κόσμος ἥδρασται, τῷ νεύματι τοῦ κράτους αὐτῆς. Καὶ νῦν καὶ ἀεὶ καὶ εἰς τοὺς αἰῶνας τῶν αἰώνων. Αμήν. Ἐχώρησας ἐν γαστρί σου Παρθενομῆτορ, τὸν ἕνα τῆς Τριάδος Χριστὸν τὸν Βασιλέα, ὃν ὑμνεῖ πᾶσα κτίσις, καὶ τρέμουσιν οἱ ἄνω θρόνοι· αὐτὸν δυσώπει πανσεβάσμιε, σωθῆναι τὰς ψυχὰς ἡμῶν.

6. Στίχος απὸ τὸν Λατρινὸ πολυέλεο. Μέλος Ἰωάννη Κουκουζέλη. Μεταγραφή υπό Χουρμουζίου Χαρτοφύλακος. Ήχος Πρώτος. Οἶκος ᾿Ααρών, εὐλογήσατε τὸν Κύριον. ᾿Αλληλούια.

7. Πρώτη Στάση Τυπικών (Ψαλμός 102ος), ως ψάλλεται εν Αγίω Όρει. Καταγραφή Λυκούργου Αγγελόπουλου. Ήχος Πλάγιος του Τετάρτου. Εὐλόγει, ἡ ψυχή μου, τὸν Κύριον, καὶ πάντα τὰ ἐντός μου τὸ ὄνομα τὸ ἅγιον αὐτοῦ. Εὐλόγει, ἡ ψυχή μου, τὸν Κύριον, καὶ μὴ ἐπιλανθάνου πάσας τὰς ἀνταποδόσεις αὐτοῦ. 53

Texts Τὸν εὐϊλατεύοντα πάσας τὰς ἀνομίας σου, τὸν ἰώμενον πάσας τὰς νόσους σου. Τὸν λυτρούμενον ἐκ φθορᾶς τὴν ζωήν σου, τὸν στεφανοῦντά σε ἐν ἐλέει καὶ οἰκτιρμοῖς. Τὸν ἐμπιπλῶντα ἐν ἀγαθοῖς τὴν ἐπιθυμίαν σου, ἀνακαινισθήσεται ὡς ἀετοῦ ἡ νεότης σου. Ποιῶν ἐλεημοσύνας ὁ Κύριος, καὶ κρῖμα πᾶσι τοῖς ἀδικουμένοις. Ἐγνώρισε τὰς ὁδοὺς αὐτοῦ τῷ Μωϋσῇ, τοῖς υἱοῖς Ἰσραὴλ τὰ θελήματα αὐτοῦ. Οἰκτίρμων καὶ ἐλεήμων ὁ Κύριος, μακρόθυμος καὶ πολυέλεος, οὐκ εἰς τέλος ὀργισθήσεται, οὐδὲ εἰς τὸν αἰῶνα μηνιεῖ. Οὐ κατὰ τὰς ἀνομίας ἡμῶν ἐποίησεν ἡμῖν, οὐδὲ κατὰ τὰς ἁμαρτίας ἡμῶν ἀνταπέδωκεν ἡμῖν. Ὅτι κατὰ τὸ ὕψος τοῦ οὐρανοῦ ἀπὸ τῆς γῆς, ἐκραταίωσε Κύριος τὸ ἔλεος αὐτοῦ ἐπὶ τοὺς φοβουμένους αὐτόν. Καθόσον ἀπέχουσιν ἀνατολαὶ ἀπὸ δυσμῶν, ἐμάκρυνεν ἀφ’ ἡμῶν τὰς ἀνομίας ἡμῶν. Καθὼς οἰκτείρει πατὴρ υἱούς, ᾠκτείρησε Κύριος τοὺς φοβουμένους αὐτόν, ὅτι αὐτὸς ἔγνω τὸ πλάσμα ἡμῶν, ἐμνήσθη ὅτι χοῦς ἐσμεν. Ἄνθρωπος, ὡσεὶ χόρτος αἱ ἡμέραι αὐτοῦ, ὡσεὶ ἄνθος τοῦ ἀγροῦ, οὕτως ἐξανθήσει. Ὅτι πνεῦμα διῆλθεν ἐν αὐτῷ, καὶ οὐχ ὑπάρξει, καὶ οὐκ ἐπιγνώσεται ἔτι τὸν τόπον αὐτοῦ. Τὸ δὲ ἔλεος τοῦ Κυρίου ἀπὸ τοῦ αἰῶνος, καὶ ἕως τοῦ αἰῶνος ἐπὶ τοὺς φοβουμένους αὐτόν. Καὶ ἡ δικαιοσύνη αὐτοῦ ἐπὶ υἱοῖς υἱῶν, τοῖς φυλάσσουσι τὴν διαθήκην αὐτοῦ, καὶ μεμνημένοις τῶν ἐντολῶν αὐτοῦ τοῦ ποιῆσαι αὐτάς. Κύριος ἐν τῷ οὐρανῷ ἡτοίμασε τὸν θρόνον αὐτοῦ, καὶ ἡ βασιλεία αὐτοῦ πάντων δεσπόζει. Εὐλογεῖτε τὸν Κύριον, πάντες οἱ Ἄγγελοι αὐτοῦ, δυνατοὶ ἰσχύϊ, ποιοῦντες τὸν λόγον αὐτοῦ, τοῦ ἀκοῦσαι τῆς φωνῆς τῶν λόγων αὐτοῦ. Εὐλογεῖτε τὸν Κύριον, πᾶσαι αἱ Δυνάμεις αὐτοῦ, λειτουργοὶ αὐτοῦ, οἱ ποιοῦντες τὸ θέλημα αὐτοῦ. Εὐλογεῖτε τὸν Κύριον, πάντα τὰ ἔργα αὐτοῦ, ἐν παντὶ τόπῳ τῆς δεσποτείας αὐτοῦ, εὐλόγει, ἡ ψυχή μου, τὸν Κύριον.

8. Εκ του 10ου στίχου του 111ου Ψαλμού. Μέλος Ἰωάννη Κουκουζέλη. Ήχος Τέταρτος (Άγια της παπαδικής). Τοὺς ὀδόντας αὐτοῦ βρύξει καὶ τακήσεται. ᾿Αλληλούια.

ΜΕΡΟΣ ΔΕΥΤΕΡΟ

9. Στίχοι από τον πολυέλεο (136ος ψαλμός), ως εψάλλετο από τον Πρωτοψάλτη του Πρωτάτου στις Καρυές του Αγίου Όρους, ιεροδιάκονο π. Διονύσιο Φιρφιρή, σε τέσσερις ήχους. Καταγραφή Λυκούργου Αγγελόπουλου. Έξομολογεῖσθε τῷ Κυρίῳ, ὅτι ἀγαθός, ᾿Αλληλούια. Ὅτι εἰς τὸν αἰῶνα τὸ ἔλεος αὐτοῦ· ᾿Αλληλούια. Ἐξομολογεῖσθε τῷ Θεῷ τῶν θεῶν, ᾿Αλληλούια. Ὅτι εἰς τὸν αἰῶνα τὸ ἔλεος αὐτοῦ· ᾿Αλληλούια Ἐξομολογεῖσθε τῷ Κυρίῳ τῶν κυρίων, ᾿Αλληλούια. Ὅτι εἰς τὸν αἰῶνα τὸ ἔλεος αὐτοῦ· ᾿Αλληλούια. Τῷ ποιήσαντι τοὺς οὐρανοὺς ἐν συνέσει, ᾿Αλληλούια. Ὅτι εἰς τὸν αἰῶνα τὸ ἔλεος αὐτοῦ· ᾿Αλληλούια Τῷ στερεώσαντι τὴν γῆν ἐπὶ τῶν ὑδάτων, ᾿Αλληλούια. Ὅτι εἰς τὸν αἰῶνα τὸ ἔλεος αὐτοῦ· ᾿Αλληλούια Τῷ ποιήσαντι φῶτα μεγάλα μόνῳ, ᾿Αλληλούια. Ὅτι εἰς τὸν αἰῶνα τὸ ἔλεος αὐτοῦ· ᾿Αλληλούια Τὸν ἥλιον εἰς ἐξουσίαν τῆς ἡμέρας, ᾿Αλληλούια. Ὅτι εἰς τὸν αἰῶνα τὸ ἔλεος αὐτοῦ· ᾿Αλληλούια Τὴν σελήνην καὶ τοὺς ἀστέρας εἰς ἐξουσίαν τῆς νυκτός, ᾿Αλληλούια. Ὅτι εἰς τὸν αἰῶνα τὸ ἔλεος αὐτοῦ· ᾿Αλληλούια Καὶ ἐξαγαγόντι τὸν ᾿Ισραὴλ ἐκ μέσου αὐτῶν, ᾿Αλληλούια. Ὅτι εἰς τὸν αἰῶνα τὸ ἔλεος αὐτοῦ· ᾿Αλληλούια Τῷ καταδιελόντι τὴν ᾿Ερυθρὰν θάλασσαν εἰς διαιρέσεις, Αλληλούια. Ὅτι εἰς τὸν αἰῶνα τὸ ἔλεος αὐτοῦ· ᾿Αλληλούια Καὶ διαγαγόντι τὸν ᾿Ισραὴλ διὰ μέσου αὐτῆς, Αλληλούια. Ὅτι εἰς τὸν αἰῶνα τὸ ἔλεος αὐτοῦ· ᾿Αλληλούια Καὶ ἐκτινάξαντι Φαραὼ καὶ τὴν δύναμιν αὐτοῦ εἰς θάλασσαν ᾿Ερυθράν, Αλληλούια. Ὅτι εἰς τὸν αἰῶνα τὸ ἔλεος αὐτοῦ· ᾿Αλληλούια Τῷ πατάξαντι βασιλεῖς μεγάλους, Αλληλούια. Ὅτι εἰς τὸν αἰῶνα τὸ ἔλεος αὐτοῦ· ᾿Αλληλούια Καὶ ἀποκτείναντι βασιλεῖς κραταιούς, Αλληλούια. Ὅτι εἰς τὸν αἰῶνα τὸ ἔλεος αὐτοῦ· ᾿Αλληλούια Τὸν Σηὼν βασιλέα τῶν ᾿Αμορραίων, Αλληλούια. Ὅτι εἰς τὸν αἰῶνα τὸ ἔλεος αὐτοῦ· ᾿Αλληλούια Ἐξομολογεῖσθε τῷ Θεῷ τοῦ οὐρανοῦ, Αλληλούια. Ὅτι εἰς τὸν αἰῶνα τὸ ἔλεος αὐτοῦ· ᾿Αλληλούια

10. Τρισάγιος Ὕμνος. Δύναμις Τρισαγίου. Μέλος Κυριάκου Ἰωαννίδη τοῦ «Καλογήρου». Ήχος Πλάγιος του Πρώτου. Ἅγιος ὁ Θεός, Ἅγιος Ἰσχυρός, Ἅγιος Ἀθάνατος, ἐλέησον ἡμᾶς. Δόξα Πατρὶ καὶ Υἱῷ καὶ Ἁγίῳ Πνεύματι. Καὶ νῦν καὶ ἀεὶ καὶ εἰς τοὺς αἰῶνας τῶν αἰώνων. Ἀμήν. Ἅγιος Ἀθάνατος, ἐλέησον ἡμᾶς. Δύναμις. Ἅγιος ὁ Θεός, Ἅγιος Ἰσχυρός, Ἅγιος Ἀθάνατος, ἐλέησον ἡμᾶς.

11. Ἀνωνύμου. Ήχος Πλάγιος του Δευτέρου. Ἄξιόν ἐστιν ὡς ἀληθῶς, μακαρίζειν σὲ τὴν Θεοτόκον, τὴν ἀειμακάριστον καὶ παναμώμητον, καὶ Μητέρα τοῦ Θεοῦ ἡμῶν. Τὴν τιμιωτέραν τῶν Χερουβείμ, καὶ ἐνδοξοτέραν ἀσυγκρίτως τῶν Σεραφείμ, τὴν ἀδιαφθόρως Θεὸν Λόγον τεκοῦσαν, τὴν ὄντως Θεοτόκον, σὲ μεγαλύνομεν.

12. Κοινωνικὸ τῆς Κυριακῆς. Μέλος Ἰωάννη Κουκουζέλη. Ήχος Πλάγιος του Πρώτου. Αἰνεῖτε τὸν Κύριον ἐκ τῶν οὐρανῶν. Αλληλούια.

13. Κράτημα. Μέλος Ἰωάννη Κουκουζέλη. Ήχος Πλάγιος του Πρώτου. The kratimata are free compositions, in which meaningless syllables, like te-ri-rem, to-ro-ro, are used instead of verses. Thus, the composer having no obligation to a certain text, advances to the composition of pure music. The learned Metropolitan of Philadelphia, Gerasimos Vlachos the Cretan (17th century), writes that ‘according to theology symbolism, the terere does not wish to signify anything other, than the incomprehensibility of the Godhead.’ The composer Michel Adamis has observed that ‘the kratima is the Byzantine form of pure music which is expressed in works that exist in themselves.’ 55

7.09.2019, Saturday, 8:30 pm

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

Israel Philharmonic Orchestra & Zubin Mehta Mahler – Symphony No. 3 Performers:

Programme:

Zubin Mehta – conductor

Israel Philharmonic Orchestra

Gustav Mahler (1860–1911) Symphony No. 3 for alto, boys’ choir, female choir and orchestra I. Kräftig. Entschieden II. Tempo di Menuetto. Sehr mäßig III. Comodo. Scherzando. Ohne Hast j IV. Sehr langsam. Misterioso.œDurchaus . œ ∏∑ V. Lustig im Tempo und keck im Ausdruck VI. Langsam. Ruhevoll. Empfunden

Concert under the auspices of the Embassy of Israel in Warsaw

Co-Organiser: Riverside Music

Mihoko Fujimura – mezzo-soprano NFM Choir Agnieszka Franków-Żelazny – artistic director of the NFM Choir NFM Boys’ Choir Małgorzata Podzielny – artistic director of the NFM Boys’ Choir

Time 105'

Programme note

MARCIN MAJCHROWSKI (POLISH RADIO 2)

‘My symphony will be something the like of which the world has never yet heard! In it the whole of nature finds a voice, gives an account of its profound mysteries, which can only be seen in a dream’ – wrote Gustav Mahler in one of his letters about his new Third Symphony. Interestingly, the world waited a long time to discover the mysteries referred to in this monumental work (the longest of Mahler’s symphonies). Composed between 1893–96 and revised in 1899 (before publication) and 1906 – it finally received its premiere on 9th June 1902 in Krefeld.

Each of Gustav Mahler’s symphonies has its own individual qualities. Despite together representing one enormous, monumental block that speaks in a similar language (the present writer is well aware of its marked differences and general development), each displays a distinct landscape. In this context the Third Symphony is a remarkable example. Along with the Second and Fourth it belongs to a vocal trilogy, contextually and to some extent ideologically associated with the composer’s beloved collection of folk poetry Des Knaben Wunderhorn. This triptych can also be linked to the First although the latter makes no direct reference to Achim von Arnim and Clemens Brentano’s collection. In this broader context the Third represents the pinnacle of achievement in the first period of Mahler’s orchestral composing, or better still: of creating massive musical landscapes. Also important to stress is the close musical correlation between the Third and Fourth. According to Constantin Floros, the Third Symphony offers irrefutable evidence of the programmatic nature of Gustav Mahler’s music. If at a later date the composer would be somewhat reluctant to refer to specific extra-musical associations in the individual movements of his Third, in the years 1895–96 in letters to friends he wrote extensively on the subject of titles and headings, their meaning and the dramaturgy they define and propose. From those he corresponded with, he expected comments and suggestions. In its final form, the Third Symphony comprises six movements of varied duration. The six movements are further divided into two parts (Abteilungen). The first part is confined to the massive (dependent on the performance duration, lasting anything from 33 to over 40 minutes) first movement (Kräftig, Entschieden). Part two comprises movements ‘of smaller dimensions’ – from the second to the sixth. To early 20th century conservative critics, the concept for the formal structure of the Third at the very least must have seemed peculiar, seeing as how after the work’s first performance a Viennese critic wrote that its composer deserves ‘a stretch in jail’, while more toned-down commentaries referred to a ‘formal catastrophe’. Similar assertions and opinions Mahler bracketed in his programme concept,

which explains the symphony’s layout, and reveals a certain hierarchical structure of being, a cosmological vision expressed in sound. In terms of detail and editing, his original programme varied, however it can be summarised as follows: monumental first movement forms the basis, the framework, the foundations of the world. It is a pantheistic depiction of nature. In this work’s first chapter we witness the awakening of Pan and the advent of summer, which in fact ‘advances to the rhythm of a march’. Chapter two describes the hierarchical system of creation. In successive sub-chapters their place in the cosmic order of being is ‘narrated’ in turn by: ‘flowers in meadows’, ‘animals in forests’, by ‘man’ in the fourth, lastly by ‘angels’ and by ‘love’ in the finale. A seventh movement (subtitled ‘Heavenly life’ or ‘What a child tells me’) Mahler removed and later exploited in the finale of his Fourth Symphony. Before the Third appeared in its final form, Mahler juggled with the arrangement of individual elements. From the outset, the work’s structure was by no means clear, evidence of which is seen in the various editions of programme descriptions and titles. Although the composer eventually decided not to include the said headings in print, nevertheless awareness of their existence contributes to the understanding of the work. Consequently, it becomes clear why the music of the first movement is replete with idyllic marches and delicate sounding solo parts of individual instruments (e.g. violin, trombone, trumpet, horn or oboe), which appear in a context of massive brass fanfares and dark rumblings of the timpani contrasted with disturbing tremolos in the strings. After all there is more than one aspect to nature, having been moulded out of opposites, when the world emerged from initial chaos. The Symphony’s second chapter seems even more luxuriant. First we have a ‘tale told by flowers in the meadow’ in the style of a leisurely, charming minuet, rather light and fleeting. Was it meant to pass quickly, last only briefly like a blossom? It is followed by an initially delicate, then increasingly frivolous and finally contemplative (with a concertante trumpet part) third movement. This unusual scherzo features the voices of ‘animals in the forest’ (Comodo. Scherzando. Ohne Hast). They narrate their vision of nature by means of a symbolic quote – here Mahler exploits a theme from one of his early songs Ablösung im Sommer. Man is not the central point in this symphonic vision of world order. Admittedly he appears after the animals, but beings and paragons ‘superior’ to him are angels and love. However, it is man who speaks in ‘his own’ voice. In the fourth movement Mahler reaches for words from Friedrich Nietzsche’s treatise Thus Spoke Zarathustra, more precisely from chapter 59 entitled The Second Dance Song – ‘O Mensch! Gib acht!’ (‘O Man! Take heed! What saith deep midnight’s voice indeed’). This may seem somewhat paradoxical as the Third Symphony’s ideological overtones and programme concept stand in direct opposition to the philosophy of Nietzsche. The philosopher used to describe himself as ‘godless and anti-metaphysical’ whereas metaphysics and transcendence were of fundamental significance to Mahler. The earlier mentioned Constantin Floros stresses that faith in the existence of a godly entity, ‘understood by Mahler as love’, was also of vital importance to the composer. The solution to this paradox can probably be found in yet another contradiction, where man – a finite, mortal

being condemned to eternal suffering (‘pain – ruler of the abyss’) – can seek consolation in ‘the narrative of angels’ and find solace in love, as he tries to ascend to the cosmic ideal of existence. The finale, namely the ‘love narrative’, unfolds at a slow pace, once more on a grand scale and assumes an increasingly sensual character. Like no one else Mahler knew how to express in sound this elusive, sensual yet restrained aspect of love. Here one could additionally cite at least some of the composer’s illustrative remarks. For instance those related to inextricable ties between life and art: ‘parallelism (of this type) reaches far deeper and further than is possible to examine in greater detail. I do not expect however that all will follow in my footsteps’ (letter to Max Marschalk dated 17th December 1895). In Mahler’s biography, the period of work on the Third Symphony coincides on the one hand with the loss of his beloved and musically talented brother Otto and on the other – with his not altogether platonic relationship with singer Anna von Mildenburg. In a letter dated 1st July 1896, addressed to ‘dear Anna’, he wrote: ‘this symphony speaks of a different type of love than you think. . . . It is the zenith, the highest point from which to view the world. I could equally well have called this movement “What God tells me”.’ However, his Third can also be explained by another often referred to quote: ‘to me composing a symphony means building a world exploiting all the possible means of existing techniques.’

Biographies of artists and ensembles are provided in an alphabetical order on pages 146-181. 59

Texts Gustav Mahler Symphony No. 3 IV

Friedrich Nietzsche O Mensch! Gib Acht! (Also sprach Zarathustra)

Armer Kinder Bettlerlied (Des Knaben Wunderhorn)

Alt O Mensch! Gib Acht! Was spricht die tiefe Mitternacht? „Ich schlief! Ich schlief! Aus tiefem Traum bin ich erwacht! Die Welt ist tief, Und tiefer als der Tag gedacht! Tief ist ihr Weh! Lust – tiefer noch als Herzeleid! Weh spricht: Vergeh! Doch alle Lust will Ewigkeit – – Will tiefe, tiefe Ewigkeit!”

Knabenchor Bimm bamm, bimm bamm... Frauenchor Es sungen drei Engel einen süßen Gesang, mit Freuden es selig in dem Himmel klang. Sie jauchzten fröhlich auch dabei: daß Petrus sei von Sünden frei. Und als der Herr Jesus zu Tische saß, mit seinen zwölf Jüngern das Abendmahl aß, da sprach der Herr Jesus: „Was stehst du denn hier? Wenn ich dich anseh’, so weinest du mir!” Alt „Und sollt’ ich nicht weinen, du gütiger Gott?” Frauenchor Bimm bamm bimm bamm… Du sollst ja nicht weinen! Alt „Ich hab’ übertreten die zehn Gebot! Ich gehe und weine ja bitterlich! Ach komm und erbarme dich über mich!” Frauen- und Knabenchor „Hast du denn übertreten die zehen Gebot, so fall auf die Knie und bete zu Gott! Liebe nur Gott in alle Zeit! So wirst du erlangen die himmlische Freud’ !” Die himmlische Freud’ ist eine selige Stadt, die himmlische Freud’, die kein Ende mehr hat! Die himmlische Freude war Petro bereit’t, durch Jesum und Allen zur Seligkeit.

8.09.2019, Sunday, 4:30 pm

Wrocław, Church of St Stanislaus, St Dorothy and St Venceslaus (kościół pw. św. Stanisława, św. Doroty i św. Wacława), pl. Wolności 3

Beatum incendium Medieval Manuscripts Performers: Mala Punica: Barbara Zanichelli, Belén Vaquero Hernández – sopranos Markéta Cukrová – mezzo-soprano Gianluca Ferrarini – tenor Helena Zemanová, José Manuel Navarro – vielles Pablo Kornfeld – chest organ Pedro Memelsdorff – recorder, artistic direction

Programme: Anonymous Kyrie – organum (Fa117, 79r-v) Johannes Ciconia (ca 1370–1412) O Padua, sidus preclarum – motet (Q15, 257v-258r) O felix templum jubila – motet (Q15, 223v-224r) Albane, misse celitus – motet (Q15, 271v-272r)

Anonymous Universi qui te expectant – graduale (GT, 16) Anonymous Alleluia. Ego sum pastor bonus (Gua, 194v) Anonymous Hec est regina – antyfona (SM572, 141r) Anonymous Ave Regina celorum – antyfona (SM574, 109v-110r) Johannes Ciconia Ut te per omnes – motet (Q15, 260v-261r; Ox213, 119v-120r) Anonymous Basse danse (Fa117, 94v) Anonymous Benedicamus Domino (Ox229, 53v) Anonymous Deo gratias (Fa117, 79r-v) Sources: Fa117: Faenza, Biblioteca Comunale Manfrediana, ms. 117; Q15: Bologna, Museo Internazionale e Biblioteca della Musica, ms. Q15; Bux: Buxheimer Orgelbuch, nr 38, 137, 138, 139 – Munich, Bayerische Staatsbibliothek, Handschriften-Inkunabelabteilung 352b (olim Mus. 3725); Pz: Paris, Bibliothèque Nationale, ms. nouv. acq. français 4917; BU: Bologna, Biblioteca Universitaria, m. 2216; GT: Graduale Triplex; Gua: Guardiagrele, Chiesa di S. Maria Maggiore, cod. 1; SM572: Florence, Museo di San Marco, ms. 572; SM574: Florence, Museo di San Marco, ms. 574; Ox213: Oxford, Bodleian Library, ms. Canonici Miscellaneous 213; Ox229: Oxford, Bodleian Library, ms. Canonici Pat. lat. 229

Anonymous Con lagreme bagnandomi il viso (Bux, 38) Johannes Ciconia Petrum Marcello Venetum – motet (Q15, 248v-249r) Merçé o morte – ballata (Pz, 18v-19r; BU, 51r) O beatum incendium – contrafactum (Q15, 266v-167r)

Time 65'

Concert under the auspices of the Instituto Italiano di Cultura di Cracovia

Programme note

PAWEŁ GANCARCZYK

Without manuscripts our knowledge about music of the Middle Ages would be negligible. Graduals and antiphonaries, chansonniers and motet collections, treatises and tablatures, all contain invaluable information about the erstwhile art of music. Each source is unique, there being no identical copy of any musical volume before the invention of the printing-press. A given song or motet may have been written on paper or parchment, in a careless or calligraphic style, with added embellishments or else without any adornments or iconographic commentaries. Furthermore, copies of the same work often varied significantly. Scribes had no hesitation in introducing changes to the works they copied – from varying minor details to re-composing entire melodies or substituting original texts for new. They were generally musicians set in their ways, who served the needs of a community they worked in. At the time copyright laws were unheard of and many works by Medieval masters almost certainly survive to this day in adulterated form, far removed from their lost originals.

The very nature of Medieval culture creates numerous problems in reading careless writings, understanding early notation intricacies and identifying authors. However, it also opens up a wide range of possible musical interpretations. Every manuscript and every successive copy of a given work gives rise to ever newer research and the discovery of nuances embedded both in the music itself and the contexts in which it may have been performed. The performer’s choice of a work’s version is of importance; hence in programmes of Medieval music names of specific manuscripts are often quoted, library signature marks indicated and numerous question marks put after names, dates and titles. Questions are also raised over music from the turn of the 15th century, an era spanning the life of Johannes Ciconia. The composer was born in Liège and for a long while was confused with his father who carried the same name. During the 1390s, Ciconia the younger was probably active in Rome, after which for a dozen or so years he worked in Padua at the court of Gian Galeazzo Visconti and from 1403 until his death – as cantor of the city’s cathedral. Ciconia was the first Northern composer to enjoy such a long and successful career in Italy. 64

In his creative output – tied to the period of ‘subtler art’ (ars subtilior) – he combined various strands typical of polyphonic music practised in Italy and France. Earlier – in the 14th century – the musical traditions of these countries varied, both in terms of compositional styles and genres as well as features of music notation. However, in Ciconia’s contribution we can find French chansons and Italian ballate (e.g. Merçé o morte); a mixture of various characteristics is also noticeable in his motets. The motet was the pre-eminent genre of late medieval polyphonic music. It was also a medium for composers to exhibit the art of their musical skills by introducing subtle and allusive elements, which resulted from an amalgamation of music and text. In Ciconia’s times they were dedicated to important personages or events. The motet’s tenor part, which melody was drawn from the plainchant, was often composed on a principle of repeated rhythmic patterns with long note values, contrasted with animated upper voices. Examples of this type of motet – called isorhythmic – are Ciconia’s Albane, misse celitus and Ut te per omnes. Furthermore, from the 13th century onwards the motet adhered to the principle of polytextuality where two or three upper voices simultaneously sang different texts, enhancing a work in terms of meaning and sound. In this context, simpler and closer to Italian tradition are his motets O Padua, sidus preclarum and O felix templum jubila where isorhythm or polytextuality do not feature. The latter motet was composed for Stefano da Carrara, bishop of Padua. In Ciconia’s contribution from the ars subtilior period there are also manner ist qualities to be found, especially when compared with earlier music or the later achievements of Guillaume Du Fay. Sometimes the melodic lines follow a surprising, seemingly capricious course, voices enter into complex interactions, and rhythmic structures exhibit significant degree of complication. Differences between what belongs to a sphere of sacrum and a sphere of profanum become blurred, a tendency further strengthened by the then widely exploited practice of contrafactum, which relies on substituting an original text with another, often in a different language and with differing subject matter. An example being Ciconia’s O beatum incendium, which in effect is a contrafactum of the earlier French song in virelai form – Aller m’en veus. The opening words of this devotional work – ‘Beatum incendium’ (‘Sacred fire’) – are the motto of today’s concert. Ciconia’s music circulated in most of Europe. It also found its way to Poland in the form of two manuscripts from circa 1440, which may have originated within the circle of the royal court in Kraków. The same manuscripts contain works by another important composer from the turn of the 15th century – Antonio Zacara da Teramo as well as by Polish master, Mikołaj Radomski. Another important source containing a rich selection of motets by Ciconia is a manuscript with the signature mark ‘Q15’, produced in the Veneto region during the 1420s and 1430s, at present preserved in Bologna. It is a real treasure trove of sacred music from various regions of Europe, both of the newer genre and of that reaching back to the last decades of the 14th century. However, any study of Italian music from the late Middle Ages would be incomplete without the Faenza Codex from circa 1420, which contains music for keyboard instruments, written with the musical notation called tablature. The vast majority of compositions are intabulations,

The motet was the pre-eminent genre of late medieval polyphonic music. It was also a medium for composers to exhibit the art of their musical skills by introducing subtle and allusive elements, which resulted from an amalgamation of music and text. In Ciconia’s times they were dedicated to important personages or events.

namely vocal works arranged for an instrument. As such, we are faced with yet another aspect of circulation of music in the Middle Ages and its continual renewal within a manuscript culture. In the tablatures, we find many parts of masses, as well as motets and songs which have not survived in their original form and which authors remain anonymous. To a great extent, Northern Italian music from the end of the 14th and beginning of the 15th century is defined by a blend of various musical traditions, genres and languages and a fusion of sacred and secular as well as vocal and instrumental music. This diversity in large measure comes from the unabashed nature of a culture that existed in the pre-typographic era, when sense of authorship, originality and authenticity was minimal, and differed significantly from what we know from later eras.

Biographies of artists and ensembles are provided in an alphabetical order on pages 146-181. 65

Texts Anonymous Kyrie Kyrie eleison, Christe eleison, Kyrie eleison.

Johannes Ciconia O Padua, sidus praeclarum O Padua, sidus praeclarum, hocce nisa fulgido virtutum regula morum serto refulgens florido, te laudat juris sanctio, philosophiae veritas et artistarum concio, poematum sublimitas. Tu Anthenoris generis regis sumpsisti exordium, quo proles tua muneris genus habet egregium. Frugum, opum fecunditas telluris orta spacio, tibi servit jocunditas, fertilitas ocio. Te plena montes flumina, te castra rura florea decorant, templi culmina, edes et pontes, balnea. Tue laudis preconia per orbem fama memorat que Johannes Ciconia canore fido resonat.

Johannes Ciconia O felix templum jubila O felix templum jubila et chors tua canonici nunc plaudat corde supplici. Tu, clere, viso rutila. Qui presul divi muneris de summo missus cardine a justo nato Dardane est pastor sacri oneris. Tu genitoris Stephane, o plaustriger illustrissime, virtutes splendidissime sunt tuis factis consone: Fano novo et multis aris superis quas dedicasti ad astra iter iam parasti tibi et cuncti tui laris. Precor, patre o digna proles, justa, mitis et modesta. viciorum ac infesta, virtutibusque redolens, dignare me Ciconiam (tanti licet sim indignus) tui habere in cordis pignus es benignus quoniam.

Johannes Ciconia Albane, misse celitus I cantus

II cantus

Albane, misse celitus presul date divinitus, veni, pater Padue,

Albane, doctor maxime, virtute celo proxime, gradu nitens gemino,

cui desolate penitus confer medellam protinus duce dudum vidue.

nam decretorum insula et presulatus ferula flores sine termino.

Veni pastor animarum, sparge lumen, sidus clarum, cuncta solve debita.

Vite celestis emulus, in omni bono sedulus, te Jesu dedicasti.

Auffer quidquid est avarum nihil sinas esse amarum queque prudens limita.

Illustri domo genitus, humilitati deditus, sublima comparasti.

Justus, pius et severus quia totus es sincerus quis rimetur cetera?

O Venetina civitas, in qua perfecta bonitas virtus tanta nascitur,

Constans, lenis dominaris, vera laude predicaris, qua pertingis ethera.

hoc alumno jocunderis, tibi fulget instar veris de quo mundus loquitur.

Leteris, urbs Antenoris, adventu tanti decoris, plausu tota concine.

Viri tanti data cure qui te regit equo iure, Paduana ecclesia,

Michaele stirpe clarus, tibi antistes datur gnarus cantum numquam desine.

Christo grates laudes pange celum edis hymnis tange cum tuo Ciconia.

Texts

Johannes Ciconia Petrum Marcello Venetum I cantus

II cantus

Petrum Marcello Venetum Romano cretum sanguine, pastorem nostrum carmine laudemus bene meritum.

O Petre, antistes inclite vere virtutis speculum, quo nostrum inter seculum nos mina recto limite.

Exultet urbs Euganee adventu tanti presulis. Exultet plausu, jubilis voces sonent ethereae.

O Pater amantissime, nos oves tuas dirige et aberrantes corrige iudex cunctis justissime.

Stirps letreris Marcellina tali alumno decorata; Cuius gradu sublimata illi tota te declina.

O cleri primas Padue, nos tuos rite regula, peccantes coge ferula, sordida cuncta dilue.

Plaudat Patavinus chorus, laudes Iovi summo pangant, voce leta celum tangant, venit enim pastor verus.

Sint laudes Regi glorie qui nos te dignos redidit; Qui melon istud edidit adesto tuo Ciconie.

Johannes Ciconia Merçé o morte Merçé o morte, O vagha anima mia Oymè ch’io moro o graciosa è pia. Pascho el cor de sospir ch’altruy no’l vede E de lagrime vivo amaramente. Aymè, dolent’ morirò per la merçede Del dolce amor che’l mio cor t’apresente. O Dio, que pena è questa al cor dolente Falsa çudea almen fa me morir via. Merçé o morte, O vagha anima mia Oymè ch’io moro o graciosa è pia.

Johannes Ciconia O beatum incendium

Anonymous Hec est regina

O beatum incendium, o ardens desiderium, o dulce refrigerium, amare Dei filium.

Hec est regina virginum que genuit regem, velut rosa decora virgo. Dei genitrix per quam reperimus Deum et hominem, alma virgo [virginum], intercede pro nobis omnibus.

Portas vestras attollite, celi cives occurrite, triumphatori dicite: â&#x20AC;&#x17E;Salve Jesu, rex inclite, rex virtutum, rex glorie, tibi laus honor et imperium, Yhesu Christe, Yhesu largitor venie esto nobis refugiumâ&#x20AC;?.

Psalmus Laudate, pueri, Dominum: laudate nomen Domini. Sit nomen Domini benedictum: ex hoc nunc et usque in saeculum.

O mea delectacio, amoris consummatio, o mea consolacio, Yhesu, mundi salvacio.

Gloria Patri, et Filio, et Spiritui Sancto. Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen.

Te celi chorus predicat et laudes tuas replicat. Yhesus orbem letificat et nos Deo pacificat. Nunc prosequamur laudibus Yhesum himnis et precibus, ut nos donet celestibus frui cum celi civibus.

Anonymous Universi qui te exspectant

Anonymous Ave Regina celorum Ave, Regina celorum, ave, Domina angelorum, salve radix sancta, ex qua mundo lux est orta, gaude gloriosa, super omnes speciosa. Vale, valde decora, et pro nobis semper Christum exora.

Universi qui te exspectant, non confundentur. [Psalmus] Vias tuas, Domine, demonstra mihi, et semitas tuas edoce me.

Anonymous Alleluia. Ego sum pastor bonus Alleluia. Ego sum pastor bonus: et cognosco oves meas, et cognoscunt meae. 69

Texts

Johannes Ciconia Ut te per omnes I cantus Ut te per omnes celitus plagas sequamur maximo cultu lavandos lumina, Francisce, nostros spiritus. Tu qui perennis glorie sedes tueris omnipatris, qui cuncta nutu concutit, perversa nobis erue. Christi letus quod sumpseras vulnus receptum per tuum nobis benigne porrige [ut] de te canens gloriam, Sit illa felix regula, fratrum minorum nomine, cuius fuisti conditor, duret per evum longius.

II cantus Ingens alumnus Padue, quem Zabarellam nominant, Franciscus almi supplicat Francisci adorans numina. Sis tutor excelsis favens servo precanti te tuo, quem totus orbis predicat insignibus preconiis. Audi libens dignas preces doctoris immensi, sacer Francisce, quo leges bonas Antenoris stirps accipit. Silvas per altas alitus, in mole clausus corporis ducens viam celestium rector veni fidelium.

Anonymous Benedicamus Domino. Deo gratias.

8.09.2019, Sunday, 5 pm

Legnica, Military Academy, Royal Hall (Akademia Rycerska, Sala Królewska), ul. Chojnowska 2

Domenico Scarlatti – Tolomeo e Alessandro Performers:

Programme:

Jarosław Thiel – conductor

Domenico Scarlatti (1685–1757) Tolomeo e Alessandro – concert version (shortened)

Soloists – participants of the 44th Oratorio and Cantata Music Interpretation Course Wrocław Baroque Orchestra

The concert has a 20-minute intermission.

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

Time 150'

For programme note, see concert on 6.09, 7 pm in Szczawno-Zdrój on p. 36.

8.09.2019, Sunday, 7:30 pm

Bardo, Minor Basilica of the Visitation of the Blessed Virgin Mary (bazylika mniejsza Nawiedzenia NMP), pl. Wolności 5

Coptic Hymns Performers: Michael Ghattas – conductor Radi Morcos – cantor Coptic Orthodox Church Choir of Sacred Music

IV. Hymn <ere ne Maria (chanted as response during the reading of the Acts of the Apostles) V. Glorification hymns for Saint Mary Hymn Rase ne ` w ]yèotokoc

Hymn Deute pent/c ` ilài ton ar,iaggeli

We would like to thank Robert Pożarski for his expert consultation.

Time 75'

For programme note, see concert on 6.09, 7 pm in Wrocław on p. 30.

8.09.2019, Sunday, 8 pm

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

In the Shade of the Holy Mount Athos Greek Byzantine Choir Performers: Georgios Konstantinou – conductor Greek Byzantine Choir

Programme: Entrance Kontakion of the Akathist (ca 5th–7th c.); 4th plagal mode

Part I

9. Verses of the short polyeleos – Psalm 135 (136), melody: Dionysios Firfiris (1912–1990) in four modes; transcription: Lycourgos Angelopoulos

1. Stichos – poetic verse before Psalm 103 (104), music: Ioannis Koukouzelis (fl. 1300–1350), abridgement: Hourmouzios; 4th plagal mode

10. Trisagion – Dynamis of the Trisagion, melody: Kyriakos Ioannidis; 1st plagal mode 11. Anonymous melody; 2nd plagal mode

2. Vespers verses of psalms; 1st mode

12. The communion Hymn for Sundays; music: Ioannis Koukouzelis; 1st plagal mode

3. Sticheron for the Vespers of the Dormition of the Mother of God, music: Jacob Protopsaltis (19th c.); 1st mode

13. Kratimata, music: Ioannis Koukouzelis; 1st mode

4. Doxastikon set in all eight modes for the Vespers of the Domition, music: Petros Peloponnesios († ca 1777) We would like to thank Robert Pożarski for his expert consultation.

Time 90'

For programme note, see concert on 7.09, 7 pm in Krzeszów on p. 48.

9.09.2019, Monday, 7 pm

Wrocław, NFM, Black Hall (Sala Czarna), pl. Wolności 1

Fairy Tales. Finding or Losing Our Identity – a MusMA concert Performers:

Programme:

Katarzyna Tomala-Jedynak – conductor (Once upon a Two Times Three by Aart Strootman)

Andrea Tarrodi (*1981) Vintergatan (The Milky Way)

Jessica Bäcklund – soprano

Liesbeth Decrock (*1990) I Am

Elin Lannemyr – alto Love Tronner – tenor David Wijkman – baritone

Aart Strootman (*1987) Once upon a Two Times Three Jean-François Jung (*1982) The Formidable Mill Krzysztof Rau (*1995) Foam

Stina Ekblad – narrator

Works commisioned by festivals and organisations participating in the project; during the concert they will have their Polish premieres.

This event is part of:

MusMA Partners:

MusMA. European Broadcasting Project

National Forum of Music (Poland), Klarafestival (Belgium), Wonderfeel (Netherlands), Festival de Wallonie (Belgium), Saxå Kammarmusikfestival (Sweden)

Time 70'

Programme note

JAN TOPOLSKI

Fairy tales and classical music . . . since the beginning of the 19th century a compelling subject – for national schools and a Romantic era love of magic, terror, science fiction, and nature. Tchaikovsky and The Nutcracker, Grieg and Peer Gynt, Sibelius and The Kalevala, Dukas and The Sorcerer’s Apprentice, Rimsky-Korsakov and Scheherezade . . . Stories from a world bordering on the real and the extraordinary, have given composers a pretext for instrumental fireworks, contrasts, as well as mosaic and suite forms. In the 20th century this list has been augmented by such composers as Igor Stravinsky (Petrushka) and Béla Bartók (Bluebeard’s Castle) and in the post-war era by among others Harrison Birtwistle (Punch and Judy) or Helmut Lachenmann (The Little Match Girl). Here fantastical stories become gateways to a realm of incomprehension, where double entendres and labyrinths of meanings are revealed, quite often providing a glimpse into one’s day-to-day limitations, a chance to exceed standards and conventions as well as a possibility to see an individual’s fate in a wider context.

A similar explanation about the meaning of fairy tales is given by Peter Eriksson, author of this year’s theme within the MusMA project, cooperating with the Saxå Kammarmusikfestival in Filipstad: The subject matter of these half-unreal stories has been taken from reality – these are stories about love, jealousy, help, brotherhood, competition, sympathy, transformation, and maturing of the protagonists. We listen to fairy tales as children and we do not even realise that they remain in us for life and shape our thinking about the world. These are stories about basic human needs that raise important issues of morality. Stories in which our ancestors tried to convey ethical principles and a vision of interpersonal relations. The tales of Hans Christian Andersen, stories by Astrid Lindgren, the history of Peer Gynt and the legends of the Kalevala collection became popular throughout Europe and shaped the cultural identity of our continent.

How should the subject be approached in our times, which path should be chosen: the fantastical or psychological, the simple or ambiguous? The composers of today’s featured works, took part in a competition that was followed by workshops in the town of Filipstad; their works were premiered on 29th March at the Klarafestival in Brussels. Andrea Tarrodi from Sweden specialises in post-impressionist, colourful and at the same time epic works;

the material she chose for her Vintergatan (The Milky Way) is based on texts by Zacharias Topelius whose father was the earliest collector of Finnish folk songs, whereas he himself was credited with popularising his country’s history in the Swedish language (exploited by Sibelius). He also wrote a semi fictional, five-volume work entitled Tales of a Barber-Surgeon, which take place in the first half of the 17th century at a royal court. The Milky Way tells the story of a great love between Salami and Zulamith, who having been parted are sent to opposite poles, from where they start building a connecting bridge of light. Tarrodi exploits the required vocal quartet somewhat traditionally through textural diversity and by playing with counterpoint, which arches and spans seem to be inspired by the text. The Dutch guitarist and composer Aart Strootman, is comfortable with repetitive techniques as well as variation and canon forms; he is inspired just as much by Reich as by Radiohead – having received a doctorate for his classical guitar piece Variations on a quote by Debussy. Of particular importance in Once upon a Two Times Three are the metric patterns which propel the narrative and determine its dramaturgy and accents. The work is subtitled Arithmomania; its storyline is built on excerpts from German fairy tales, which contain meaningful numbers – three daughters, seven dwarfs, twelve miracles – that appear in the narrator part. Meanwhile the quartet singers perform mainly vocalises with their own plastic tubes accompaniment. In turn, the Belgian composer Jean-François Jung has based his work The Formidable Mill on an Ardennes legend about an ill-fated mill and on the French folk song Miller, you are asleep. Such a source of inspiration is nothing new in the output of this chorister, conductor and composer – who earlier drew on fairy tales in his The Bird, the Child and the Flute and on Ardennes folklore in his chamber opera The Castle of Titoré. The two remaining composers appear to go much further in deconstructing and developing their chosen material. The Dutch composer Liesbeth Decrock, in her I Am exploits poems from Ronald David Laing’s Knots, centred on the subject of identity – for which the lyrical subject searches desperately, vacillating between plurality and emptiness and deliberating on what is proper and what is not. To the original poetry Decrock adds a list of fairy-tale and mythical characters of shifting contours and uncertain identity, including those she once identified with: I am a unicorn, I am a witch, I am a werewolf, I am a siren, I am a leprechaun, I am fluid, I am Mr. Ripley, I am Baldanders, I am wrong, I am a construct, I am reality, I am right, I am a bonsai kitten, I am the walrus, I am a troll, I’m Mr. Meeseeks, I am certainly not narcissus, Goldmund, maybe, I am a vampire, I am agile, I am Nyan cat, I am your daughter, I am an orphan, I am Nessie, I am Reynard the fox, I am the white cat, I am the white rabbit, I am a chameleon.

In the work this statement is assigned to the narrator, who adds her commentary ‘aside’ to the vocal quartet, which races along in short clipped phrases wound around the words ‘I’, ‘me’, ‘mine’, slowing down only towards the end. Finally Krzysztof Rau, whose work entitled Foam is one of reinterpretations of Andersen’s story of The Little Mermaid – here to texts by Maeterlinck (Quinze chansons) – recently given a daring treatment by Agnieszka Smoczyńska in her film The Lure. The Wrocław composer also changes the story’s ending for the

We listen to fairy tales as children and we do not even realise that they remain in us for life and shape our thinking about the world. These are stories about basic human needs that raise important issues of morality. Stories in which our ancestors tried to convey ethical principles and a vision of interpersonal relations.

sake of reexamining the subject of jealousy and misunderstandings, constantly present in interhuman relationships. To date Rau has been known for his dark electro-acoustic sound landscapes – here with a five-part ensemble at his disposal, he willingly exploits a palette of advanced vocal techniques. Placed in four corners of the hall, the performers are faced with breathing, tonecolouring, acting and improvising challenges, all of which however serve to underline emotions hidden in the text, even when whispered. Will these fairy tales once again allow us to recognise our feelings and discover our identity?

Biographies of artists and ensembles are provided in an alphabetical order on pages 146-181. 81

Composers about Their Works Andrea Tarrodi Vintergatan (The Milky Way) Based on homonymous text by Zacharias Topelius (Translation Charles Warton Stork); fragment of this text below. Zachrias Topelius was a Swedish-speaking Finnish author, poet, journalist, historian, and rector of the University of Helsinki who wrote novels related to Finnish history. The lamps have been put out, the night is hushed and clear, And now do all the memories of vanished days appear, And tender legends flit about like gleams amid the blue, Until with sad and wondrous joy the heart is kindled too. The limpid stars look downward in the winter midnight’s glow, With blissful smile, as if no death were known on Earth below. Can you discern their silent speech? ‘ I’ll tell you, if I may, A tale the stars once told to me about the Milky Way . . .

Aart Strootman Once upon a Two Times Three Based on a number of Grimm fairy tales Once upon a Two Times Three was commissioned by Festival Wonderfeel for the ninth edition of MusMa. The theme ‘Fairy tales: finding or losing your identity’ was embraced by the composer firstly by reading all Grimm fairy tales. A recurring question was: ‘what is the story behind the numerology in these narratives?’ Three daughters, 12 o’clock, seven dwarfs. Some numbers were obviously more often chosen than others. Without directly diving into the scholarly research conducted on this theme a piece was written with this question in mind. The narrator quotes incoherently from different fairy tales and as the piece progresses (and the musical texture grows) the narrative gets slowly taken over by pure arithmomania (the compulsive desire to count objects and make calculations). The Grimm stories from which I have drawn are too many to name. Sometimes it is only half a sentence, or a few words – the collection that I have created makes for a totally new narrative.

Liesbeth Decrock I Am

In I Am I have tried to represent the feeling of not having an identity. The piece tries to convey a simultaneous multitude and lack of identity; of having no idea of who you are and having many ideas at the same time and not knowing which is right, or rather knowing that none is right. Not knowing which is right leaves you with a multitude while knowing that none is right leaves you with an emptiness.

While this theme is present in all parts throughout the piece, the vocal parts more or less deal with the question of what is owned by the self and what is not: ‘I am being done by the it I am doing’ (Ronald David Laing). The narrator deals with the multitude of identities through portraying different characters consecutively. I have looked for (fictional) characters and creatures throughout history, myths and tales that have one of these features: they are unbelievable or obviously not real, they are shapeshifters, cheap references to pop culture used to please, or characters that I have personally identified with at one point. In the score, the narrator is asked to exclaim to be each character with absolute certainty. This illustrates the impossibility of the multitude: you can’t be all. The text consists of fragments by R. D. Laing from his poetry album Knots (1970, Penguin Books), to which I added original fragments.

Jean-François Jung The Formidable Mill A collapsological allegory for SATB, narrator and Tibetan bowl This music is a hyphen that comes from the past and tends towards the future. It is also a crossroads where the popular song crosses the centuries, the contrapuntal scholarly style of yesteryear, and a harmonic language closer to us. It is still the memory of a meeting: that of the reality of a globalisation, contemporary style which ends up being right in the world of legends, know-how, and symbols specific to a region that it now replaces. And all this served by the one voice . . . the first musical instrument of the man, and no doubt, his last. The dynamics of the ‘great mill’ is based on the slippage from one of these magnetic poles to another, as time seems to accelerate, spoil... And if it seemed like all things could suffer from itself and have an end?

Krzysztof Rau Foam Lyrics used in the piece are combination of different songs from the Quinze Chansons by Maurice Maeterlinck. Inspired by The Little Mermaid (Danish: Den lille Havfrue) by Hans Christian Andersen. Quite a peculiar treatment of Andersen’s fairy tale, in which the composer ‘adds’ the ending that applies to the prince and his beloved one. The piece addresses the power of misunderstanding and jealousy that has always been present in human civilisation – simple words, actions and feelings understood in a wrong way, can cause a tragedy.

9.09.2019, Monday, 7 pm

Bolesławiec, Minor Basilica of the Assumption of the Blessed Virgin Mary and St Nicholas (bazylika mniejsza Wniebowzięcia NMP i św. Mikołaja), ul. Kościelna 3

In the Shade of the Holy Mount Athos Greek Byzantine Choir Performers: Georgios Konstantinou – conductor Greek Byzantine Choir

Programme: Entrance Kontakion of the Akathist (ca 5th–7th c.); 4th plagal mode

Part I

9. Verses of the short polyeleos – Psalm 135 (136), melody: Dionysios Firfiris (1912–1990) in four modes; transcription: Lycourgos Angelopoulos

1. Stichos – poetic verse before Psalm 103 (104), music: Ioannis Koukouzelis (fl. 1300–1350), abridgement: Hourmouzios; 4th plagal mode

10. Trisagion – Dynamis of the Trisagion, melody: Kyriakos Ioannidis; 1st plagal mode 11. Anonymous melody; 2nd plagal mode

2. Vespers verses of psalms; 1st mode

12. The communion Hymn for Sundays; music: Ioannis Koukouzelis; 1st plagal mode

3. Sticheron for the Vespers of the Dormition of the Mother of God, music: Jacob Protopsaltis (19th c.); 1st mode

13. Kratimata, music: Ioannis Koukouzelis; 1st mode

4. Doxastikon set in all eight modes for the Vespers of the Domition, music: Petros Peloponnesios († ca 1777) We would like to thank Robert Pożarski for his expert consultation.

Time 90'

For programme note, see concert on 7.09, 7 pm in Krzeszów on p. 48.

9.09.2019, Monday, 7 pm

Oleśnica, Minor Basilica of St John the Apostle and Evangelist (bazylika mniejsza św. Jana Apostoła i Ewangelisty), ul. Zamkowa 1

Coptic Hymns Performers: Michael Ghattas – conductor Radi Morcos – cantor Coptic Orthodox Church Choir of Sacred Music

IV. Hymn <ere ne Maria (chanted as response during the reading of the Acts of the Apostles) V. Glorification hymns for Saint Mary Hymn Rase ne ` w ]yèotokoc

Hymn Deute pent/c ` ilài ton ar,iaggeli

We would like to thank Robert Pożarski for his expert consultation.

Time 75'

For programme note, see concert on 6.09, 7 pm in Wrocław on p. 30.

10.09.2019, Tuesday, 7 pm

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

A Mediterranean Mosaic Mozarabic Chant Performers: Ensemble Organum: Marcel Pérès – artistic direction Jean-Christophe Candau, Jérôme Casalonga, Frédéric Tavernier, Jean-Étienne Langianni, Ahmed Saher

Programme: Procession: In memoria aeterna erit iustus I. Per gloriam nominis tui Christe – Mozarabic call to prayer Allaho akbar – Muslim call to prayer II. Alleluia Beatus homo quem tu erudisti Recitation: Et erit tamquam lignum Kam laka mine ni’matine alaya III. In omnem terram In omnem terram exivit sonus eorum Tahya bikom kolou ardine

IV. Benedicam te Recitation: Laetatus sum in his quae dicta sunt mihi Benedicam te dicit Dominus V. Alleluia Videant pauperes et laetentur Tarakto baba arraja VI. Os iusti Recitation: In medio ecclesiae aperuit os eius Bi adoulli kad wafayto babaka VII. Alleluia Recitation: Si ambulem in medio umbrae mortis Alleluia De profundis clamavi ad te, Domine Zidni bi faradi al houbi VIII. In memoria aeterna erit iustus Recitation: In die illa In memoria aeterna erit iustus Homo al jiba’lo We would like to thank Robert Pożarski for his expert consultation.

Concert under the auspices of the Institut français de Pologne

Time 60'

Programme note For the first time is revealed the common breath which passes through Islamic song and Christian song of the origins. Men come together to keep watch and sing in Greek, Latin, Arabic . . . Dogmas, historical events, theology – the ingredients of individual identities which separate them from the other are here forgotten. Only the act of singing persists . . .

SAMAA – MOZARABIC CHANT 15th–21st century

Samaa refers to a repertoire of Sufi brotherhoods, formed in Andalusia and Morocco since the 14th century. Mozarab is the word used to refer to Christians who maintained their faith during the Muslim administration of the Iberian Peninsula, from the 8th to the 15th century. This programme testifies to a work begun in 1997. On the occasion of the year which in France was devoted to the celebration of the Moroccan culture, named ‘1999. The time of Morocco’, Marcel Pérès had decided to start on an ambitious project: to decipher what he called ‘the genetic codes of the spiritual’. The basic axiom was simple: regardless of cultures, religions, movements of history, humans remain humans, in their bodies, their homo sapiens destinies, their way of turning to what infinitely surpasses them. Thus, in the expression of what concerns the religious, the idea consisted in focusing on the vocal act, to highlight what – beyond the dogmas and meanders of the religious thought – expresses in a similar way the invocation that connects man to what transcends his condition. The Moroccan Samaa and the 15th-century Mozarabic chant are the ideal material for exploring these genetic codes. Historically, these two repertoires come from the same geographical region: North Africa and the Iberian Peninsula. The Mozarabic song of the 15th century was formed at the same time as the repertoire of Muslim brotherhoods that practice Samaa. In fact, the musical formulae, the cadences, the rhythms, the modality are the same. It remained only to explore these territories of music and memory, by uniting the Ensemble Organum with Moroccan singers who live the song of Samaa since childhood. 90

. . . regardless of cultures, religions, movements of history, humans remain humans, in their bodies, their homo sapiens destinies, their way of turning to what infinitely surpasses them. Thus, in the expression of what concerns the religious, the idea consisted in focusing on the vocal act, to highlight what â&#x20AC;&#x201C; beyond the dogmas and meanders of the religious thought â&#x20AC;&#x201C; expresses in a similar way the invocation that connects man to what transcends his condition.

The programme for this concert takes the form of a dialogue. Sometimes, they all foregather to sing together in Latin or Arabic, carried by the same breath, the great songs that constitute the living memory of the Sufi song and this Christian art of religious song, now out of memory, but which providentially continues to live even now in the fraternities of Samaa. There lies the miracle of this encounter. Thanks to the dynamism still at work in the Samaa, the Latin song regains its primary energy. The art of improvised recitation, the Moroccan muwel, gives Latin recitatives their strength of origin. And . . . one begins to dream . . . and if peace, the peace so hoped for by humans, was there, very near . . . within reach . . .

The programme note was prepared on the basis of the materials provided by Ensemble Organum.

Biographies of artists and ensembles are provided in an alphabetical order on pages 146-181. 91

Texts In memoria eterna erit iustus Procession

In memoria eterna erit iustus, ab auditu malo non timebit. Paratum est cor eius sperare in Domino. Confirmatum est donec videat inimicos suos. Ab auditu malo non timebit.

Kam laka mine niâ&#x20AC;&#x2122;matine alaya

I owe you all the graces. You whose goodness is inexhaustible. Your breath created me long before my parents created me. You made me Muslim, and without your favor I would not have known the prophet. With all the gestures of reverence, I give you allegiance.

III. In omnem terram I. Per gloriam nominis tui Christe Mozarabic call to prayer

Per gloriam nominis tui, Christe, Fili Dei vivi, et per intercessionem Sancte Marie Virginis et Beati Jacobi et omnium sanctorum tuorum, auxiliare et miserere indignis servis tuis; et esto in medio nostri, Deus noster, qui vivis et regnas in secula seculorum. Deo gracias.

Allaho akbar Muslim call to prayer

God is great and greatness is Godâ&#x20AC;&#x2122;s. I testify that there is only one God, and that Mohammed is his prophet Come to prayer, run to salvation. God is great, greatness is Godâ&#x20AC;&#x2122;s. I testify that there is only one God.

II. Alleluia

Alleluia. Beatus homo quem tu erudisti Domine, Et de lege tua docuisti eum. Recitation Et erit tamquam lignum quod Plantatus est sicut decursus aquarum. Et omnia quaecumque fecerit prosperabuntur.

In omnem terram exivit sonus eorum et in fines orbis terre verba eorum. Non sunt loquelle neque sermones quibus non audiantur voces eorum.

Tahya bikom kolou ardine Like a rain, You live the land you visit Like roses, the eyes rejoice at your sight. Your light, like a moon, guides the traveler.

IV. Benedicam te

Recitation Laetatus sum in his quae dicta sunt mihi: In domum Domini ibimus. Stantes erant pedes nostri in atriis tuis, Jerusalem. Fiat pax in virtute tua et abundantia in turribus tuis. Propter fratres meos et proximos meos Loquebar pacem de te.

Benedicam te dicit Dominus Benedicam te dicit Dominus, adscribam super te nomen meum novum et nomen civitatis magne nove Hierusalem. Benedicam te Domine qui fecisti celum et terram.

V. Alleluia Alleluia.

Tropes en grec Videant pauperes et laetentur. Querite Dominum et vivat anima vestra.

Tarakto baba arraja

When everyone falls asleep, I turn to hope, and complain to you, the one who cannot be found. I say to myself: O Thou my hope in adversity, Thou my support to dispel misery I entrust to you the recriminations that I could not bear, contrite, I have extended my hand, O You my last recourse. Don’t reject my request; your generosity fills every beggar.

VI. Os iusti

Recitation In medio ecclesie aperuit os eius Et implevit eum dominus spiritu sapientie et intellectu; Stolam glorie induit eum Os iusti meditabitur Sapientiam. Et lingua eius loquetur iudicium. Lex Dei eius in corde ipsius, et non supplantabuntur gressus eius.

Zidni bi faradi al houbi

Because of your love my hesitation grows. My heart is inflamed by your mercy And if I ask You to really see you Be conceding and do not deprive me of this favor. O heart! do not worry, be patient in your love. Love is life, you can enjoy it without being blamed…

VIII. In memoria eterna erit justus Recitation In die illa…

In memoria eterna erit iustus. Ab auditu malo non timebit. Paratum est cor eius sperare in Domino. Confirmatum est donec videat inimicos suos. Ab auditu malo non timebit.

Homo al jiba’lo

Like mountains that clash, inquire as to what is going on, when the disbelievers meet those who are subjected to God. O you, my Lord, at my invocations you answer me despite my trouble No matter what happens, you protect me. How can I forget you, O! You, who never forgets me.

Bi adoulli kad wafayto babaka

Out of humility and desire to know, I stood before your door because standing there is salutary. From You, I have made my viatique and I beg you: transform the impasses, make them issues. Be considerate towards us, O You who is our last recourse.

VII. Alleluia

Recitation Si ambulem in medio umbre mortis, non timebo malo, Quoniam tu mecum es, Domine Alleluia. De profundis clamavi ad te, Domine, Domine exaudi vocem meam. 93

11.09.2019, Wednesday, 7 pm

Głogów, Collegiate Church of the Assumption of the Blessed Virgin Mary (kolegiata Wniebowzięcia NMP), pl. Kolegiacki 10

Time 60'

Concert under the auspices of the Institut français de Pologne

For programme note, see concert on 10.09, 7 pm in Wrocław on p. 88.

12.09.2019, Thursday, 7 pm

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

Alessandro Scarlatti – Rediscovered Works Performers:

Programme:

Paolo Da Col – conductor

Alessandro Scarlatti (1660–1725)

Odhecaton

Missa defunctorum a 4 voci e basso continuo I. II. III. IV. V. VI. VII. VIII. IX.

Introitus Kyrie Graduale Sequentia: Dies irae Sequentia: Lacrimosa Offertorium Sanctus Agnus Dei Communio

Miserere mei, Deus a 9 voci in doppio coro Magnificat a 5 voci e basso continuo Concert under the auspices of the Instituto Italiano di Cultura di Cracovia

Time 70'

I. II. III. IV. V. VI. VII. VIII.

Magnificat Quia respexit Quia fecit Fecit potentiam Deposuit potentes Esurientes implevit bonis Sicut locutus est Gloria Patri

Programme note

PIOTR MACULEWICZ

The biography of Alessandro Scarlatti reveals the extraordinary scale of this composer’s activity, who in his day enjoyed enormous fame and authority but then for over two centuries fell almost entirely into oblivion. He was born in Sicilian Palermo, where he received his first musical education, however when still a child he moved with his mother (probably following the death of his father) to Rome, which turned out to be an excellent location for development of the young genius. By the time he was eighteen he had married Antonia Anzaloni and acquired his first position as maestro di cappella at the church of San Giacomo degli Incurabili (a few years later another at San Girolamo della Carità). He soon came to the notice of Rome’s aristocracy, gaining the patronage of such powerful figures as Cardinal Benedetto Pamphili or Queen Christina of Sweden, a patron of the arts resident in Rome at the time.

The success of his comic opera Gli equivoci nel sembiante pointed to the composer’s future principal metier, however Rome in the times of Innocent XI was not an ideal place for a composer of stage music – the pope was extremely averse to public opera presentations, hence they were limited to private performances in aristocratic palaces. Consequently Scarlatti turned to Naples – a city which in the last decades of the 17th century was beginning to take over from Venice the role of Italy’s leading operatic centre. With the support of Rome patrons, he stepped boldly into the musical world of the Campanian metropolis (ruled by the Spanish), eliciting envy and intrigue among local composers. Receiving the title of maestro di cappella from the viceroy of Naples, he gained almost complete dominance over the city’s theatricalcum-musical life for nearly 17 years. After this period, relations with the court grew complicated and the composer decided to return to Rome, where he quickly found a new patron in the widowed Queen Maria Casimira of Poland. However a city without a permanent operatic stage fell short of Scarlatti’s aspirations, hence in search of a position and commissions he visited Florence, Urbino and Venice (where he failed miserably), only to return in 1708 to the city of his greatest successes – Naples. Here he remained for the next decade, although due to changing musical tastes his new works were not as enthusiastically received as in the past. Nevertheless he was finally able to stage his operas also in Rome (where he resettled in 1717 – although he died in Naples in 1725), among others at the Teatro Capranica, opened in 1711 after more than a dozen years of papal prohibition. This was the venue where his superb late operas like Telemaco, Attilio Regolo and Griselda were performed.

The vast majority of Alessandro Scarlatti’s rich and varied sacred works are composed in a style closely resembling operatic conventions, particularly his oratorios (written mostly for Rome) – understandably so, as they represented the equivalent of operas performed during the periods of Lent and Advent (and in view of restrictions in the Papal States – as their equivalent in general, regardless of period). The majority of his Latin motets are also structured to resemble cantatas and serve to display vocal prowess. The same does not apply to his Masses, as of the ten known settings of the ordinarium only two are in a Baroque concertato style and of a cantata type, the rest – including Missa defunctorum we shall hear tonight – are in stile antico or else prima pratica. At the beginning of the 17th century this concept was still understood as adherence to the principles of Renaissance counterpoint, modelled on the compositions of Palestrina. Soon however, the catchphrase ‘alla Palestrina’ began to be treated rather loosely in association with all types of a cappella music (during the Baroque accompanied by organ), composed without observing the strict rules of stile osservato. Church works of this type were treated as functional music written in haste (as Paul McCreesh once said ‘on a Saturday night for Sunday Service’) often distinguished by their simple, generally homophonic textures with only slight elements of imitation. Expressive dissonances and suspensions were also readily introduced in a manner unacceptable in the days of Palestrina. Nevertheless Scarlatti’s works in stile antico demonstrate that when an outstanding composer reached for such measures he often created music which transcended the said utilitarian norms. Missa defunctorum is known from a manuscript (a partly autograph copy dated 1717), stored presently at the Biblioteca Civita in Bergamo and which bears traces of multiple ownership. For most of the time it was to be found in London, having been acquired in the 18th century by the British organist and collector, John Stanley. Years later the manuscript fell into the hands of Italian cellist Alfredo Piatti, at the time working in London, and as part of his legacy returned to Italy. The circumstances surrounding the composition and performances of this work are unknown – we can assume they were associated with the funeral of an important personage in Rome. The work may have been repeated at the memorial service for the mother of Cardinal von Althann, the Viceroy of Naples in 1724, which we know was accompanied by Scarlatti’s music (we do not know of any other setting of the composer’s Requiem). In recent times the work was performed among others during the funeral service for Igor Stravinsky in 1971 at the Venetian church of San Giovanni e Paolo, after which for decades it again fell into oblivion. The Mass in D minor is distinguished for its juxtaposition of noble simplicity and contrapuntal artistry. It is somewhat succinct and toned-down in terms of expression. In this work the composer exploits free counterpoint with hardly any elements of strict imitation, also avoiding chordal textures nota contra notam. The composition is slightly reminiscent in style to Officium defunctorum composed in 1603 by Tomás Luis de Victoria – was Scarlatti familiar with this work? The question remains open. The sparingly applied, yet expressive means of musical rhetoric, emphasize the most important words of the text, while in keeping with traditions of the genre the work’s culmination point comes in the final segment of the sequence Dies irae – Lacrimosa with its delightfully subtle chromatic harmonies (here outright redolent of the daring harmonies in the Prince of Venosa’s music).

Other outstanding compositions by Alessandro Scarlatti in the post-Renaissance stile antico, are his musical settings of the officium including his nine-part psalm Miserere mei, Deus (ca 1708) preserved in the archives of the Vatican’s Sistine Chapel. We know however that the work was not included in the permanent repertoire of the papal vocal ensemble, which remained faithful to Gregorio Allegri’s renowned version, arrangements of which were created by among others, Tommaso Bai. Although Scarlatti’s work adheres to the scheme of time-honoured traditions of the Sistine (division into two choirs, alternation of polyphonic settings with plainchant), it was probably overly elaborate and did not allow enough margin for improvised diminutions, which the papal singers were famous for. Scarlatti’s setting (written at a time and in circumstances today completely unknown) of the Marian canticle Magnificat anima mea Dominum according to the Gospel of St Luke sung at the end of liturgical vespers, stands out from other prima pratica compositions of the era for its ‘hybrid’ character; namely it breaks with earlier conventions by introducing solo fragments and an independent continuo part. Here the composer reaches for a rich palette of tone-colour traditionally associated with canticle settings. Ascending figures underline words related to Mary’s spiritual joy (‘exsultavit spiritus meus’) or the elevation of the meek (‘exaltavit humiles’) and text describing the dethroning of the mighty (‘deposuit potentes’) is set with descending melodic lines. References to God’s mercy (‘misericordiae suae’) – assigned to a trio of two sopranos and tenor – are accompanied with subtle, expressive dissonances.

Biographies of artists and ensembles are provided in an alphabetical order on pages 146-181. 99

Texts Alessandro Scarlatti

Sequentia

Missa defunctorum

Dies irae, dies illa, Solvet saeclum in favilla: Teste David cum Sibylla.

Introitus Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. Te decet hymnus, Deus, in Sion, et tibi reddetur votum in Jerusalem. Exaudi orationem meam, ad te omnis caro veniet. Requiem aeternamâ&#x20AC;Ś

Kyrie Kyrie, eleison. Christe, eleison. Kyrie, eleison.

Quantus tremor est futurus, Quando iudex est venturus, Cuncta stricte discussurus! Tuba, mirum spargens sonum Per sepulcra regionum, Coget omnes ante thronum. Mors stupebit et natura, Cum resurget creatura, Iudicandi responsura. Liber scriptus proferetur, In quo totum continetur, Unde mundus iudicetur. Iudex ergo cum sedebit, Quidquid latet, apparebit: Nil inultum remanebit.

Graduale Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. In memoria aeterna erit justus. Ab auditione mala non timebit.

Tractus Absolve, Domine, animas omnium fidelium defunctorum ab omni vinculo delictorum. Et gratia tua illis succurente, mereantur evadere judicium ultionis. Et lucis aeternae beatitudine perfrui.

Quid sum miser tunc dicturus? Quem patronum rogaturus, Cum vix iustus sit securus? Rex tremendae maiestatis, Qui salvandos salvas gratis, Salva me, fons pietatis. Recordare, Iesu pie, Quod sum causa tuae viae: Ne me perdas illa die. Quaerens me, sedisti lassus: Redemisti Crucem passus: Tantus labor non sit cassus. Iuste iudex ultionis, Donum fac remissionis Ante diem rationis. Ingemisco, tamquam reus: Culpa rubet vultus meus: Supplicanti parce, Deus.

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Qui Mariam absolvisti, Et latronem exaudisti, Mihi quoque spem dedisti. Preces meae non sunt dignae: Sed tu bonus fac benigne, Ne perenni cremer igne. Inter oves locum praesta, Et ab haedis me sequestra, Statuens in parte dextra. Confutatis maledictis, Flammis acribus addictis: Voca me cum benedictis. Oro supplex et acclinis, Cor contritum quasi cinis: Gere curam mei finis.

Sequentia Lacrimosa dies illa, Qua resurget ex favilla Iudicandus homo reus: Huic ergo parce, Deus. Pie Iesu Domine, Dona eis requiem. Amen.

Offertorium

Hostias et preces tibi, Domine, laudis offerimus: tu suscipe pro animabus illis, quarum hodie memoriam facimus: fac eas, Domine, de morte transire ad vitam. Quam olim Abrahae promisisti, et semini ejus.

Sanctus Sanctus, sanctus, sanctus Dominus Deus Sabaoth. Pleni sunt caeli et terra gloria tua. Hosanna in excelsis. Benedictus qui venit in nomine Domini. Hosanna in excelsis.

Agnus Dei Agnus Dei, qui tollis peccata mundi, dona eis requiem. Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam.

Communio Lux aeterna luceat eis, Domine: Cum Sanctis tuis in aeternum: quia pius es. Requiem aeternam dona eis, Domine: et lux perpetua luceat eis. Cum Sanctis tuis in aeternum: quia pius es.

Domine Jesu Christe, Rex gloriae, libera animas omnium fidelium defunctorum de poenis inferni et de profundo lacu: libera eas de ore leonis, ne absorbeat eas tartarus, ne candant in obscurum: sed signifer sanctus Michael repraesentet eas in lucem sanctam: Quam olim Abrahae promisisti, et semini ejus.

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Texts

Miserere mei, Deus

Magnificat

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 justificeris in sermonibus tuis, et vincas cum judicaris. 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 hyssopo, et mundabor; lavabis me, et super nivem dealbabor. Auditui meo dabis gaudium et laetitiam: et exsultabunt ossa humiliata. Averte faciem tuam a peccatis meis: et omnes iniquitates meas dele. Cor mundum crea in me, Deus: et spiritum rectum innova in visceribus meis. Ne proicias me a facie tua: et Spiritum sanctum tuum ne auferas a me. Redde mihi laetitiam salutaris tui: et spiritu principali confirma me. Docebo iniquos vias tuas: et impii ad te convertentur. Libera me de sanguinibus, Deus, Deus salutis meae: et exsultabit lingua mea justitiam tuam. Domine, labia mea aperies: et os meum annuntiabit laudem tuam. Quoniam, si voluisses sacrificium, dedissem utique: holocaustis non delectaberis. Sacrificium Deo spiritus contribulatus: cor contritum et humiliatum, Deus, non despicies. Benigne fac, Domine, in bona voluntate tua Sion: ut aedificentur muri Jerusalem. Tunc acceptabis sacrificium justitiae,oblationes et holocausta: tunc imponent super altare tuum vitulos.

Magnificat anima mea Dominum, et exsultavit spiritus meus in Deo salutari meo.

Psalm 51 (50)

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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

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12.09.2019, Thursday, 7 pm

Nowogrodziec, Centre for Culture and Art ‘Muza’ (Centrum Kultury i Sztuki „Muza”), ul. Lubańska 39

Songs from the Forests and Fields Traditional Polish Folk Music Performers:

Hej, w zielonym gaiku zaśpiewaj nam słowiku (‘Waliszowianie’ ensemble) Tam, w ogródeczku (Oliwia Łuszczyńska)

Feliksa Cierlik, Oliwia Łuszczyńska, Joanna Matusiak, Michalina Mrozik, Zofia Tarasiewicz – folk singers

U jeziora zimna woda (‘Gościszowianie’ ensemble)

Highland-style song theatre ensemble ‘Dunawiec’ from Zbylutów ‘Gościszowianie’ ensemble from Gościszów

Na zielonej horce szubieniczki (Highland-style song theatre ensemble ‘Dunawiec’)

Lemko ensemble ‘Łastiwoczka’ from Przemków

Pod lodem woda (Oliwia Łuszczyńska)

‘Waliszowianie’ ensemble from Nowy Waliszów

Wletiło jabłoczko (Lemko ensemble ‘Łastiwoczka’)

Henryk Dumin – host

Ej, dej mie mamo (Joanna Matusiak)

W szczerym polu ptaszek siada (Oliwia Łuszczyńska)

Oj, siadaj, siadaj kochanie moje (Feliksa Cierlik)

Programme:

Spadła iskierka do ogródeczka (Zofia Tarasiewicz) Chudobno mie mama miała (Joanna Matusiak) Ide ja se, ide (Feliksa Cierlik)

Mom jo se Janicka (Joanna Matusiak) Szesnastego lipca z rana (‘Gościszowianie’ ensemble)

Oj, wersze mij, wersze (Lemko ensemble ‘Łastiwoczka’) Czyjeż to kuniczki po horce brykają (Zofia Tarasiewicz)

Tam pod lasem, pod podolskim (Michalina Mrozik)

Hej, nam hej! W polu na ugorze (‘Gościszowianie’ ensemble)

W szczyrym polu grusza stoi (Highland-style song theatre ensemble ‘Dunawiec’)

Paśli pasterze woły (‘Waliszowianie’ ensemble) Dzieciątko się narodziło (‘Waliszowianie’ ensemble)

Cinka koszulinka (Zofia Tarasiewicz)

Buki moje, buki, uż mi nie szumicie (Highland-style song theatre ensemble ‘Dunawiec’)

Swit mi misjaczku (Lemko ensemble ‘Łastiwoczka’) Jakżem jechał z karczemki (Michalina Mrozik)

Time 90'

Ej, Janicku (Joanna Matusiak)

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Programme note Tradition – the relics of a gigantic ‘song-map’: that all the to-ing and fro-ing of gods and goddesses, the caves and sacred springs, the sphinxes and chimaeras, and all the men and women who became nightingales or raven, echoes or narcissi, stones or stars. Bruce Chatwin, Songlines

HENRYK DUMIN

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Our story begins after the end of the war, at a Lower Silesian railway station, where people from all regions were arriving in droves. In 1945 political decisions concerning redrawn borders had triggered the start of a mass ‘migration period’. As a consequence of this migration a million and a half refugees found themselves in an unfamiliar place – in Lower Silesia, where expatriates from the Eastern Borderlands and Subcarpathia were joined by among others, Polish repatriates from the former region of Bukovina and Bosnia. Some managed to retain a tight-knit system of settlement, which significantly contributed to preserving the burden of tradition. Thanks to this, ties to territories abandoned during resettlement were never permanently severed. The musical folklore that survived consisted mainly of songs – continually sung in villages and remembered in a whole wealth of variants. They contain a cultural code associated with traditional systems of ethical values and aesthetics; their stylistics perpetuated in the canons of performance practices. They come from a bygone era, one might define as mythical times, when oral transmission formed the basis of communication in rural communities. Civilizational changes brought this era to an end, thus the songs that survived from that times may be treated as ancient folk music. In Lower Silesia we come across unique examples of song repertoires, originating from territories of a former Poland. They contain a reservoir of archetypal events from a commonly shared history and express authentic feelings experienced by past generations. To this day, the universal qualities of these songs remain unchanged. Works present in today’s repertoire must be accepted by community, continually performed and reproduced in variants affirming its topicality. The role of the performer remains one of choice and evocative delivery. An opportunity for this used to be provided at wedding or harvest festival ceremonies, during mutual herding of cattle, when enlisting in the army or through rituals at feast-day banquets. Performances of early folk music were never the preserve of elderly people. The next, post-war generation is currently in the process of voluntarily taking over its ancestral repertoire. One distinguished performer is Michalina Mrozik from Przejęsław, who has lived

at the heart of the Lower Silesian Forest since she settled there in 1946. Her father Władysław Kida, as a four-year-old emigrated with his parents from their native Volhynia. Songs inherited from her father Michalina has raised to a level of minor masterpieces. The song Tam pod lasem, pod podolskim (In those Podolian woods) was probably sung as early as 1683 in the military camp of King John III Sobieski during the Battle of Vienna with the Turks. It has survived to this day, conveyed orally by Polish repatriates from Bosnia. Born also in the Balkans, one of the members of the ‘Gościszowianie’ ensemble relates how nowadays she walks to work in the fields with her teenage grandson, together singing songs she learnt in childhood. Another ‘Gościszowianie’ member recalls how in 1944 her widowed mother used to walk with her and her siblings to work in the fields, providing her children with a work rhythm by a constant humming of numerous songs. They remain in her daughter’s memory to this day, including the ancient song Szesnastego lipca z rana (On the morning of sixteenth July), about family dramas of parting with sons on their way to war. Feliksa Cierlik also comes from the Bosnian group of Poles. Her decision to reveal her talent came rather late, albeit with excellent results in the form of numerous awards from folklore festivals together with public recognition. Her songs are imbued with wisdom and a certain note of sarcasm, as in the song Ide ja se, ide z rozkoszy na bide (I’m on my way, from bliss to misery)... Silesian highlanders from the Lesser Poland-Slovakian borders, who had settled in Bukovina in the 19th century, came to Lower Silesia in 1946. They recall how before the war country dwellers would meet in the village of Dunawiec and sing together on a hill called Wieża (Tower). There they would perform one of the most unusual love songs Na zielonej horce szubieniczki (Gallows on the green hill) about the dramatic choice of a girl, in love with her boyfriend’s best friend. Another descendent of this group is Zofia Tarasiewicz. She was taught the songs by her grandfather Michał Irski, who during World War I was batman to Józef Piłsudski. The singer has committed to memory numerous songs recalled from childhood, among them an orphan’s wedding song. The female ensemble from Nowy Waliszów in Podolia, has to date retained a rich repertoire of ancient songs as well as traditional costumes. Preserved among them is a sheepskin coat of 1915, an important stage prop during their carol singing. Its fur, turned inside out acts as a symbol of augured good harvest. Joanna Matusiak from Borówno is descended from the Janik family, originally from Podhale. Her close relatives to this day religiously cultivate traditional ways of playing instruments, dancing and singing. Her high-frequency white voice with an exceptional force of expression appears to exceed all possible registers, confirming the young singer’s inborn talent for a spectacular folk singing in mountain pastures. The message contained in the contemplative song Ej, Janicku (Hey, Johnnie) has universal dimensions. The talent of the not yet twenty-year-old Oliwia Łuszczyńska was discovered by chance. She was taught singing by her grandfather, who came from the San river area borderlands. Her lyrical style is particularly suited to performances of maidenly songs with an erotic subtext, belonging to a so-called elevated style,

which avoids literal interpretations by exploiting subtle allusions as means of expression. Her search for new material resulted in a meeting with a woman from her native village of Krosnowice near Kłodzko. Łuszczyńska received from her the song entitled W szczerym polu ptaszek siada (In the middle of nowhere sits a bird) given to older woman long ago by a carelessly discarded lover. On leaving he said with regret: ‘Żeby słoneczko na twym obliczu nigdy nie zaświeciło’ (‘May the sun never shine on your face’). What remains is a love song, sung today by Oliwia, and the older woman’s reflection’s that ‘chyba to się sprawdziło’ (‘it probably proved to be true’). A group of Lemko singers from Przemkowo are greatly admired for their masterly perfor mances of songs from their homeland, abandoned in 1946. In the life of this group singing is present on a daily basis. During one communal meeting, an old woman sitting at a table with her three adult sons, intoned works of exceptionally archaic melody, ignoring the surrounding din and commotion caused by revellers. These songs formed the whole world, immersed in which those present repeated to themselves each phrase. This intense, communal conveying of tradition became a way of protecting cultural identity. The imagined meeting of singers took place in 1945 or 1946 at one of Lower Silesia’s railway stations, after an arduous journey of several weeks, fraught with difficulties . . . It may have been a sunny afternoon or equally well a wintery evening in a still alien country, where a new chapter of their life was about to commence.

Biographies of artists and ensembles are provided in an alphabetical order on pages 146-181. 107

Texts Mom jo se Janicka Mom jo se Janicka, pod reglami w lesiy, Przydziy bystro woda, to mi go przyniysiy. Śniło mi siy w nocy ku samemu raniu, żek podała rąckę swojemu kochaniu. Choćby jo śpiywoła, góry powolała, Mój miyły nie cujy, daleko nocujy. Dunaju, Dunaju syroko wylywos, Ty mój kochanecku, ty ku mie nie bywos.

Szesnastego lipca z rana Szesnastego lipca z rana wzeszło słonko krwawo. Wszystkich chłopców urodziwych na wojne zabrano. Czemużeś mnie moja mamo ty rano nie zbudziła, Kiedy pierwsza rota wojska na wojne wyruszyła? Jedzie szlachta na trzy trachta, a Rusiny na śtyry, A my bidne Polaczyny tam na polu stoimy. Płacze ojciec, płacze matka, płaczą te drobne dziatki, Jak zabrali polskich chłopców jak lilijowe kwiatki. Płacze ojciec, płacze matka, płacze niejedna żona. Jak nie było, tak nie będzie i gospodarza w doma. Jak zabrali, tak zagnali aż za czerwone morze. Stamtąd przejść ani przejechać żaden żołnierz nie może. Wstane ja se raniusieńko, oj przed wschodem słoneczka. Pójde szukać, może znajde i polskiego ptaszeczka. Jak znalazłem, tak znalazłem te polską kukułeczkę. Powiedzże mi kukułeczko o Polsce nowineczkę. Opowiem ci nowineczke, oj nowinke, nowine, Że niejeden ojciec, matka, zapłacze za swym synem. Niechaj oni się nie martwią i niech oni nie płaczą. Na Jozafata dolinie, tam się z nami zobaczą.

Tam pod lasem, pod podolskim

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Tam pod lasem, pod podolskim stoi cesarz ze swym wojskiem. Stoi, stoi i siermuje, więcej wojska potrzebuje. Pisze listy i rozsyła, kto ma brata, niech posyła. Starsza siostra brata miała, na wojenke go wysłała.

Jedźże bracie w świat daleki, nie przyjeżdżaj za trzy roki. Minął roczek i półtora, maszeruje wojsko z pola. Starsza siostra zobaczyła i okienko otworzyła. Na dzień dobry wam, panowie. Jak daleko brat na wojnie? Niedaleko, w szczerym polu. Trzyma główkę na kamieniu. Koniś jego kole niego grzebie nóżką, żałuje go. Póki pan mój na mnie siadał, jam se drobny owies jadał. Teraz nie mam garstki sieczki, stoję we krwi pół kosteczki. Teraz nie mam garstki siana, stoję we krwi po kolana. Teraz nie mam garstki słomy, rozerwią mnie kruki, wrony. Kruki, wrony się zleciały i konisia rozszarpały. Kruki, wrony nie krakajcie, ojcze, matko nie płakajcie. Kruki, wrony krakać będą, nasze serca płakać będą, Bo się wojska rąbać będą…

W szczyrym polu grusza stoi W szczyrym polu grusza stoi – piękna, zieluna. Pod nią stoi moja miła bardzo spłakana. W prawej rynce szate mo, oczka sobie obciro, Że jej miły, najmilejszy maszerować mo. Pridź ma miła, podziwoj się na me kasarnie, Jaki tam je porundecek, jako tam fajnie. Każdy ułan kunia mo, karabin w rynku trzymo. Na wojenke, na deleke maszerować mo. A jak my tam wyruszyli jak w polu wrony, Uż tam nie ma dla żołnierza żadnej obrony. Kula turska jak padnie, połowa nas upadnie. Ach mój Boże kochający, Boże jedyny. Pridź ma miła, podziwoj się do tego boju, Jaki tam je porundecek, jako tam fajnie.

Tam kuniki lotają, tam szabelki błyskają, A nom chłopcom, takim młodym głowy ścinają. Pridź ma miła, podziwoj się na te szpitale, Jak tam wszystko wojsko leży plejzerowane. Jeden woła do Boga, drugi – „Jezus, Maryja!”, A ten trzeci – „Kameracie, raczej dobij mnie”.

Cinka koszulinka Cinka koszulinka szyta dołu krajem, Szyła mi ją miła pod zielonym gajem. Jak mi ją szywała, wiesioło śpiwała. Jak mi ją dowała, żałośnie płakała.

Jakżem jechał z karczemki Jakżem jechał z karczemki, tyżeś na progu stała. Jam ci mówił: Dzień dobry ma luba – tyś mi nie odpowiedziała. Jak miałam odpowiedzieć, jak się na cię gniwałam. Zabrałeś mi mój wianek ruciany, com go na głowie miała. A jak ci go zabrałem, to za niego zapłacę, Dookoła, dookolusieńka talarami wyzłocę. Nie chce żadnych talarów ani złota piniendzy, Tylko ciebie Jasiu, Jasiuleńku za męża jak najprędzej. Jakżeś chciała męża mieć, trza się było szanować. Nie trza było z innym kawalerem po spacerach wędrować. Po spacerach chodziłaś, pod boki się nosiłaś. Jak się na cię z dala przypatrywał, toś mi palcem groziła. Palcem żeś mi groziła, nogamiś mnie deptała. Teraz byś mnie Kasiu, Kasiuleńko za męża pojąć chciała. A pod twoim okienkiem rośnie jawor zielony. Wszyscy chłopcy gałązki łamali, ja byłem oddalony.

Na co ci mój miły ta koszulka bydzie? Jak pójdziesz na wojne, kto jo nosić bydzie? Jak pójde na wojne, wezme jo ze sebou. Bede se jo tulił jako młode żone. Jak mnie tam poranią – byde miał na rany, A jak mnie zabiją, wezme jo do jamy. Kiela ma mamiczka na wojnie syneczka, Na sie łona spojrzy rano do słuneczka. Rano do słuneczka, wieciór do miesiączka, Tam łona uwidzi swojego syneczka. Jak bydzie skrwawiony – syn jest poraniony, Jak bydzie zaćmiony, syn jest pochowany.

Swit misjaczku Swit misjaczku z weczera do ranija, bo spanija ne mam. Pryszoł lystok załtra rukowaty. Na myłu czekam. Otwor mi ma myła okeneczko, iszczy raz prytulu twoje lyczko, Poczekaj ni dwa neciły roczky moja frajireczko. Kamaratija zo śpiwom rukujut i ja muszu ity. Z rodyczamy, z bratom i zo sestrom sia rozłuczyty. O mene sia mamko ne starajte, lem wy mi na myłu pozir dajte. Ja wam z wijny lystok wnet napyszu. Dobri sja majte. A po roku myła nia skłamała sia mi wydała. Żebys za mnom iszy tot druhij rik dołho czekała. Diakuju Ty myła. Żebys znała ty i tak pro mene była stara. Teper lublu try roky mołodszu, tota moja prawa.

Hej, w zielonym gaiku zaśpiewaj nam słowiku Hej, w zielonym gaiku zaśpiewaj nam słowiku. Da, hej, hej! Uha, ha! Zaśpiewaj nam słowiku, Zaśpiewaj nam wesoło, by się dobrze śpiewało. Da, hej, hej! Uha, ha! By się dobrze śpiewało. Ja nie pójde przez ten las, tam gdzie owczarz owce pasł. Da, hej, hej! Uha, ha! Tam gdzie owczarz owce pasł. Ale pójdę doliną ze swą lubą dziewczyną. Da, hej, hej! Uha, ha! Ze swą lubą dziewczyną. Ej, dziewczyno! Co ty masz, co fartuszkiem zakrywasz? Da, hej, hej! Uha, ha! Co fartuszkiem zakrywasz? Ja w fartuszku gruszki mam. Kogo kocham, temu dam. Da, hej, hej! Uha, ha! Kogo kocham, temu dam. Kogo kocham troszeczke, dam mu jedną gruszeczke. Da, hej, hej! Uha, ha! Dam mu jedną gruszeczke. Kogo kocham serduszkiem, dam mu z całym fartuszkiem. Da, hej, hej! Uha, ha! Dam mu z całym fartuszkiem.

Tam, w ogródeczku Tam, w ogródeczku, przy okieneczku Czerwona, zielona jabłoń, czerwone jabłka rodziła. Przyszła do niego matula jego. Czerwona, zielona jabłoń, czerwone jabłka rodziła. Jasieńku duszku, daj mi jabłuszko czerwone. Zielona jabłoń, czerwone jabłka rodziła. Ja jedno mam, dla lubej trzymam czerwone. Zielona jabłoń, czerwone jabłka rodziła.

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Texts Przyszła do niego siostrzyczka jego. Czerwona, zielona jabłoń, czerwone jabłka rodziła. Jasieńku duszku, daj mi jabłuszko czerwone. Zielona jabłoń, czerwone jabłka rodziła. Ja jedno mam, dla lubej trzymam czerwone. Zielona jabłoń, czerwone jabłka rodziła. Przyszła do niego najmilsza jego. Czerwona, zielona jabłoń, czerwone jabłka rodziła. Jasieńku duszku, daj mi jabłuszko czerwone. Zielona jabłoń, czerwone jabłka rodziła. Ja jedno miałem, dla Ciebie trzymałem czerwone. Zielona jabłoń, czerwone jabłka rodziła...

Tylko jesteś w szczerym polu. Tylko jesteś w szczerym polu – lu, lu, lu… Uwiódłbyś mnie ty hultaju – lu, lu, lu… Uwiódłbyś mnie ty hultaju. Ja Cię dziewcze nie uwiode. Ja Cię dziewcze nie uwiode – de, de, de… Bo mi chodzi o urode – de, de, de… Bo mi chodzi o urode. O urode i wyspanie. O urode i wyspanie – nie, nie, nie… Całą nockę całowanie – nie, nie, nie… Całą nockę całowanie.

U jeziora zimna woda

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U jeziora zimna woda, zimna woda jakby lód. Uwiódłbyś mnie mój Jasieńku, mój kochany, jakbyś mógł. Uwiodę cie moja miła, uwiodę cie, uwiodę, Jak ty pójdziesz z wiadereczkiem, z wiadereczkiem po wode. Musiałbyś ty mój Jasieńku, mój kochany, rano wstać, Żebyś ty mnie u jeziora, u jeziora mógł zastać. Jak ja pójdę na wojenke, na wojenke wojować, To ty będziesz małe dziecie, małe dziecie piastować. Będę ja je piastowała, piastowała, może nie. Znajdę ja se piastuneczke, piastuneczke albo dwie. Piastuneczki będą dziecie, małe dziecie piastować, Ja se pójde na muzyczkę, na muzyczkę tańcować. Odechce ci się ma miła, odechce się muzyczki, Jak ty pójdziesz z pieluszkami, z pieluszkami do rzeczki. Odechce ci się ma miła, odechce się i stroju, Jak ty pójdziesz z widełkami, z widełkami do gnoju. Odechce ci się ma miła, odechce się wszystkiego, Jak ty pójdziesz za hultaja, za hultaja jakiego.

Na zielonej horce szubieniczki

W szczerym polu ptaszek siada

Pod lodem woda

W szczerym polu ptaszek siada. W szczerym polu ptaszek siada – da, da, da… Wysłuchuje, co kto gada – da, da, da… Wysłuchuje, co kto gada.

Pod lodem woda, ładna dziewczyno… Pod lodem woda, Pod lodem woda, ładna dziewczyno, Pod lodem woda…

I wysłuchał dwoje ludzi. I wysłuchał dwoje ludzi – dzi, dzi, dzi… Jak kawaler panne nudzi – dzi, dzi, dzi… Jak kawaler panne nudzi.

Mógłbym Ciebie dawno zdradzić, Mógłbym Ciebie dawno zdradzić Lecz mi Cie szkoda, ładna dziewczyno, Lecz mi Cie szkoda…

Hej dziewczyno nie bójże się. Hej dziewczyno nie bójże się – sie, sie, sie... Bo nie jesteś w ciemnym lesie – sie, sie, sie... Bo nie jesteś w ciemnym lesie.

Nie zdradziłbyś mnie, ładny chłopaku, To być nie może, Nie zdradziłbyś mnie, ładny chłopaku, To być nie może…

Na zielonej horce szubieniczki. Założyła miła, hołubinka siwa za nie rączki. Cosi se ty miła pomyślała, Że ty swoje rączki za te szubieniczki zakładała? Jo se pomyślała sama sebie, Że jo uż nie bydem, że jo uż nie bydem żonka tebie. Eszcze koszulinka niewyprana, Uż je moja miła, hołubinka siwa odwiedzona. A kto mi jom odwiódł? To mój kamrat. Na co on jom odwiódł? Preco on jom odwiódł? On jom chciał brać. A jak se jom odwiódł, niech se jom mo. Niech się on prede mnom, pred mymi oczyma nie obejma. A niech się obejma we dnie, w nocy, By go nie widziały, by go nie widziały moje oczy. Bo jak go uwidzą moje oczy, bo jak go uwidzą moje oczy, Uny bydo płakać, uny bydo nie spać we dnie, w nocy.

Bo mnie mamcia zamykała, Bo mnie mamcia zamykała Na klucz w komorze, ładny chłopaku, Na klucz w komorze… Twoje oczka spłakane, dziewczyno. Nie wiem dlaczego? Twoje oczka spłakane, dziewczyno. Nie wiem dlaczego? Jak mnie nie chcesz moja miła, Jak mnie nie chcesz moja miła, Znajdziesz innego, ładna dziewczyno, Znajdziesz innego…

Oj, siadaj, siadaj kochanie moje Oj, siadaj, siadaj kochanie moje, Już nie pomoże płakanie twoje. Cztery konie jest przy wozie. Już ci ten płacz nie pomoże, Kochanie moje. Oj, nie będę ja z tobą siadała, Bom się jeszcze z matką nie pożegnała. Z Bogiem, z Bogiem moja matko, Jak ja byłam, było gładko. Teraz nie będzie. Oj, siadaj, siadaj kochanie moje...

Wletiło jabłoczko Wletiło jabłoczko do konar jamy. Pożehnał nia Pan Bih Z trjoma frajirjamy. Jeden na podwirju, druhyj pid wikoncem, Tretij pid dwerkamy Czerkat ostrożkamy. Choc bys sobie czerkał do ranija biłoho, Jak ku Wam ne wyjdu, Bo ja mam inszoho.

Ej, dej mie mamo Ej, dej mie mamo, dej mie kie ludzie pytają, Ej, kie leluja kwitnie, wtedy jom targajom. Ej, spomnijciy se mamo swoje młode lata, Ej, ku mie chodzi Jasiek, ku wos chodził tata. Ej, mamo moja mamo, nie daj mie za wdowca, Ej, bo by mi upletli wionecek z jałowca. Ej, mamo moja, mamo sprzedaj cornom krowe, Ej, dej mie za Janicka, uspokoj mi głowę.

Oj, nie będę ja z tobą siadała, Bom się jeszcze z ojcem nie pożegnała. Z Bogiem, z Bogiem że mój ojcze, Jak ja byłam, było dobrze. Teraz nie będzie. Oj, siadaj, siadaj kochanie moje... Oj, nie będę ja z tobą siadała, Bom się jeszcze z siostrą nie pożegnała. Z Bogiem, z Bogiem moja siostro, Jak ja byłam, było ostro. Teraz nie będzie. Oj, siadaj, siadaj kochanie moje... Oj, nie będę ja z tobą siadała, Bom się jeszcze z bratem nie pożegnała. Z Bogiem, z Bogiem że mój bracie, Jak ja byłam, było na cię. Teraz nie będzie. Oj, siadaj, siadaj kochanie moje... Oj, nie będę ja z tobą siadała, Bom się jeszcze z sąsiadką nie pożegnała. Z Bogiem, z Bogiem me sąsiadki, Jak ja byłam, były plotki. Teraz nie będzie.

Spadła iskierka do ogródeczka Spadła iskierka do ogródeczka do ziela, do ziela. Nie doczkaliście moja mamiczko mojego wiesiela. Stańcie się mamiczko, stańcie się dziwać na moje wiesiele, Jako się bez was wasza dziweczka do ślubu wybierie.

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Texts

Chudobno mie mama miała

Czyjeż to kuniczki po horce brykają

Chudobno mie mama miała, chudobno mie wychowała. W nocy wstała, jeść mi dała, do rania mie kołysała. Z rania kładła mie w ogrodzie przy potocku het przy wodzie. Tam słowicki mi śpiewały i do snu mie kołysały. Mój Janicku nie bij ze mie, w kołysecce kołys ze mie, Bo mie mama nie bijała, w kołysecce kołysała.

Czyjeż to kuniczki po horce brykają? Ej, szuchaj twoje, twoje wodiczki hladają. Ej, kunie moje łyse stańcie mi na moście. Ej, roczki moje młode przyjdźcie do mnie w goście. Ej, chyba by my durne rozumu nie miały, Ej, aby my do ciebie w gości powracały.

Ide ja se, ide

Hej, nam hej! W polu na ugorze

Ide ja se, ide z rozkoszy na bide. Jak mi bida byndzie, do mamusi przyjdę. Do mamusi przyjdę i będę płakała. Po coś mnie mamusiu na biede dawała? Daliście mnie, dali za góry, za lasy, Żebym nie chodziła do komory waszej. Do komory waszej, do sadu waszego, Żebym nie zerwała jabłka czerwonego. Jabłka czerwonego i gruszki czerwonej, Żebym nie złamała gałązki zielonej. Daliście mnie, dali za kogoście chcieli. Teraz se będziecie sami z nim siedzieli. Daliście mnie, dali za takiego cioła, Ni z nim na zabawe ani do kościoła. Pójde do kościoła, musze czapke zdyjmać, Pójde na zabawe, musze nos wycierać.

Hej, nam hej! W polu na ugorze sam Pan Jezus orze. Hej, nam hej! Najświętsza Panienka śniadaneczko nosi, Pana Boga prosi. Hej, nam hej! Jezus się posilo, do góry spoziro. Hej, nam hej! Będzie tu pszeniczka, sama ozimiczka. Hej, nam hej! Bedo tutaj kłosy pod same niebiosy. Hej, nam hej! A jak bedziem prosić, będzie chleba dosyć. Hej, nam hej! Za ten nasz dar chleba podziękować trzeba. Hej, nam hej! Jezus się nie sławi, wszystkim błogosławi. Hej, nam hej!

Oj, wersze mij, wersze Oj, wersze mij, wersze mij zelenyj, wersze. Uż mi tak ne bude, uż mi tak ne bude, Jak mi było persze. Bo persze mi było, barzo mi dobri było. Od swojoj mamiczy, od swojoj mamiczy Ne chodyty było. Ne chodyty było, kady ja chodyła. Ne lubyty było, ne lubyty było, Koho ja lubyła. Ne chodyty było horamy, lisamy. Ne lubyty było, ne lubyty było Czornyma oczkamy.

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Paśli pasterze woły Paśli pasterze woły, U zielonej dąbrowy, Anioł się im pokazał, Do Betlejem iść kazał, A oni się go zlękli, Aż na kolana klękli, I pytać go chcieli, Gdzie Zbawce ujrzeć mieli? A On leży we żłobie, Nie mając nic na sobie, Przez Jego narodzenie, Dał dla świata zbawienie.

Dzieciątko się narodziło

Ej, Janicku

Dzieciątko się narodziło, narodziło. Wszystek świat uweseliło. Wzięło na się człowieczeństwo, człowieczeństwo, Co znaczyło jego bóstwo. Poznał ci to wół i osieł, wół i osieł, I szto był niebieski poseł. Trzej królowie przyjechali, przyjechali Troje mu dary dawali, Wchodząc do szopy klękali, klękali. Bogu cześć, chwałę dawali. Przynieśli mu dary oto, dary oto – Mirrę, kadzidło i złoto. Na to Boże narodzenie, narodzenie Wesel się wszystko stworzenie. Świętą Trójcę wyznawajmy, wyznawajmy, Bogu cześć, chwałę dawajmy.

Ej, Janicku, Janicku! Ej, sto hromów po tobiy. Ej, po syćkik dziedzinak, ej, idziy hyr po tobiy. Ej, mijajom siy lasy, ej, mijajom siy pola I my siy tyz miniymy, ej, po malućku stela. Ej, kie pódziymy stela, ej to nos bedziy skoda. Ej, na kozdym wiyrsycku, ej, płakoć bedziy woda. Ej, Janickowa nuta, ej nigdy nie zaginiy. Ej, ani na wiyrsycku, ej, ani na doliniy… Texts compiled and edited by Henryk Dumin

Buki moje, buki, uż mi nie szumicie Buki moje, buki, uż mi nie szumicie. Smutno mi za wami całe moje życie, Hej, całe moje życie! Hula huśki, hula wysoko lotocie. Mojemu serdeczku żolu narabiacie, Hej, żolu narabiacie! To moje serdeczko twerde jak ta skała. Mało mi nie puknie od płaczu, od żalu, Hej, od płaczu, od żalu! Mamko, moja mamko sierce mi się zamkło. Dajcie mi kluczyczek z tych waszych ręczyczek, Hej, z tych waszych ręczyczek! Cinżko kamieniowi popod wode pływać. Cinżko góralowi te góry zdobywać, Hej, te góry zdobywać!

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13.09.2019, Friday, 7 pm

115

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

Vivaldi – Juditha triumphans Performers:

Programme:

Giovanni Antonini – conductor

Antonio Vivaldi (1678–1741) Juditha triumphans – oratorio, RV 644

Il Giardino Armonico Sonia Prina – Juditha (contralto) Julia Lezhneva – Vagaus (soprano) Mary-Ellen Nesi – Holofernes (mezzo-soprano) Raffaella Milanesi – Abra (soprano) Francesca Ascioti – Ozias (contralto) NFM Choir Agnieszka Franków-Żelazny – artistic director of the NFM Choir

Concert under the auspices of the Instituto Italiano di Cultura di Cracovia

Time 135'

The concert has a 20-minute intermission. We would like to express our special thanks to the Kraków Festival Office and the Misteria Paschalia Festival for allowing the use of Juditha triumphans libretto in translation by Alicja Paleta.

Programme note

ANNA RYSZKA-KOMARNICKA

Today, Juditha triumphans by Giacomo Cassetti and Antonio Vivaldi enjoys a deserved fame of one of the most beautiful Baroque oratorios. It is characterised by vocal virtuosity, magnificent choirs and variegated instrumentation, capturing the full range of performance possibilities generated by the ensemble of girls from Venice’s Ospedale della Pietà, namely the ‘Mercy Hospital’, where from 1703 Vivaldi worked as maestro di violino. The soloists of the first performance were the girls: Caterina (Judith), Silvia (Abra), Polonia (Holofernes), Barbara (Vagaus) and Giulia (Ozias). Two choirs represented the Assyrian Soldiers and the Bethulian Maidens. Although the score includes a full range of voices (soprano, alto, tenor, bass) men in those days did not participate in performances, considering the Venetian Ospedali chapels usually included some adult women who sang with the lowest voices. The printed libretto carries the date 1716, however due to the specifics of the Venetian calendar the date could refer to the first quarter of the following year 1717 (the year began 25 March, the feast of the Annunciation of the Blessed Virgin Mary). The resulting confusion is generally dispelled by other historical records, which document premieres of operas written for the Carnival or oratorios composed for Lent. To date however, in the case of Juditha triumphans all efforts by researchers have proved futile. Be that as it may, the ‘sacred military oratorio’ – as defined on the title page of the libretto – was composed during the Ottoman-Venetian war (1714–18). In line with the stylistics of the then sermons where the fate of the Israelites was seen as analogous to current events, at the end of his libretto based on the Book of Judith, Cassetti provides a key to its allegorical reading. War rages and the savage enemy abounds Judith is Adria (Venice), and her loyal companion, Abra, is Faith Bethulia is the Church, and Ozias the High Priest, Unified Christianity and Virginal Glory (Pope) Holofernes (Assyrian Chieftain) is the Ottoman leader (Sultan) and the eunuch (Vagaus) his general, And in all this may the Venetian navy enjoy a great victory.

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The Old Testament story of the beautiful and courageous widow Judith (who made her way from the besieged Hebrew city of Bethulia to the enemy camp where she beheaded the Assyrian leader, Holofernes) constituted ideal fictional material for a so-called ‘erotic’ oratorio with heroes reminiscent of protagonists in operas of the day. Judith was nothing less than a donna forte or sorceress (Ariosto’s Alcina or Tasso’s Armida) – a strong and shrewd woman, who openly used her

beauty, simulated love or else exploited her charms to overcome the eroe effeminato, namely an effeminate man governed by the power of the senses rather than the mind. In the 17th century the donne forti appearing on the stages of Venice’s theatres, often symbolised the Most Serene Republic capable of captivating both friends and enemies with the beauty of its architecture, arts, luxurious craft and entertaining lifestyle rather than – then already slightly faded – military and economic power. In turn sorceresses personified the Orient with which for centuries Venice had waged wars, occasionally succumbing to its magical influence. Aware of these analogies, Cassetti and Vivaldi produced something extraordinary. Without diminishing the attractiveness of the biblical story or the possibilities of exploiting the vocal and instrumental virtuosity of the Ospedale della Pietà’s wards, they created a completely different Judith-Venice – beautiful and delicate, wise and pious. This was a heroine tailor-made for new times and challenges generated by a war with infidels and a hammered out treaty with the Holy Roman Empire, which changed the course of the conflict in Venice’s favour. Judith walks into the camp of Holofernes singing the aria ‘Quocum patriae me ducit amore’ conceived as a simple albeit elaborate melody. It is hard to imagine a better picture of Judith-Venice, caressed by the waves of the sea swaying to the rhythm of carnival dances. In her second entrance ‘Quanto magis generosa’ to gentle sounds of a viola d’amore, Judith tries to persuade Holofernes to show mercy towards the besieged – after all a leader’s greatness is revealed in his compassion as well as his military victories. When the Assyrian invites her to a feast Judith expresses her anxiety in the virtuosic aria ‘Agitata infido flatu’, comparing herself to a bird struggling with a headwind. When advances of Holofernes become persistent, she asks for AbraFaith’s support in the aria ‘Veni, veni me sequere fide’ intertwined with plaintive sounds of a concertante part assigned to the soprano chalumeau, elder sister of the clarinet. Enchanted by her beauty, the chieftain must listen to her sermonise on the fragility of all things earthly (‘Transit aetas’). To complement this segment Vivaldi selects an almost inaudible mandolin figuration and a gentle accompaniment of pizzicato violins whose measured quavers mark out this aria’s musical progression like the ticking of a clock in the relentless passage of time. In the aria ‘Vivat in pace’ she seconds the toast of Holofernes with a diffident request for peace in a nostalgic Siciliana rhythm. At the foot of the wine-intoxicated chieftain’s bed she prays for God’s support in the recitative ‘Summe astrorum Creator’ and the aria ‘In somno profundo’ accompanied by a consort of 5 violas da gamba (from soprano to bass) and a violone. This unusual ensemble typical of music making by both secular and cloistered women symbolised the piety of the heroine and the interplay between two world realities: that of Judith-Venice and the Venetian virgins who through their singing and playing plead for God’s grace for the Most Serene Republic. Cassetti’s and Vivaldi’s Judith-Venice comes across as more of a ‘delicate victor’ – as defined by one researcher – than a traditional donna forte. It is mainly the Assyrians who admire the sensual attributes of her looks, while it is Abra-Faith who speaks of using beauty to overcome the enemy. She is determined to ensure that Judith carries out her terrible revenge and is the first to rejoice in her victory. The character of Abra-Faith is a surprising innovation – encouraging the use of beauty to overcome men was typical of an Abra character analogous to an operatic servant or nurse. However, from the lips of Abra-Faith all moral doubts raised

by Judith’s actions come across as justified. In Rome there would hardly be approval for a concept that a figure lower in the cast of characters than Judith – however, unlike in the Bible, defined by Cassetti as a companion to the protagonist – represents the personification of Faith. In Venice, a pragmatic state where the faith was always in service of the Republic, such a solution certainly would not be a cause for a scandal. Ozias-Pope is also given a marginal role. His only appearance comes in the second part of the oratorio, mainly to deliver, in the finale, praises to Judith-Venice. The Assyrians are accompanied by various instruments. The sound of trumpets, oboes and timpani dominates in the opening military chorus. The opaque tone-colour of recorders heralds the coming of night and sleep in an aria of Vagaus ‘Umbrae carae’. Woodwind reed instruments – oboes and clarinets – characterise the sensual world of the Orient. Oboes accompany Vagaus in his aria with the chorus of Assyrian soldiers ‘O quam vaga’ in praise of Judith’s beauty. Clarinets on the other hand – at the time a novelty in Italy, which Vivaldi probably came across thanks to his contacts with German musicians – appear in the chorus ‘Plena nectare’ commending the love that is about to unite Judith with Holofernes. There were not just the instruments exploited in this chorus that were exotic from an Italian perspective, for – as noticed by musicologist Alina Żórawska-Witkowska – the music of this chorus has detectable elements of a Polish style in the form of mazurka rhythms, which – like clarinets – could have found their way to the Adriatic via musicians of the Saxon court visiting Venice, who were at the same time the musicians at the court of Polish king, Augustus II the Strong. Consequently, the most famous Baroque oratorio has also a Polish accent.

Biographies of artists and ensembles are provided in an alphabetical order on pages 146-181. 117

Synopsis Juditha triumphans devicta Holofernis barbarie (Judith triumphant over the barbarians of Holofernes)

libretto: Giacomo Cassetti music: Antonio Vivaldi premiere: Venice, 1716 or 1717

Juditha – a young Bethulian widow Holofernes – Assyrian general Vagaus – eunuch, Holofernes’s squire Abra – Juditha’s handmaid Ozias – high priest of Bethulia

PART I Bethulia, the Jewish stronghold that defends the road to Jerusalem, is under the threat of war. The Assyrian general Holofernes spurs his soldiers to fight. His squire, eunuch Vagaus, announces the arrival of a beautiful Jewish lady, Judith. If the general would grant her audience, he would not regret his decision: as soon as he would look at her, she would become obedient to him. Judith came to the enemy’s camp led by the love of her fatherland – she hopes that she would be able to negotiate peace. Her handmaid Abra is delighted to see the great impression that Judith’s beauty made upon the Assyrians. The soldiers assure the Jewish lady that the general would treat her graciously. Holofernes is immediately enchanted. Judith attempts to persuade him that a merciful conqueror, who spares life of the defeated, enjoys the greatest glory. The Assyrian orders to cease the military actions and asks Judith to his tent. The woman does not feel worthy of 118

such an honour. The Holofernes insists urgently. Judith anxiously sits next to him while the general orders the supper. Vagaus urges servants and joins them in praise of his master. Judith calls Abra who exhorts the young woman that her face has to be radiant and the sadness has to vanish from her eyes as her task is to dull the Assyrian general’s vigilance. Meanwhile in Bethulia, the Jewish Maidens sing psalms, begging Lord for salvation and support for Judith.

PART II Ozias, high priest of Bethulia, knows that Lord shall not forsake his people and that stars and the Moon shall become that night the mourning lights for the enemy. Holofernes, looking forward to the delights, wants the night to last forever. He praises the beauty of Judith who in turn reminds the general that beauty, as anything else that is of earthly substance, is not worthy of admiration, as it vanishes with time. Holofernes does not listen to her and is burning with love for Jewish woman. Judith attempts to go away but Holofernes stops her and begs her for not disregarding his feelings. The pious woman assures him that she would pray and ask for Lord’s protection upon him. Holofernes raises the cup in honour of his companion and his servants call Cupid, who would marry the beautiful couple. The general drinks toast again, as he would soon enjoy the peace together with Judith, who timidly joins him in that desire of peace. Holofernes, drunk with wine, falls asleep. Vagaus sings lullaby to his general and leaves Judith alone in Holofernes’ tent. Soon Abra joins Judith, who orders her handmaid to keep guards outside. The young lady approaches Holofernes while Abra awaits her impatiently. Judith prays for Lord’s support. She takes the sword that was left near the bed and decapitates the Assyrian general. She passes the head over to Abra, who sings praises to Lord. At the dawn of the next day Vagaus discovers the body of his master. He calls hell to revenge this death and the defeat of Assyria. In Bethulia Ozias spots Judith returning triumphantly. He reveals the plans of the Lord for the future: Venice will become new Judith. The Shepherd-Ozias shall pray for Venice, that will save the true Bethulia (Catholic Church) from the enemy. Thus, let the Maidens of Zion praise the victory of Judith-Venice.

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13.09.2019, Friday, 7 pm

Środa Śląska, Church of the Exaltation of the Holy Cross (kościół pw. Podwyższenia Krzyża Świętego) ul. Kościuszki 51

Songs from the Forests and Fields Traditional Polish Folk Music Performers:

Hej, w zielonym gaiku zaśpiewaj nam słowiku (‘Waliszowianie’ ensemble) Tam, w ogródeczku (Oliwia Łuszczyńska)

Feliksa Cierlik, Oliwia Łuszczyńska, Joanna Matusiak, Michalina Mrozik, Zofia Tarasiewicz – folk singers

U jeziora zimna woda (‘Gościszowianie’ ensemble)

Highland-style song theatre ensemble ‘Dunawiec’ from Zbylutów ‘Gościszowianie’ ensemble from Gościszów

Na zielonej horce szubieniczki (Highland-style song theatre ensemble ‘Dunawiec’)

Lemko ensemble ‘Łastiwoczka’ from Przemków

Pod lodem woda (Oliwia Łuszczyńska)

‘Waliszowianie’ ensemble from Nowy Waliszów

Wletiło jabłoczko (Lemko ensemble ‘Łastiwoczka’)

Henryk Dumin – host

Ej, dej mie mamo (Joanna Matusiak)

W szczerym polu ptaszek siada (Oliwia Łuszczyńska)

Oj, siadaj, siadaj kochanie moje (Feliksa Cierlik)

Programme:

Spadła iskierka do ogródeczka (Zofia Tarasiewicz) Chudobno mie mama miała (Joanna Matusiak) Ide ja se, ide (Feliksa Cierlik)

Mom jo se Janicka (Joanna Matusiak) Szesnastego lipca z rana (‘Gościszowianie’ ensemble)

Oj, wersze mij, wersze (Lemko ensemble ‘Łastiwoczka’) Czyjeż to kuniczki po horce brykają (Zofia Tarasiewicz)

Tam pod lasem, pod podolskim (Michalina Mrozik)

Hej, nam hej! W polu na ugorze (‘Gościszowianie’ ensemble)

W szczyrym polu grusza stoi (Highland-style song theatre ensemble ‘Dunawiec’)

Paśli pasterze woły (‘Waliszowianie’ ensemble) Dzieciątko się narodziło (‘Waliszowianie’ ensemble)

Cinka koszulinka (Zofia Tarasiewicz)

Buki moje, buki, uż mi nie szumicie (Highland-style song theatre ensemble ‘Dunawiec’)

Swit mi misjaczku (Lemko ensemble ‘Łastiwoczka’) Jakżem jechał z karczemki (Michalina Mrozik)

Time 90'

Ej, Janicku (Joanna Matusiak)

For programme note, see concert on 12.09, 7 pm in Nowogrodziec on p. 104.

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13.09.2019, Friday, 7 pm

Syców, Church of the Holy Apostles Peter and Paul (kościół pw. św. św. Apostołów Piotra i Pawła), ul. Wałowa 6

Alessandro Scarlatti – Rediscovered Works Performers:

Programme:

Paolo Da Col – conductor

Alessandro Scarlatti (1660–1725)

Odhecaton

Missa defunctorum a 4 voci e basso continuo I. II. III. IV. V. VI. VII. VIII. IX.

Introitus Kyrie Graduale Sequentia: Dies irae Sequentia: Lacrimosa Offertorium Sanctus Agnus Dei Communio

Miserere mei, Deus a 9 voci in doppio coro Magnificat a 5 voci e basso continuo Concert under the auspices of the Instituto Italiano di Cultura di Cracovia

Time 70'

I. II. III. IV. V. VI. VII. VIII.

Magnificat Quia respexit Quia fecit Fecit potentiam Deposuit potentes Esurientes implevit bonis Sicut locutus est Gloria Patri

For programme note, see concert on 12.09, 7 pm in Wrocław on p. 96.

123

14.09.2019, Saturday, 5 pm

125

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

Songs from the Forests and Fields Traditional Polish Folk Music Performers:

Hej, w zielonym gaiku zaśpiewaj nam słowiku (‘Waliszowianie’ ensemble) Tam, w ogródeczku (Oliwia Łuszczyńska)

Feliksa Cierlik, Oliwia Łuszczyńska, Joanna Matusiak, Michalina Mrozik, Zofia Tarasiewicz – folk singers

U jeziora zimna woda (‘Gościszowianie’ ensemble)

Highland-style song theatre ensemble ‘Dunawiec’ from Zbylutów ‘Gościszowianie’ ensemble from Gościszów

Na zielonej horce szubieniczki (Highland-style song theatre ensemble ‘Dunawiec’)

Lemko ensemble ‘Łastiwoczka’ from Przemków

Pod lodem woda (Oliwia Łuszczyńska)

‘Waliszowianie’ ensemble from Nowy Waliszów

Wletiło jabłoczko (Lemko ensemble ‘Łastiwoczka’)

Henryk Dumin – host

Ej, dej mie mamo (Joanna Matusiak)

W szczerym polu ptaszek siada (Oliwia Łuszczyńska)

Oj, siadaj, siadaj kochanie moje (Feliksa Cierlik)

Programme:

Spadła iskierka do ogródeczka (Zofia Tarasiewicz) Chudobno mie mama miała (Joanna Matusiak) Ide ja se, ide (Feliksa Cierlik)

Mom jo se Janicka (Joanna Matusiak) Szesnastego lipca z rana (‘Gościszowianie’ ensemble)

Oj, wersze mij, wersze (Lemko ensemble ‘Łastiwoczka’) Czyjeż to kuniczki po horce brykają (Zofia Tarasiewicz)

Tam pod lasem, pod podolskim (Michalina Mrozik)

Hej, nam hej! W polu na ugorze (‘Gościszowianie’ ensemble)

W szczyrym polu grusza stoi (Highland-style song theatre ensemble ‘Dunawiec’)

Paśli pasterze woły (‘Waliszowianie’ ensemble) Dzieciątko się narodziło (‘Waliszowianie’ ensemble)

Cinka koszulinka (Zofia Tarasiewicz)

Buki moje, buki, uż mi nie szumicie (Highland-style song theatre ensemble ‘Dunawiec’)

Swit mi misjaczku (Lemko ensemble ‘Łastiwoczka’) Jakżem jechał z karczemki (Michalina Mrozik)

Time 90'

Ej, Janicku (Joanna Matusiak)

For programme note, see concert on 12.09, 7 pm in Nowogrodziec on p. 104.

14.09.2019, Saturday, 7:30 pm

Krotoszyn, Minor Basilica of St John the Baptist (bazylika mniejsza św. Jana Chrzciciela), ul. Farna 10

Sud, sud – a Musical Journey from Rome Beyond the Mediterranean Sea Performers:

Giulio de Ruvo (fl. 1703–1716) Romanella, Ciaccona, Tarantella for cello

Giovanni Sollima – cello

Bartolomé de Selma y Salaverde (1580–1640) Fantasia No. 5 for cello and b.c. from Primo libro de canzoni, fantasie et correnti (Venice, 1638)

Michele Pasotti – theorbo

Moje Bukura More (traditional Albanian melody from Sicily) for cello Iannis Xenakis (1922–2001) Kottos for cello

Programme:

Zèzèzè (ngòmbí harp piece from Central Africa) for cello

Giovanni Battista Costanzi (1704–1778) Sinfonia in B flat major for cello and b.c.

Giovanni Sollima (*1962) Lamentatio for cello

I. II. III. IV.

Adagio Spiritoso Sarabanda (Amoroso) Minuet

Francesco Paolo Scipriani (1679–1753?) Toccata No. 5 for cello and b.c. Santu Paulu (traditional melody from the Salento region) for cello and b.c.

Eliodoro Sollima (1926–2000) Sonata 1959 for cello I. Largamente con libertà II. Moderato a capriccio III. Perpetuum mobile

Time 75'

Concert under the auspices of the Instituto Italiano di Cultura di Cracovia

127

Programme note

ARTUR BIELECKI

128

Giovanni Sollima takes us on a journey beyond the Mediterranean Sea, with South as the point of departure and return. The concert programme will be close to the heart of everyone who has Mediterranean culture in their DNA, just like Giovanni Sollima. He was born in Palermo, Sicily, to a family entrenched in musical traditions. As he himself says, he absorbed everything from the world of music, art and popular culture, which surrounded him.

The artist recognises the wealth of impressions he has been endowed with by his native island. These are visible and concealed things, among them music in all its variety (sounds, songs, dance) as well as places, aromas, legends, names, and cuisine. Sollima knows the history of his ‘small homeland’. The amount of events witnessed by Sicily over the centuries, the number of rulers it had, the number of states that reigned over it! Phoenicians, Greeks, Romans, Vandals, Ostrogoths, Byzantines, Arabs, Normans, the Anjou dynasty, the kingdom of Aragon, the Habsburgs (via Spain), the Bourbons . . . through to the Kingdom of the Two Sicilies and finally the annexation of the region to unified Italy. This is a great deal, even for the largest Mediterranean island. Sollima leads us on a journey from Rome via Apulia in southern Italy, makes a short stop in Naples in order to admire Sicily’s Albanian songs, next introduces an important accent of Greek origin (Xenakis), visits Africa and makes his way back to Apulia. The Italian cellist enjoys unforeseen connotations, his ‘Ba-Rock Cello’ being a case in point. Our ever-expanding knowledge and awareness of history and culture lends itself to these types of artistic projects. In this field Sollima is able to benefit from the achievements and inspirations of his predecessors, like Jordi Savall, viola da gamba virtuoso and conductor, who explores selected subjects from the history of world culture. It is worth noting that Savall’s projects are marked by exceptionally insightful arrangements of available source material, reflecting the artist’s impressive erudition. Will Sollima take a similar path? Giovanni Battista Costanzi was an Italian cellist and composer, known also as Giovannino da Roma on account of his close relationship with Rome, where he succeeded Corelli at the court of Cardinal Ottoboni. There he enjoyed considerable recognition and was a teacher to Boccherini. Costanzi was an acclaimed composer of both secular dramatic music and religious works. His four-movement Sinfonia in B flat major for cello and continuo is marked by a large dose of virtuosity together with refined inventiveness. Particularly noteworthy is the expressive Sarabande (Amoroso) in 4/4 metre, atypical of the dance.

Giovanni’s father, Eliordo Sollima worked as a composer, pianist and teacher. He honed his pianistic skills with renowned artists of the Italian school, such as Guido Agosti and Arturo Benedetti Michelangeli. When composing his Sonata 1959 for solo cello, he could not have imagined that his son, born sometime later, would become a famous cellist. Until 1990, Giovanni Sollima was not aware of the work’s existence, the score of which he found by chance in his father’s study. Surprised, he inquired about it. Eliodoro Sollima’s response was truly astonishing: ‘Ah, yes, I may have written it for some competition. Throw it out!’ Giovanni disobeyed, learned the Sonata and performed it publicly at Salle Gaveau in Paris. According to the cellist, in this short piece it is possible to discern traces of ‘Mediterranean’ serialism, extraordinary lyricism as well as certain jazz influences. It also contains Sicilian acerbity. Indeed, Eliodoro Sollima probably failed to appreciate his own work. In the three-movement Sonata 1959, a highly expressive drama takes place. The expansive opening (Largamente con libertà) has an almost funereal tone and serves as an introduction to the actual drama, which unfolds in the second movement (Moderato a capriccio). The work closes with a rather succinct finale (Perpetuum mobile). Giulio de Ruvo came from Apulia and was probably active in Naples, judging by his stylistic ties to the Neapolitan school. The character of his cello works points to his being a virtuoso of this instrument. His compositional output includes sonatas for cello and continuo, however Giovanni Sollima was particularly interested in his sonatas sensa basso, intended for solo cello. They reveal a Neapolitan style highly popular during the composer’s lifetime and contain certain qualities to this day alive in the music of Calabria, Apulia and Sicily. In the concert programme, prime examples of this are Romanella, Ciaccona and Tarantella. Bartolome de Selma y Salaverde was a Spanish Augustinian monk, composer and bassoonist. In 1638, in Venice, a collection of his authorship was published, entitled Primo libro de canzoni, fantasie et correnti, and dedicated to the Bishop of Wrocław, Charles Ferdinand Vasa, son of Polish King Sigismund III. The collection contains works for 1 to 4 parts with continuo and testifies, among others, to the composer’s virtuosity as a bassoonist. Fantasia No. 5 for cello and continuo comes from this collection and in the programme is directly juxtaposed with a traditional Albanian melody from Sicily Moje Bukura More, in a version for solo cello. A musical ramble along the South would be incomplete without Greece, which traditions are represented in the programme by one of the most distinguished figures of 20th-century music, Iannis Xenakis, French composer and architect of Greek descent, born into a Greek diaspora community in Romania. During World War II he was active in the Greek Resistance, then, accused in a political process, he fled Greece, arriving in Paris in 1947. In France he established a collaboration with renowned architect Le Corbusier and between 1951-53 completed his musical studies with Olivier Messiaen (having studied earlier with Honegger and Milhaud). Thanks to his contacts with Messiaen he joined the circle of the young European musical avant-garde and became acquainted with important composers like Karlheinz Stockhausen and Pierre Boulez. Xenakis soon won international fame, the turning point in his career coming with Metastaseis performed in 1955 in Donaueschingen. In 1965 he became a naturalised citizen of France.

In his creative output Xenakis pioneered the use of mathematical models and was interested in computer programming. In 1966 he established the Equipe de Mathématique et Automatique Musicales. His creative work is often described as stochastic music, since he sought inspiration in probability theory, statistical laws, simultaneously stating that ‘Scientific thought is only a means with which to realize my ideas, which are not of scientific origin. These ideas are born of intuition, some kind of vision’. Kottos is a work for solo cello composed in 1977 and premiered the same year by Mstislav Rostropovich. The title refers to Cottus, a son of Uranus and Gaia’s, one of the hundred-handed giants. The work’s reference to Greek mythology has produced an avant-garde and simultaneously highly expressive piece. Its unusual dramaturgy is combined with a tonally aggressive, downright brutal treatment of the cello, which loses almost all of its ties with the instrument’s traditions. The rest of the programme is complemented by surprisingly juxtaposed works. Alongside Giovanni Sollima’s (often referred to as a post-minimalist composer) contemporary Lamentatio for cello and Francesco Scipriani’s Baroque Neapolitan Toccata No. 5 for cello and continuo, we will hear Zèzèzè (ngòmbí harp piece from Central Africa) in an arrangement for cello, as well as Santu Paulu (a traditional melody from the region of Salento in Campania) for cello and continuo. Giovanni Sollima sees this musical journey as a metaphorical image of never-ending migration – from south to north, from east to west. This meandering world has dreams and hope, but alas also a feeling of helplessness.

Biographies of artists and ensembles are provided in an alphabetical order on pages 146-181. 129

14.09.2019, Saturday, 8 pm

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

Inspirations from Venice Performers:

Responsum accepit Simeon (communione; In festo Purificationis Beatae Mariae Virginis) Fantasia a due

Andrzej Kosendiak – conductor

Fantasia a tre*

Wrocław Baroque Ensemble

In monte Oliveti (motetto) Salve festa dies (Motetto in festo Paschae) Ascendit Deus (offertorium; In festo Ascensionis Domini)

Programme: Mikołaj Zieleński (2nd half of 16th c. – after 1615) Offertoria et communiones totius anni (Venice, 1611): Magnificat Ecce Virgo concipiet (communione; In festo Annuntiationis Beatae Mariae Virginis) Deus firmavit orbem terrae (offertorium; In secunda Missa Nativitatis Domini) Viderunt omnes fines terrae (communione; In tertia Missa Nativitatis Domini) Vox in Rama (communione; In festo Sanctorum Innocentium) Vidimus stellam eius (communione; In Epiphania Domini)

Time 70'

Spiritus Sanctus docebit vos (communione; Feria secunda post Pentecostes) Video caelos apertos (communione; In festo Sancti Stephani) Benedictus sit Deus Pater (offertorium; In festo Sanctissimae Trinitatis) * Reconstruction of prima parte – Marcin Szelest Programme consultant – Zbigniew Pilch

131

Programme note

AGNIESZKA LESZCZYŃSKA

132

In the 16th century Venice had become one of the most important centres of musical life in Europe. The activities of numerous talented musicians of St Mark’s Basilica, a dynamic growth of instrumental music, the adoption and creative development of polychoral techniques and the growth of thriving music printing houses all contributed to this propitious state of affairs. For many transalpine composers from the turn of the 17th century, composing in a Venetian style and publishing works in the city’s printing houses represented a gauge of their membership of the musical elite of Europe. The only Polish composer to fulfil those criteria was Mikołaj Zieleński. His two-volume work entitled: Offertoria totius anni and Communiones totius anni, half of which consists of polychoral works, was published in 1611 by the Venetian printer Giacomo Vincenti.

At the time Zieleński was employed as Kapellmeister and organist at the Łowicz court of Polish primate Wojciech Baranowski, Archbishop of Gniezno, to whom the publication was dedicated. There is very little surviving information about the composer’s life, his dates of birth and death are unknown. We only know that he came from Warka, was married to Anna Feterówna and in 1604 received from the Bishop of Płock – at the time Baranowski – a piece of land in the countryside near Pułtusk. It is possible that at the time Zieleński was already employed at the court of the future primate. The latter, a great music lover and connoisseur of music, appreciated his Kapellmeister’s talent, hence not only endowed him with several benefices but also financed the Venetian edition of his works. The publication contains all of known 113 works by Zieleński. They were probably composed over a longer period of time, judging by their stylistic variety and differing genres not always in keeping with the publication’s title. The composer may well have used the opportunity to include his other works, not just Offertoria and Communiones, such as motets and instrumental fantasias. The Offertoria consist exclusively of polychoral works generally intended for two four-part ensembles, varied in terms of pitch. The Communiones contain works for two to six parts together with comments suggesting performance forces – mentioned are such instruments as organ, violin, cornett, bassoon, trombone, lute and harp. Numerous works of this section exploit gorgia – extended vocal ornamentation. The practice basically relied on a trained singer’s improvisation of un-notated embellishments, here however carefully planned by the composer. In some instances two versions of a work are featured next to each other – with ornaments and without.

Zieleński’s work bears testimony to his excellent knowledge of compositional techniques exploited in Italy towards the end of the 16th century. Where could he have gained this skill? Apart from Szymon Starowolski’s short comment dated 1627 about studies allegedly completed by the composer in Rome, there is no surviving evidence of his direct involvement with Italy. However, on the premise that he was employed by bishop Baranowski earlier than documented, it is safe to assume that at the turn of 1596 he accompanied his employer on an extended visit to Italy, first at the court of Pope Clement VIII in Rome and later at the court of Federico Borromeo, Archbishop of Milan. The collection of Zieleński’s musical settings, in large measure was determined by an attached printed list of offertory and communion rites intended for holy days of the year, arranged in keeping with the liturgical calendar, unprecedented in other editions of polyphonic music. The collection was compiled according to traditions of the Catholic Church in Poland – alongside important feast days celebrated throughout Europe it featured local feast days, which in the Roman Missal were either of a lower rank or not included at all. The said register may have been proposed for this publication at the request of bishop Baranowski. Zieleński chose several dozen of the suggested texts but also composed a few works for feast days overlooked in the list or considered of minor importance to the Polish Catholic Church. The presence of compositions in praise of patron saints officially celebrated in Rome and Venice but less popular in the then Polish Church (e.g. St Ignatius of Antioch, Sts Tiburtius, Valerian, Maximus, St Mark or St Lucia) may well attest to the composer’s close, albeit incidental contact with the Italian Church. Works featured in the programme of today’s concert, reflect the variety of Mikołaj Zieleński’s output. At the same time their context order deviates somewhat from the account in the liturgical year’s sequence of events related to the beginning and end of Jesus Christ’s earthly existence and consequences of the Resurrection. The canticle Magnificat is the crowning glory of the Vespers – it contains words spoken by the Virgin Mary in response to the annunciation of the Archangel Gabriel (‘I am the Lord’s servant’). In terms of performance forces, this is Zieleński’s most imposing composition. The communion chant Ecce Virgo concipiet (‘Behold, a virgin shall conceive’) for the feast of the Annunciation is a soprano and bass duet with refined examples of gorgia practice and instrumental accompaniment. The double-choir offertory Deus firmavit orbem terrae (‘God had established the world’) from the second Christmastide Mass gives an account in the words of Psalm 92, of the historical breakthrough engendered by the birth of the Saviour. The communion Viderunt omnes fines terrae (‘All the ends of the world have seen’) from the third Christmastide Mass is a four-part composition set in two variants: one elaborate intended for soloists with organ accompaniment, the other simpler, for singers accompanied by various instruments. The communion motet Vox in Rama (‘A voice is heard in Ramah’) for the feast of the Holy Innocents commemorates the massacre of innocents perpetrated on the orders of King Herod, where the plaintive character of the text is highlighted by the application of numerous chromaticisms. In the six-part antiphon Vidimus stellum eius (‘We have seen his star’) for the feast of Epiphany the opening dialogue of

three-part episodes symbolises the Three Wise Men. The communion motet Responsum accepit Simeon (‘It was revealed to Simeon’) for the feast of the Purification of the Blessed Virgin Mary is another setting in two versions – one more elaborate for voice and organ, the other simpler for voice accompanied by various instruments. The rhetorically imbued motet In monte Oliveti (‘On Mount Olive’) is a responsory for Maundy Thursday based on Jesus’ prayer in the Garden of Gethsemane. The double-choir motet Salve festa dies (‘Hail Festival Day’) for the day of Resurrection is composed in atypical strophic form, where each of the three verses is drawn from different Easter text. The offertory Ascendit Deus in iubilatione (‘God ascends in jubilation’) for the feast of the Ascension is a two-choir composition which exploits musical techniques to emphasise the meaning of the text. The communion motet Spiritus sanctus docebit vos (‘The Holy Spirit shall teach you’) for the day after Pentecost is another setting in two versions – elaborate and simple. The communion chant Video caelos apertos (‘I see the heavens open’) for voice accompanied by organ, was written for the feast of St Stephen to commemorate the first Christian martyr. The concert’s closing double-choir offertory Benedictus sit Deus Pater (‘Blessed be God the Father’) for the feast of the Holy Trinity offers thanksgiving for the mercy by God.

Biographies of artists and ensembles are provided in an alphabetical order on pages 146-181. 133

Texts MikoĹ&#x201A;aj ZieleĹ&#x201E;ski

Vox in Rama

Magnificat

Vox in Rama audita est, ploratus et ululatus: Rachel plorans fĂlios suos, et noluit consolari, quia non sunt.

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 eius. Et misericordia eius 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 eius 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

Ecce Virgo concipiet Ecce Virgo concipiet et pariet filium et vocabitur nomen eius Emmanuel.

Deus firmavit orbem terrae Deus firmavit orbem terrae, qui non commovebitur: parata sedes tua, Deus, ex tunc, a saeculo tu es.

Viderunt omnes fines terrae 134

Viderunt omnes fines terrae salutare Dei nostri. Alleluia.

Vidimus stellam eius Vidimus stellam eius in Oriente et venimus cum muneribus adorare Dominum.

Responsum accepit Simeon Responsum accepit Simeon a Spiritu Sancto non visurum se mortem nisi videret Christum Domini.

In monte Oliveti In monte Oliveti oravit ad Patrem: Pater, si fieri potest, transeat a me calix iste. Spiritus quidem promptus est, caro autem infirma. Fiat voluntas tua.

Salve festa dies Salve festa dies, alleluia, toto venerabilis aevo, alleluia. Salve dies sanctitatis, alleluia, laetitiae et felicitatis, alleluia. Salve dies festa, alleluia, in qua conosolantur corda mesta, alleluia.

Ascendit Deus Ascendit Deus in iubilatione, et Dominus in voce tubae. Alleluia.

Spiritus Sanctus docebit vos Spiritus Sanctus docebit vos, alleluia, quecumque dixero vobis, alleluia.

Video caelos apertos Video caelos apertos, et Iesum stantem a dextris virtutis Dei. Domine Iesu, accipe spiritum meum, et ne statuas illis hoc peccatum.

Benedictus sit Deus Pater Benedictus sit Deus Pater, unigenitusque Dei Filius, Sanctus quoque Spiritus, quia fecit nobiscum misericordiam suam.

135

15.09.2019, Sunday, 4 pm

Wrocław, White Stork Synagogue (Synagoga pod Białym Bocianem), ul. Włodkowica 7

Sud, sud – a Musical Journey from Rome Beyond the Mediterranean Sea Performers:

Giulio de Ruvo (fl. 1703–1716) Romanella, Ciaccona, Tarantella for cello

Giovanni Sollima – cello

Bartolomé de Selma y Salaverde (1580–1640) Fantasia No. 5 for cello and b.c. from Primo libro de canzoni, fantasie et correnti (Venice, 1638)

Michele Pasotti – theorbo

Moje Bukura More (traditional Albanian melody from Sicily) for cello Iannis Xenakis (1922–2001) Kottos for cello

Programme:

Zèzèzè (ngòmbí harp piece from Central Africa) for cello

Giovanni Battista Costanzi (1704–1778) Sinfonia in B flat major for cello and b.c.

Giovanni Sollima (*1962) Lamentatio for cello

I. II. III. IV.

Adagio Spiritoso Sarabanda (Amoroso) Minuet

Francesco Paolo Scipriani (1679–1753?) Toccata No. 5 for cello and b.c. Santu Paulu (traditional melody from the Salento region) for cello and b.c.

Eliodoro Sollima (1926–2000) Sonata 1959 for cello I. Largamente con libertà II. Moderato a capriccio III. Perpetuum mobile

Time 75'

Concert under the auspices of the Instituto Italiano di Cultura di Cracovia

For programme note, see concert on 14.09, 7:30 pm in Krotoszyn on p. 126.

137

15.09.2019, Sunday, 6:30 pm

Strzegom, Minor Basilica of the Holy Apostles Peter and Paul (bazylika mniejsza św. św. Apostołów Piotra i Pawła), ul. Jana Pawła II 10

Inspirations from Venice Performers:

Responsum accepit Simeon (communione; In festo Purificationis Beatae Mariae Virginis) Fantasia a due

Andrzej Kosendiak – conductor

Fantasia a tre*

Wrocław Baroque Ensemble

In monte Oliveti (motetto) Salve festa dies (Motetto in festo Paschae) Ascendit Deus (offertorium; In festo Ascensionis Domini)

Deus firmavit orbem terrae (offertorium; In secunda Missa Nativitatis Domini) Viderunt omnes fines terrae (communione; In tertia Missa Nativitatis Domini) Vox in Rama (communione; In festo Sanctorum Innocentium) Vidimus stellam eius (communione; In Epiphania Domini)

Time 70'

For programme note, see concert on 14.09, 8 pm in Wrocław on p. 130.

139

15.09.2019, Sunday, 7 pm

141

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

Summertime – Porgy and Bess Performes:

Programme:

Wayne Marshall – conductor

George Gershwin (1898 –1937) Porgy and Bess – concert version (shortened)

Derrick Lawrence – Porgy, Crown (bass-baritone) Indira Mahajan – Bess, Clara (soprano) Angela Renée Simpson – Serena, Maria (soprano) Ronald Samm – Sportin’ Life, Jake (tenor) Hertfordshire Chorus David Temple – artistic director of the Hertfordshire Chorus NFM Wrocław Philharmonic

Time 100'

The concert has a 20-minute intermission.

Programme note

MARIUSZ GRADOWSKI

142

The music of Porgy and Bess seems to be taken directly from African-American musical traditions, even though no folk material is quoted by George Gershwin. He emulates work songs, imitates gospel music and composes spirituals in a well recognised idiom. The impression of authenticity results from Gershwin’s excellent compositional skills and – more importantly – his respect and deep understanding of the African-American musical heritage.

It is worth noting that during times of racial segregation and racist laws, George Gershwin worked and was friends with many black musicians from New York’s Harlem. He got to know the atmosphere of the American South by visiting Charleston (Catfish Row from Porgy and Bess is located nearby) as well as Folly Island in the Atlantic Ocean, where an isolated local African-American community still retained traditions reaching back to times of slavery and even a distant past of freedom in West Africa. Consequently Gershwin got to know these traditions from two perspectives: from the viewpoint of Broadway jazz entertainment and from an aspect of folklore, which included austerity of spirituals, work songs, trade chants, ditties, and games. Being of Jewish descent, the composer was well acquainted with the meaning of prejudice, restrictions and persecution associated with ancestry. His experiences, like those of African-Americans, helped him to understand the music of black America, its significance and to suitably express it in the score of Porgy and Bess. The Gershwin brothers decided that the staging of Porgy and Bess could only be possible with an all-black cast. They rejected an offer from the Metropolitan Opera, whose proposal relied on engaging white performers with faces painted black. The popular singer Al Jolson made a similar offer, which was also turned down. Face painting originated with the blackface minstrel shows, popular 19th-century spectacles, which legitimised and playfully conveyed a racist message. These performances parodied the lifestyle and behaviour of black people by accentuating stereotypical features of their appearance (huge red lips), dress (motley), taste (vulgar), language (pronunciation) and music (syncopation). A context of this type for Porgy and Bess was unacceptable both to the Gershwins and to Dorothy and DuBose Heyward – co-authors of the libretto. Importantly, the concert version of the opera Porgy and Bess is not encumbered with requirements of an all-black cast. There are no sets or costumes and there is no threat of invoking the spirit of blackface minstrel shows, and the only meaning of vocal tone-colour in this type of performance remains purely musical. The strength of Porgy and Bess does not

rely merely on capturing a day in the life of the African-American community. Like in every masterpiece, this is also an attempt by the Heywards and the Gershwin brothers to define the human condition, its need for pure and unconditional love, its downfalls and possibilities of salvation. The brothers wished Porgy and Bess to be regarded as a serious work far removed from cheap entertainment, worthy of being called a work of art that raises important questions about the essence of humanity. In 1935, when the opera had its Boston premiere these intentions were clear, yet many of today’s concertgoers see Gershwin’s music as lighter classics, or even ‘easy listening’. Be that as it may, all of Gershwin’s melodies, harmonies, timbres and rhythms identifiable in Porgy and Bess with a jazz idiom, come across as a search for a specific form of national expression, something entitled to be called a language of American classical music. Inspiration by AfricanAmerican music here serves to add credibility to the presented fate of people associated with a specific community and place, rather than to highlight the work’s entertaining character. George Gershwin could have written a revue, instead he composed an opera. The score of Porgy and Bess also reveals that George Gershwin was aware that his audience would associate African-American elements, one way or another, with entertainment. For this reason he exploits a double musical narrative. In the foreground we have music, which – like in every opera – serves as the protagonists’ means of communication, expression and thought. All the recitatives, arias and choral passages imbued with African-American elements are moreover transparent to both the opera’s protagonists and listeners. It is the language of Catfish Row’s black community. White Americans, who appear episodically do not sing. They come from a menacing outside world. In Porgy’s song-infused world their speech is just as foreign as they are to the inhabitants of Catfish Row. To underline the importance of music among African-Americans, in Porgy and Bess Gershwin introduces a variety of songs, chants and ditties. They represent the sounds of the setting, sung and heard by the story’s protagonists, intoned at times out of grief, joy or love, at work, during prayers or just for fun. Gershwin’s approach to these passages is different, he simplifies their form, sometimes reaches for experiences gained from his Broadway revues, sometimes writes pieces close to folk song traditions. They are intended as songs distinctive in style from the musical language of the remaining passages. No wonder that these inner songs and tunes, so adroitly woven into the musical narrative, have won such popularity and contributed to the work’s success. They can be easily extracted from the opera, as they are quite ubiquitous and capable of functioning independently. However, worth bearing in mind is their initial, original context, which decidedly strengthens their expression. In ‘It Ain’t Necessarily So’, cynical speculations about biblical truths acquire added dimensions in the singing of Sportin’ Life, who destroys the spirit of faith in the same way he destroys his clients with narcotics. I got plenty of nuttin’ – and nuttin’s plenty for me (‘I Got Plenty O’ nuttin’ ’) can be sung by anyone, yet the words sound particularly expressive from the lips of the crippled beggar Porgy. One can deliberate whether in reality ‘A Woman is a Sometime Thing’ yet it is worth remembering

that the battle of the sexes as outlined in the text, is sung by Jake the fisherman, a good husband joking with his beloved wife Clara. ‘My Man’s Gone Now’ is often interpreted as a song about lovers parting company, however we are reminded in Serena’s lament that in this instance ‘gone’ means ‘dead’. Finally ‘Summertime’. The song’s early appearance in the opening scene of Porgy and Bess may seem unexpected. Yet over the course of successive appearances its deeper sense is revealed. Here Clara sings to her baby about a hopeful present and an uncertain future. Yet the realities of life in Catfish Row turn out to be ill-fated. The infant is about to become an orphan when Jake and Clara perish in a hurricane. However the lullaby ‘Summertime’ (and the values it represents) is taken up by Bess, who cured from her drug addiction is returning to normal life; it is to Bess that Clara entrusts her child before she dies. Once again there is an optimistic present, a fragile future; once again the wheel of human fate turns full circle. In the last scene we see Clara’s infant in the arms of Serena: the fallen Bess having gone to New York with Sportin’ Life to resume her previous life. ‘Summertime’ does not appear again. Hope for the survival of Catfish Row, Bess, and all those caught up in the cogwheel of a modern world now depends on Porgy’s love and strength. There is no certainty that Porgy will find Bess and return in the summertime to the place where ‘the livin’ is easy, fish are jumpin’ an’ the cotton is high’. The future of Clara’s baby remains unknown, however we keep our fingers crossed as we listen to ‘Summertime’.

Biographies of artists and ensembles are provided in an alphabetical order on pages 146-181. 143

Synopsis Porgy and Bess libretto: Ira Gershwin, Dorothy and DuBose Heyward (1934) music: George Gershwin premiere: New York, 10 October 1935

Porgy – disabled beggar Bess – Crown’s girl Crown – a tough stevedore Sportin’ Life – a dope peddler Robbins – an inhabitant of Catfish Row Serena – Robbins’ wife Jake – a fisherman Clara – Jake’s wife Maria – keeper of the cook-shop

ACT I Scene 1. A summer evening in Catfish Row, once an aristocratic property now inhabited by poor African-Americans. Clara, the wife of fisherman Jake sings a lullaby (‘Summertime’) to her baby. Serena is arguing with her husband Robbins, who seeks amusement in a game of craps. Joining those relaxing to music and games are among others: the roughneck Crown with his mistress Bess as well as the cripple Porgy and drug dealer Sportin’ Life, both besotted with Bess. Suddenly the drunk Crown starts a brawl during which he kills Robbins. The murderer flees telling Bess to fend for herself during his absence. Sportin’ Life exploits the situation by offering her some happy dust (cocaine) and suggesting she goes with him to New York. She refuses and seeks shelter elsewhere, but no one apart from Porgy wants to have anything to do with her. To Porgy’s great joy Bess agrees to his protection (‘Bess, You Is My Woman Now’).

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Scene 2. Evening of the next day. Prayers are being said over the corpse of Robbins, songs are sung (‘Gone, gone, gone’), and a collection organised for the funeral to the sound of Serena’s lament (‘My Man’s Gone Now’). Suddenly a policeman appears telling Serena the burial must proceed quickly and interrogates Peter who also played craps on the fateful evening. He is unexpectedly arrested as a material witness to the murder. The undertaker appears in order to bury the dead man. Bess changes her attitude, rejects her former life and becomes accepted – not without opposition – into the Catfish Row community.

ACT II Scene 1. A month has passed. Clara fears the imminent hurricane season, but Jake goes fishing regardless as the couple are in desperate need of money... Porgy is happy – his beloved is by his side and he needs nothing more (‘I Got Plenty O’ Nuttin’ ’). The fraudulent lawyer Frasier, posing as a judge, gives Bess a divorce from Crown. Meanwhile Sportin’ Life roams the area as Bess tries to kick her habit, which he notices and tempts her with a portion of happy dust. Porgy sends him packing. The couple express their love for each other. Porgy trusts Bess and believes in her willingness to change. He wants her to enjoy life and urges her to attend the traditional picnic on Kittiwah Island, while he stays behind. Scene 2. Evening. The picnic is in full swing. Sportin’ Life joins the party and sings a song, cynically commenting on the biblical story (‘It Ain’t Necessarily So’), which angers the religious Serena. As Bess prepares to leave she is unexpectedly stopped by a man. It turns out to be Crown who is hiding on the island. Bess claims to have changed and tells him she is now living with Porgy, but her words are of no use. Crown makes fun of the cripple and stops her from sailing home. Eventually Bess gives in to temptation and succumbs to the appealing and overpowering strength of her former lover. Scene 3. A week later, early morning. Since her return from Kittiwah, Bess is not feeling well. Serena prays for her failing health. Porgy guesses the truth related to recent events and allows Bess to choose between him and Crown. Bess fears the return of her lover. She asks for Porgy’s protection as it is him that she loves (‘I Loves You, Porgy’). Meanwhile a storm is coming. Clara worries about Jake who set sail in the morning. Peter is released from prison. Scene 4. A storm rages. Everyone prays for the safe return of the fishermen. Suddenly Crown bursts into the room, laughing at the elements and blaspheming against God. Hearing the gathered pray he sings a raunchy song (‘Red-headed Woman’). All of a sudden Clara notices Jake’s upturned boat. She leaves her baby in arms of Bess and throws herself into the waves in an attempt to save her husband. Only Crown reacts to calls for help. Disparaging Porgy’s helplessness and cowardice of those gathered, he runs to the aid of Clara and Jake.

ACT III Scene 1. Prayers can be heard for those who perished the previous night. Bess sings a lullaby (‘Summertime’) to Clara’s orphaned baby. Sportin’ Life is sure that Crown survived. Crown sneaks into the colony in search of Bess. Despite the darkness he is spotted by Porgy who attacks and unexpectedly kills him. Scene 2. The following day the police arrive in search of a witness to identify Crown’s body. Sportin’ Life tells Porgy that corpses bleed at the sight of their murderers, thus enabling the police to find the perpetrator. Out of fear Porgy refuses to identify Crown’s body and is arrested. Bess is distraught and doubts her beloved will return. Sportin’ Life exploits her weakness, painting a vision of their life together in New York (‘There’s a Boat Dat’s Leavin’ Soon for New York’). He tempts her with a portion of happy dust. Bess resists, but Sportin’ Life leaves a packet of narcotics on her doorstep. Scene 3. A week later Porgy is released from jail. Having refused to look at Crown’s body, he served time for impeding the investigation but is now free to start a peaceful life. He gives his friends presents bought in town. He fails to understand why there is such an awkward atmosphere. He notices Clara’s baby in Serena’s arms and learns that Bess has gone to New York with Sportin’ Life. There and then Porgy makes a decision: he prays to God for strength and on his goat cart sets out on a long journey, in search of his beloved Bess.

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Biographies

Biographies Giovanni Antonini

conductor, artistic direction of Il Giardino Armonico Biography on p. 23 Vivaldi – Juditha triumphans, 13.09, p. 114

photo: artist’s collection

Francesca Ascioti contralto

Francesca Ascioti graduated in singing at the Conservatorio di Musica ‘Luca Marenzio’ in Brescia. She started her vocal studies with Bernadette Manca di Nissa and then with Teresa Berganza. In 2010 she won a scholarship that allowed her to attend the Ateneo Internazionale della Lirica in Sulmona. In November 2013, she made her debut as Mistress Quickly in Verdi’s Falstaff in Busseto, with Renato Bruson, Marina Bianchi directing, a co-production between the Accademia dell Teatro alla Scala in Milan and the Teatro Regio in Parma. In 2014, she was involved in Beethoven’s Ninth Symphony at the Teatro Massimo Bellini in Catania. In the same year, she sang as Zita in Puccini’s Gianni Schicchi in Piacenza and as Baronessa di Champigny in Rota’s Il cappello di paglia di Firenze in Bari with Elena Barbalich directing. In the following seasons, she sang as Ozias in Vivaldi’s Juditha triumphans under Alessandro De Marchi in Venice. Francesca Ascioti has taken part in the Riccardo Muti Academy, singing as Mistress Quickly in Falstaff under the baton of Maestro Muti.

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Other engagements under the baton of Andre Marcon include: Giunone in Vivaldi’s La fida ninfa in Basel and in Baden-Baden (Festspielhaus); Marzia in Vivaldi’s Catone in Utica and Euterpe in Handel’s Parnasso in festa at the

Concertgebouw in Amsterdam; Ozias in Juditha triumphans in Brussels (Bozar), London, Athens and at the Carnegie Hall in New York; Bach’s Mass in B Minor on tour in Italy. At the Teatro La Fenice, she has sung the role of Diana in the production of Křenek’s Cefalo e Procri and took the alto part in Pergolesi’s Stabat Mater under Andrea Marcon. Most recently she sang the title role in Hasse’s Enea in Caonia in Rome (Teatro di Villa Torlonia); Handel/Leo’s Rinaldo (Argante) in Martina Franca at the Festival della Valle d’Itria under Fabio Luisi; Handel’s La resurrezione (St Mary Cleophas) with La Risonanza and Fabio Bonizzoni in Brussels, Bruges and Metz; Handel’s Messiah with the Orquesta Sinfónica de Galicia at the Palacio de la Ópera (A Coruña). Plans include: a staged production of Juditha triumphans at the Dutch National Opera and Ballet in Amsterdam and again at the Auditorio Nacional de Música in Madrid, under Andrea Marcon; Donizetti’s Anna Bolena (Smeton) in Liège and on tour in Muscat. Vivaldi – Juditha triumphans, 13.09, p. 114

photo: artist’s collection

Jessica Bäcklund soprano

Jessica Bäcklund is active as a freelance singer, both as a soloist and ensemble singer, performing regularly with the Swedish Radio Choir and Ensemble Villancico specialising in Baroque music of Latin America. Her repertoire covers everything from early music to contemporary music. Jessica Bäcklund has been engaged by a number of opera institutions and festivals, as Wermland Opera, Läckö Castle Opera and Drottningholm Palace Theater. In the 2017/18 season, she also took part in 150 children’s opera performances around Sweden. Jessica Bäcklund has sung with Eric Ericson Chamber Choir, the Danish National Vocal Ensemble and the Norwegian Soloists’ Choir. Fairy Tales. Finding or Losing Our Identity – a MusMA concert, 9.09, p. 78

photo: ensemble’s collection

Coptic Orthodox Church Choir of Sacred Music photo: artist’s collection

Feliksa Cierlik from Rząsin (Gryfów Śląski District) folk singer ‘Discovered’ as a performer of songs a few years ago. She comes from a Polish family from the former Galicia, Poland, settled in Bosnia at the end of the 19th century. She performs love songs, orphan songs, carols and old ballads taught by her mother. She teaches the songs to a group of students in a village. Winner of two awards at the Festival of Folk Bands and Singers in Kazimierz Dolny – the 1st in 2014 and the 2nd in 2018. Together with her students in the Master-Student category, she also received prizes in 2017 and 2018. In 2019, she implements the programme of the Ministry of Culture and National Heritage ‘Master of Tradition’, leading workshops on traditional songs for young people from Rząsin. Songs from the Forests and Fields. Traditional Polish Folk Music, 12.09, 13.09, 14.09, p. 104, 120, 124

photo: Fabio Fiandrini

Paolo Da Col

conductor, artistic direction of Odhecaton Singer, organist, conductor and musicologist, Paolo Da Col completed his musical studies in Bologna and, from the beginning, he turned his interest to the Renaissance and Baroque music repertoire. For over twenty years he has been a member of several Italian vocal ensembles, including the Cappella Musicale di S. Petronio in Bologna and the Istitutioni Harmoniche ensemble. Since 1998, he is Odhecaton ensemble’s conductor, as well as other vocal and instrumental groups specialising in the Baroque repertoire. Paolo Da Col teaches at the Conservatory of Music ‘Giuseppe Tartini’ in Trieste. He leads the magazine L’Organo (up to 2017 together with Luigi Ferdinando Tagliavini), writes for specialist musical magazines and directs the music catalogue of the publisher Arnaldo Forni in Bologna. Besides, he is the curator of instrumental music editions, author of catalogues of musical stocks and essays about the history of Renaissance and Pre-Classic vocal music. Alessandro Scarlatti – Rediscovered Works, 12.09, 13.09, p. 96, 122

The Choir was founded in 1960 by Ragheb Moftah, the Head of the Department of Coptic Music and Hymns at the Institute of Coptic Studies in Cairo. Some of the choir members are cantors in different churches in Cairo. They studied Coptic music in Didymus Institute for Chanters of the Coptic Orthodox Church. The others studied Coptic music and hymns in the Department of Coptic Music and Hymns in Cairo. Every three or four years the choir accepts new members. The Coptic Orthodox Church Choir of Sacred Music has taken part in different international festivals in Europe: in Germany (twice in Berlin), Venice, Madrid, Paris, and Salzburg. The Coptic Orthodox Church Choir of Sacred Music is the official choir of the Coptic Orthodox Church; its aim is to disseminate Coptic music not only in Egypt, but also in Coptic communities in the world. Until today, Coptic music is passed on through oral tradition. Coptic Orthodox Church Choir of Sacred Music: Michael Ghattas – conductor, artistic direction Radi Morcos (cantor), Beshoy Abd El Malek, Morcos Ghattas, Abd El Kareem Beshay, Mina Estefanos, Abd El Sayed Faragalla, Malak Bolos, Melad Awad, Ashraf Mikhael, Fakhry Mikhael, Amir Ibrahim, Elia Estemalek, Bishoi Sedra, Boles Estefanos, Abraam Badros, Wahba Morgan, Mamdouh Elabd, Emad Hanna, Emad Yakoub, Zaky Iskander, Melad Mitry, Victor Hanna Coptic Hymns, 6.09, 7.09, 8.09, 9.09, p. 30, 46, 74, 86

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Biographies Dorfmuseum in Markersdorf (1997). Henryk Dumin is the author of articles on theatre, photography and monument protection.

photo: Maciej Chyra

Henryk Dumin

host of the concert ‘Songs from the Forests and Fields. Traditional Polish Folk Music’ Cultural anthropologist, cultural manager; graduate of the University of Wrocław, Wrocław University of Economics and a course for managers of Polish culture at the Warsaw School of Economics. He has worked as the deputy director of the Culture Department of the Marshal’s Office of the Lower Silesian Voivodship. He managed the Tradition Protection Team at the National Heritage Institute in Warsaw, co-creating procedures related to the ratification by Poland of the UNESCO Convention of 2003 on the protection of intangible cultural heritage. He has lectured at the Institute of Ethnology and Cultural Anthropology of the University of Wrocław. He has chaired artistic councils of regional tradition contests and the International Folklore Festival ‘Faces of Tradition’ in Zielona Góra.

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He is the author of the pioneer Programme for the Protection of Rural Culture Traditions in Lower Silesia. In Jelenia Góra he organised three editions of the Musica Viva Chamber Music Festival (2004–06). Curator of museum exhibitions in Poland and Germany, including Tradition in the space of time. 70th anniversary of a great hike in the Karkonosze Museum in Jelenia Góra (2015), Village artists. Portraits of the late 20th century at the Ethnographic Museum in Wrocław (1999), Dorfsängerinnen. Portraits at the Schlesisch-Oberlausitzer

He specialises in applied anthropology, associated with positive determination of the community in reaching the sources of identity. He is the discoverer of the oldest songs of the Polish cultural area, preserved to this day in oral transmission. Exploring the Lower Silesian interior, he established cooperation with village singers who later won the main prizes, among others at the National Festival of Folk Bands and Singers in Kazimierz Dolny (1985–2018) and the Teesside International Eisteddfod in Middlesbrough in the UK (1997). Continuing his research in the areas of disrupted settlements, he reached the descendants of Polish emigrants from the 19th century in the state of Rio Grande do Sul in Brazil, where he found relics of the canon of the Polish song repertoire that continues to this day in direct oral transmission in the Polish language community living in settlements in the subtropical forest near the Brazilian-Uruguayan border. In his publications, he points to the existence of precious values of traditional culture in Lower Silesia, among others: the cycle Mom jo skarb . . . Lower Silesian Traditions in the Process of Transformation vol. 1-3, National Museum in Wrocław Press (2009–12). He co-edited the 26th volume of the phonographic series Muzyka Źródeł entitled Lower Silesia – an album of Polish Radio 2 (2008). He has twice been a scholarship holder of the Ministry of Culture and National Heritage in the areas of cultural animation (2015) and culture management and support for the development of cultural personnel (2018). Currently, he is associated with the Karkonosze Museum in Jelenia Góra. Henryk Dumin is the winner of the Oskar Kolberg Award (2010), Award of the Marshal of the Lower Silesia Voivodship (2013), holder of the Badge of Honour ‘Merit for Polish Culture’ (2010) and the Bronze Medal for Merit to Culture ‘Gloria Artis’ (2016). Songs from the Forests and Fields. Traditional Polish Folk Music, 12.09, 13.09, 14.09, p. 104, 120, 124

photo: ensemble’s collection

Highland-style song theatre ensemble ‘Dunawiec’ from Zbylutów A group of Čadca highlander choristers who came to Lower Silesia in 1946 from the area of Bukovina. In addition to archaic songs, they have also kept traditional festive costumes. The repertoire includes numerous recruit, orphan, love and ritual songs, and among them probably the oldest song of the Polish cultural area preserved in the direct transmission – Sioła jelinia performed on the occasion of spring awakening. The group is the winner of the 3rd prize at the prestigious Teesside International Eisteddfod in Middlesbrough in the UK (1997) and the main prizes of the Festival of Folk Bands and Singers in Kazimierz Dolny – Baszta in 1991, as well as the 3rd prize in 1993. Members of the group, running their own farms, regularly participate in festivals of the culture of nations once inhabiting the area of Bukovina, organised in Romania, Moldova, Hungary, and Ukraine. Highland-style song theatre ensemble ‘Dunawiec’ from Zbylutów: Małgorzata Bandrów, Teresa Czyżewska, Aniela Jałowiecka, Olga Jeremiejew, Jadwiga Lipińska, Maria Najdek, Jadwiga Puszkarz, Urszula Siedlecka, Jadwiga Zakaszewska Songs from the Forests and Fields. Traditional Polish Folk Music, 12.09, 13.09, 14.09, p. 104, 120, 124

photo: Knut Koivisto

Stina Ekblad narrator

Stina Ekbald born in Finland, educated in Denmark. She is an actress at the Royal Dramatic Theatre in Stockholm, where she has been working with directors such as Ingmar Bergman, Mats Ek, Andrzej Wajda, Peter Konwitschny, and Michael Thalheimer. From 2005–2009, she was a Professor at the Stockholm Academy of Dramatic Arts. Stina Ekblad received an honorary degree from the Stockholm University. Fairy Tales. Finding or Losing Our Identity – a MusMA concert, 9.09, p. 78

photo: B. Aly-B+ęril

Ensemble Organum Founded in 1982 at the Abbey of Sénanque, and established in the Fondation Royaumont from 1984 to 2000 where Marcel Pérès founded the CERIMM (the European Centre for Research in Medieval Music), the Organum Ensemble has been moved in the former Abbey of Moissac since 2001 to operate a new research structure, the CIRMA (the Itinerant Centre for Research into Ancient Music). Beyond simple acoustic enjoyment, the research programmes are devised in an interdisciplinary perspective so as to widen the fields of investigation and to make music the privileged implement for a reflexion on the history of mentalities.

d’Or, MIDEM Classical Awards, Choc de l’Année du Monde de la Musique) and frequent perfor mances on television and radio, have allowed the Ensemble Organum to play a decisive part in the revival of early music. Ensemble Organum: Marcel Pérès – artistic direction Jean-Christophe Candau, Jérôme Casalonga, Frédéric Tavernier, Jean-Étienne Langianni, Ahmed Saher A Mediterranean Mosaic. Mozarabic Chant, 10.09, 11.09, p. 88, 94

It is another approach to the past that the Organum Ensemble would like to instigate, by placing the rediscovery and re-actualisation of ancient music at the heart of the great socio-cultural and spiritual currents of the contemporary world, recognising in the arts of the past the elements which would generate the evolvement or the mutation of contemporary cultural practices. This Ensemble was the first to undertake most of the European repertories that have marked the evolution of music since the 6th century. The numerous concerts and spectacles (more than a 1000) presented in Europe, on the American continent and in the Near East, the recording of 40 or more discs (most of which have received the highest awards: Diapason

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Biographies of Music Education, Choral Studies and Church Music of the Academy of Music in Wrocław. As a singer and choirmaster, she is often invited to run workshops for choirmasters and choral ensembles. She has 18 CDs and over 70 individual and group awards to her credit, including the 1st prize at the National Choral Conductors Competition (2004), the 1st place at the Lower Silesian stage of the National Student of the Year Competition Primus Inter Pares (2004), Badge of Honour ‘Merit to Polish Culture’ (2008), Wrocław Music Prize (2010), Award of the Web Surfers in the competition Personality of the Year 2011, ‘Iuvenes Wratislaviae’ Award of the Polish Academy of Sciences (2012), the Bronze Medal for Merit to Culture ‘Gloria Artis’ (2014), and Fryderyk 2017.

photo: Łukasz Rajchert

Agnieszka Franków-Żelazny artistic direction of NFM Choir

She graduated from Wrocław University (diploma in biology 2000) and the Academy of Music in Wrocław (diploma in musical education 2004, diploma in voice 2005). In 2006, 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. As a chorister, Agnieszka Franków-Żelazny began with the Mixed Choir of the Głubczyce High School and next sang in Wrocław university choirs. From 1995–1999, she was a member of the Polish-German Choral Academy ‘In terra pax’. In 1999, she founded the ‘Con Amore’ Choir of School Complex No. 1 in Wrocław. At the same time, she was conductor and artistic manager of the Wrocław University of Technology Choir. In 2000, she founded the Medical University Chamber Choir (now Medici Cantantes Choir of Wrocław Medical University) with which till the end of 2014 she won several awards and distinctions at national and international competitions. 152

Since June 2006, she has been Artistic Director of the NFM Choir (formerly: the Wrocław Philharmonic Choir). From January to July 2013, she was artistic supervisor of the Polish Radio Choir, helping to re-establish the ensemble and reintroduce it to Poland’s musical scene. She has appeared as guest conductor and choirmaster with: Gabrieli Consort, NFM Wrocław Philharmonic, NFM Leopoldinum Orchestra, Sudeten Philharmonic Orchestra, Opole Philharmonic Symphony Orchestra, Wrocław Soloists’ Ensemble Ricordanza, Wrocław Academy of Music Chamber Orchestra, Wratislavia Cantans Festival Choir, Silesian Philharmonic Choir, Chor der Bamberger Symphoniker, Schleswig-Holstein Festival Chor, Poznań Grand Theatre Choir, Kaunas State Choir, and Coral Juvenil do Guri. Her idea to create the Polish National Youth Choir came to fruition in 2013, and she has been its Artistic Director ever since. The PNYCh is managed by the National Forum of Music. Since January 2015, she is Programme Director of the Choral Academy project. Agnieszka Franków-Żelazny obtained a post-doctoral degree in the arts. At present, she teaches choral conducting and runs the Stanisław Krukowski Choir at the Department

She has performed in 19 European countries, and also in the United States, Israel and Brazil, as well as conducting over 1000 choral works and almost 250 vocal-instrumental works. From 2013–2016, she was Curator of Music for the European Capital of Culture Wrocław 2016. Israel Philharmonic Orchestra & Zubin Mehta. Mahler – Symphony No. 3, 7.09, p. 56 Vivaldi – Juditha triumphans, 13.09, p. 114

Mihoko Fujimura mezzo-soprano

Mihoko Fujimura made her debut at the Bayreuth Festival in 2002 as Fricka in Wagner’s Der Ring des Nibelungen, returning for 9 years as Waltraute, Erda, Brangäne (Tristan und Isolde) and Kundry (Parsifal). Other engagements include performances with the opera houses of Wiener Staatsoper, Bayerische Staatsoper, Royal Opera House Covent Garden, Teatro alla Scala, Teatro del Maggio Musicale Fiorentino, Théâtre du Châtelet, Deutsche Oper Berlin, Großes Festspielhaus (Salzburg), Semperoper Dresden, Teatro Carlo Felice (Genova), Teatro Colón (Buenos Aires) and Teatro Real (Madrid). Her operatic repertoire includes Kundry, Brangäne, Fricka, Erda, Venus (Wagner’s

She has appeared with conductors such as Claudio Abbado, Christian Thielemann, Zubin Mehta, Christoph Eschenbach, Bernard Haitink, Mariss Jansons, Sir Colin Davis, Kurt Masur, Riccardo Chailly, Michael Gielen, Andris Nelsons, Yannick Nézet-Séguin, Kent Nagano, Fabio Luisi, Daniele Gatti, Sir Simon Rattle, Charles Dutoit, Myung-Whun Chung, Semyon Bychkov, Franz Welser-Möst, Donald Runnicles, Jesús López Cobos, Daniel Harding, and Ádám Fischer. She performs in recital with Christoph Ulrich Meier and Wolfram Rieger.

photo: R&G Photography

Tannhäuser), Carmen (Bizet), Mélisande (Debussy), Verdi’s roles: Amneris (Aida), Eboli (Don Carlos), Fenena (Nabucco), Azucena (Il trovatore), as well as Idamante (Mozart’s Idomeneo) and Octavian (Der Rosenkavalier by R. Strauss). Mihoko Fujimura has performed in concert with the Wiener Philharmoniker, Royal Concertgebouw Orchestra, Berliner Philharmoniker, Symphonieorchester des Bayerischen Rundfunks, Orchestra dell’Accademia Nazionale di Santa Cecilia, Münchner Philharmoniker, London Symphony Orchestra, London Philharmonic Orchestra, Orchestre Philharmonique de Radio France, Orchestre de Paris, Gewandhausorchester Leipzig, Orchestre de la Suisse Romande, Boston Symphony Orchestra, Orchestra Filarmonica della Scala, Israel Philharmonic Orchestra, Lucerne Festival Orchestra, Philadelphia Orchestra, National Symphony Orchestra (Washington), Orchestre Symphonique de Montréal, Bamberger Symphoniker, Mahler Chamber Orchestra. Concert repertoire includes Verdi’s Requiem, Mahler’s Das Lied von der Erde, Rückert-Lieder, Des Knaben Wunderhorn, Kindertotenlieder, Wagner’s Wesendonck-Lieder and Schönberg’s Gurrelieder.

Mihoko Fujimura has recorded Brangäne with Antonio Pappano for EMI Classics, Gurrelieder with the BRSO and Mariss Jansons, Mahler’s Symphony No. 3 with the Bamberger Sympho niker and Jonathan Nott, and Beethoven’s Symphony No. 9 with Christian Thielemann and the Wiener Philharmoniker. For Fontec she has released six solo recital discs with pianist Wolfram Rieger and conductor Christoph Ulrich Meier, singing works by Wagner, Mahler, Schubert, R. Strauss, Brahms, and Schumann. In 2014, she was awarded the Purple Ribbon Medal of Honour by the Japanese Government for her contribution to academic and artistic developments, improvements and accomplishments. Israel Philharmonic Orchestra & Zubin Mehta. Mahler – Symphony No. 3, 7.09, p. 56

Michael Ghattas

conductor, artistic direction of Coptic Orthodox Church Choir of Sacred Music Born in Alexandria, Egypt, in 1952. He finished secondary school in Alexandria in 1969. He graduated from Alexandria University in 1973, where he studied biochemistry. From 1981–1985, he studied theology at the Orthodox Faculty in Thessaloniki, Greece. From 1982–1985, he studied Byzantine music at the St John of Damascus Institute of Theology in Thessaloniki. In 1985 he moved to Germany to prepare his doctoral degree at the Universities of Heidelberg and Marburg. He obtained his PhD from the University of Marburg, Germany,

photo: artist’s collection

in 1996. He studied papyrus at the University of Heidelberg in the Institute of Papyrology. His dissertation was written at the Department of Ancient History of the Church and Patrology. From 1990–1995, he was assistant at the Department of Ecumenical Studies. Michael Ghattas is Subdeacon in the Coptic Orthodox Church in Egypt. He gives lectures on patrology at different theological seminaries in Egypt and in Germany. He also lectures on Coptic music and hymns at the Free University of Berlin and at theological seminaries and institutes in Egypt. Since 2002, he has been Head of the Department of Coptic Music and Hymns at the Institute of Coptic Studies in Cairo and in El Fayoum (Upper Egypt) and El Menya (Upper Egypt). Michael Ghattas has attended many international conferences in the USA, Great Britain, France, Italy, Germany, Finland, Belgium, Bulgaria, and South Korea. He has a knowledge of 13 languages. Coptic Hymns, 6.09, 7.09, 8.09, 9.09, p. 30, 46, 74, 86 153

Biographies

photo: ensemble’s collection

The ‘Gościszowianie’ ensemble from Gościszów Polish re-emigrants from Bosnia whose ancestors hailed from Eastern Małopolska. After 1946, they settled in closely-knit groups near Bolesławiec. Thanks to close contacts they have maintained a high level of integration enabling an intensive transmission of songs of many genres, including old carols, ballads, recruit and love songs. The group have also performed shows in which it presented scenes from the old rural life – Return to Poland, Peruszanie kukurydzy, Strachy, Herody, and Pośnik, for the latter they received the prize of the National Regional Festival of Rural Theatres in Tarnogród (2012). The group are also winners of the National Festival of Polish Folk Bands and Singers in Kazimierz Dolny – 1st prize in 1987 and 3rd prize in 1994. Young people from the village, taught by the group’s members, were awarded in Kazimierz Dolny for performing old songs in the Master-and-Pupil category (1987, 1995, 2005, 2007, 2011, 2015). The ‘Gościszowianie’ ensemble from Gościszów Maria Kida, Antonina Kiełbowicz, Krystyna Klimek, Alicja Kojder, Krystyna Kuduk, Zofia Ludziak, Michalina Ładocha, Aleksandra Łaniocha, Dorota Omiatacz, Iwona Omiatacz, Małgorzata Potocka, Julianna Stefan

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Songs from the Forests and Fields. Traditional Polish Folk Music, 12.09, 13.09, 14.09, p. 104, 120, 124

photo: ensemble’s collection

Greek Byzantine Choir The choir was established in 1977 by Lykourgos Angelopoulos (1941–2014), Archon Protopsaltis (First Cantor) of the All-Holy Archdiocese of Constantinople, and his associates. The choir’s aim is to study and present Byzantine music, as it has come down to us today through the written and oral tradition. In its 40 years of operation, the choir has performed over 1300 concerts, as well as liturgical and other presentations in Greece, 31 European countries, Asia, America, and Africa. Some of the most important artistic milestones include the vigil at the Holy Monastery of Mt Sinai (1983), the Pan-Orthodox Christmas Divine Liturgy in Bethlehem (2000), the historic Divine Liturgies celebrated by the Ecumenical Patriarch of Constantinople, Bartholomew I, at the Basilica of St Apollinare in Classe (6th century) in Ravenna (2002), and at the Saint Sophia Cathedral in Kiev (2009), the concerts at the International Conferences of Byzantine Studies (1981 until 2001), at the New York’s Metropolitan Museum of Art as part of the ‘The Glory of Byzantium’ exhibition (1997 and 2008), and the events entitled ‘Greece in Britain’, with a concert at the Queen Elizabeth Hall in London (1998). The choir has also appeared frequently in the Athens and Epidaurus Festival as well as in Megaron Athens Concert Hall. The choir has recorded in some of the largest radio and television studios in Europe. It has taken part in the premiere performance of

Michael Adamis’s contemporary music work, entitled Rodanon, as well as performing extracts of ancient Greek, early Christian, old Roman and Ambrosian music, as well as the service of the ‘Three Children in the Fiery Furnace’, transcribed and re-established by Michael Adamis. In 1990, the choir began recording and publishing the works of the great Byzantine Maistor Ioannis Koukouzelis, the research made possible through the support of the Alexander S. Onassis Public Benefit Foundation for over three years, which also granted two scholarships to members of the choir. Greek Byzantine Choir’s rich discography and numerous publications include: Ioannis Koukouzelis (Selected Works), Anthologhion by Petros Manuel Ephesios and The Importance of Simonas Karas’ Research and Teaching Methods by Lykourgos Angelopoulos. The Youth Byzantine Choir of GBC was founded in November 1984 by Lykourgos Angelopoulos, along with the blessings of the Archbishop of Athens and All Greece Seraphim. Director of the Youth Choir is Antonios Aetopoulos. Greek Byzantine Choir: Georgios Konstantinou – conductor Antonios Aetopoulos, Nikolaos Alexopoulos, Petros Androutsopoulos, Charalambos Rimbas, Vasilios Dolis, Alexandros Gantzos, Ioannis Karahalios, Dimitrios Katavatis, Konstantinos Kolovos, Christos Kolovos, Evangelos Kotsonas, Efstratios Koudounelis, Konstantinos Lanaras,

photo: Debbie Ram Photoraphy

Dimitrios Mousouras, Ioannis Panousakis, Charalambos Papadopoulos, Emanouil Perogiannis, Athanasios Sarakinis, Nikolaos Theoharis, Dimitrios Zaitidis In the Shade of the Holy Mount Athos. Greek Byzantine Choir, 7.09, 8.09, 9.09, p. 48, 76, 84

Hertfordshire Chorus Hertfordshire Chorus is one of the UK’s finest large choirs. It performs in the UK’s major concert halls, appears frequently with the BBC Concert Orchestra and the Royal Philharmonic Concert Orchestra, has worked with Daniele Gatti and José Carreras, and has made numerous recordings for CDs and TV. Its members sing regularly in other concerts, including the BBC Proms and it has performed with Noel Gallagher in his High Flying Birds tour. David Temple MBE, one of the leading choral conductors in the country, has been its Musical Director since 2000. The Chorus is known for its high standards and versatility. Its most recent recordings have been for Signum Records of two of its own commissions, Ode to a Nightingale by Will Todd and Codebreaker by James McCarthy, and choral music by Michael Hurd for Lyrita. It has been broadcast on BBC Radio and Classic

FM, most recently with live performances of Morning Heroes by Bliss and Britten’s Ballad of Heroes on Radio 3 and from Coventry Cathedral in a performance of War Horse – the Story in Concert by Adrian Sutton on BBC Radio 2. Recent concerts have included Beethoven’s Mass in C major, Mendelssohn’s Hymn of Praise, Brahms’s Ein deutsches Requiem, Bruckner’s Mass in E minor, Ellington’s Sacred Concert and the premiere and subsequent performance in the London Jazz Festival of Roland Perrin’s Rio Amazonas. The Chorus has a special fund to commission new music and under David Temple’s direction its drive to encourage young British composers has produced some of the most outstanding and successful new choral music of recent times. In addition to Ode to a Nightingale, Codebreaker and Rio Amazonas, these have included Will Todd’s frequently performed Mass in Blue and its newest commission of James McCarthy’s One Giant Leap, commemorating the 50th anniversary of the first manned moon landing, which was premiered in April 2019.

Rhona Blyth, Linda Di Mizio, Jana Doubravova, Annie Farnley, Louise Gordon-Hulme, Deborah Graves, Jo Hobbs, Hilary Mackenzie, Nuala Marron, Sharon Neyjahr, Christine Roberts, Janet Spicer, Sheila Tucker – altos Joshua Azizollah, Stuart Borner, Ken Bradbury, Phil Evans, Neil Hatton, Edd Shaw, Tim Swanwick, Richard Syme, Tony Thomson, John Vernon – tenors Paul Baker, Bruce Boyd, Julian Edwards, Paul Harden, Ed Hulme, Brian Martin, Robin Morgan, Robin Seaman, Phil Searle Barnes, Stephen Smith, Andrew Wilkins, Andrew Woode – basses Summertime – Porgy and Bess, 15.09, p. 140

Hertfordshire Chorus: David Temple – artistic direction Alison Adams, Suzanne Andrea, Alice Chapman, Philippa Christer, Helen Collier, Eleanor Dixon, Charlotte Ferin, Helen Harden, Jenny Huckstep, Clare McConnell, Alison Schroeder, Rachel Seaman, Pamela Vernon, Louise Viner, Sue Woods – sopranos 155

Biographies in 2017. Telemann won the Diapason d’Or de l’année and the ECHO Klassik in 2017. The most recent projects include the recording of La Morte della Ragione, a program focused on the raise of Baroque sensibility through Europe and seeks for a renewed listening experience of early music (Alpha Classics, 2019). The group continued 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. Soon to be published on Alpha Classics. Furthermore the ensemble worked also with such acclaimed soloists as Giuliano Carmignola, Sol Gabetta, Katia and Marielle Labèque, as well as Giovanni Sollima. Il Giardino Armonico: Giovanni Antonini – conductor, recorder photo: Łukasz Rajchert

Il Giardino Armonico Founded in 1985 and conducted by Giovanni Antonini, Il Giardino Armonico has been established as one of the world’s leading period instrument ensembles. Its repertoire focuses on the 17th and 18th century. Depending on each program, the group consists of three up to thirty 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 concert and opera productions, like Monteverdi’s L’Orfeo, Vivaldi’s Ottone in villa, Handel’s Agrippina, Il trionfo del tempo e del disinganno, La resurrezione and finally Giulio Cesare with Cecilia Bartoli during the Salzburg Whitsun and Summer Festival 2012. Beside that, Il Giardino Armonico sustains an intense recording activity. For many years it has been an exclusive group of Teldec Classics, achieving major awards for the recording of works by Vivaldi and other 18th-century composers.

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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 and prized again by the Grammy. Later the group had an exclusive agreement with Decca/L’Oiseau-Lyre and released several successful albums: Handel Concerti grossi Op. 6, Il Pianto di Maria with Bernarda Fink and two CDs with Julia Lezhneva.

Stefano Barneschi*, Fabrizio Haim Cipriani, Ayako Matsunaga, Liana Mosca – 1st violins Marco Bianchi*, Angelo Calvo, Francesco Colletti, Carlo Lazzaroni – 2nd violins Renato Burchese*, Mirjam Töws – violas Marco Bianchi – viola d’amore

The group also released Vivaldi Cello Concertos with Christophe Coin (Naïve) and the Vivaldi Violin Concertos with Viktoria Mullova (Onyx), as well as published Serpent & Fire with Anna Prohaska (Alpha Classics – Outhere music group, 2016) winning the ICMA 2017 in the ‘Baroque Vocal’ category.

Paolo Beschi*, Elena Russo – cellos

The recording of five Mozart’s Violin Concertos with Isabelle Faust stands as the result of the cooperation with the great violinist (Harmonia Mundi, 2016), winning the Gramophone Classical Music Award and Choc Classica de l’année in 2017.

Tindaro Capuano – chalumeau

Il Giardino Armonico is part of the twenty-year project Haydn2032 for the recording of the complete Haydn Symphonies (Alpha Classics) and a series of thematic concerts across Europe. The first four albums have already been released: in 2015 La Passione won the ECHO Klassik while Il Filosofo has been Choc Classica de l’année. Solo e Pensoso and Il Distratto are available as CD and LP too. The last volume won the Gramophone Classical Music Award

Michele Pasotti, Miguel Rincón Rodriguez – theorbos

Julia Karpeta, Paweł Zalewski, Piotr Zalewski, Krzysztof Karpeta – violas da gamba Giancarlo De Frenza*, Stefan Preyer – violone Emiliano Rodolfi – recorder Emiliano Rodolfi, Thomas Meraner – oboes Letizia Viola – bassoon Jonathan Pia, Luca Marzana – trumpets Riccardo Balbinutti – timpani Anna Schivazappa – mandolin

Riccardo Doni, Davide Pozzi – harpsichords Riccardo Doni – chest organ *first parts Vivaldi – Juditha triumphans, 13.09, p. 114

Maria Rosenblatt, Elyakum Salzman, Marina Schwartz▪, Avital Steiner•••, Olga Stern – 2nd violins Miriam Hartman* (Susan & Elihu Rose Endowed Chair), Roman Spitzer*••• (Claire & Albert Schussler Endowed Chair), Julia Malkova▪, Amir van der Hal***, Dmitri Ratush***, Lotem Beider Ben Aharon, Amos Boasson▪, Jonathan Gertner, Yeshaayahu Ginzburg▪, Vladislav Krasnov, Miriam Manasherov▪, Klara Nosovitsky, Matan Noussimovitch, Evgenia Oren, Gili Radian-Sade, Maya Tal, Aharon Yaron – violas Gal Nyska* (The Annenberg Foundation Chair), Emanuele Silvestri*, Yoram Alperin▪, Nitzan Gal▪, Dmitri Golderman, Simon Hoffmann, Iris Jortner▪, Iakov Kashin, Linor Katz, Enrique Maltz, Kirill Mihanovsky, Felix Nemirovsky, Yifat Weltman (Ruth Ziegler Endowed Chair) – cellos

photo: Shai Skiff

Israel Philharmonic Orchestra The Israel Philharmonic Orchestra was founded in 1936 by Bronisław Huberman and its inaugural concert, on 26th December 1936, was conducted by Arturo Toscanini. The IPO plays in subscription series in Tel Aviv, Jerusalem and Haifa, in special concerts and in various concert series throughout Israel.

Guest Conductor, and since 2011 Gianandrea Noseda has held the position of Principal Guest Conductor.

The orchestra has hosted the world’s greatest conductors and soloists, as well as young talents from Israel and abroad. As part of KeyNote, the IPO’s music education and outreach programme, IPO musicians perform in numerous schools and concerts for school pupils at the Charles Bronfman Auditorium in Tel Aviv.

Israel Philharmonic Orchestra: Zubin Mehta – music director The music director’s position is endowed by the William Petschek Family Leonard Bernstein – laureate conductor (1947–1990) Kurt Masur – honorary guest conductor Gianandrea Noseda – principal guest conductor Ilya Konovalov (concertmaster•), Dumitru Pocitari (concertmaster•), David Radzynski (concertmaster•), Alexander Stark (asst. concertmaster; Marilyn & Sigi z”I Ziering Family Endowed Chair), Saida Bar-Lev, Nitzan Canetty, Sharon Cohen, Marina Dorman, Adelina Grodsky, Genadi Gurevich, Enosh Koffler▪, Carmela Leiman▪, Eleonora Lutsky, Sivann Maayani, Robert Mozes, Lilia Pocitari▪, Gilad Rivkin, Lazar Shuster▪, Yelena Tishin, Drorit Valk, Ella Vaulin Slatkin, Polina Yehudin – 1st violins

In 1969, Maestro Zubin Mehta was appointed Music Advisor to the IPO, and in 1977 he became its Music Director. Leonard Bernstein was named IPO Laureate Conductor in 1988, in 1992 Kurt Masur was appointed Honorary

Semion Gavrikov*•••, Yevgenia Pikovsky*, Ari Þór Vilhjálmsson*, Amnon Valk***, Liora Altschuler, Emanuel Aronovich, Hadar Cohen, Alexander Dobrinsky, Shmuel Glaser, Kalman Levin, Asaf Maoz, Marianna Povolotzky,

The IPO regularly tours the world’s cultural centres and prestigious festivals. Israel’s creative artists are promoted by many IPO premieres of works by Israeli composers. The IPO has contributed to the absorption of new immigrants and includes in its ranks new immigrant musicians.

Mihai Ichim*▪, David Allen Moore*▪, Nir Comforty***, Brad Annis, Uri Arbel, Tamir Chuzhoy (Judith and Stewart Colton Fellow Endowed Chair), Talia Horvitz▪, Nimrod Kling, Noam Massarik, David Segal, Omry Weinberger – double basses Julia Rovinsky*, Marina Fradin▪ – harps Guy Eshed* (Rochelle & David A. Hirsch Endowed Chair), Boaz Meirovitch*, Alvaro Octavio Diaz*▪, Lior Eitan, Hagar Shahal▪ – flutes Lior Eitan – piccolo Dudu Carmel* (Marilyn & Sigi z”I Ziering Family Endowed Chair), Christopher Bouwman*▪, Sanja Romic*▪, Dmitry Malkin, Tamar Narkiss-Melzer – oboes Dmitry Malkin – english horn Ron Selka*, Yevgeny Yehudin*, Rashelly Davis, Jonathan Hadas – clarinets Ron Selka, Yevgeny Yehudin – piccolo clarinets Jonathan Hadas – bass clarinet Daniel Mazaki*, Uzi Shalev***, Gad Lederman, Carol Patterson, Miroslava Ziskind▪ – bassoons Carol Patterson – contrabassoon James Madison Cox*, Dalit Segal***, Michael Slatkin***, Yoel Abadi, Ben Davis▪,Merav Goldman▪, Michal Mossek, Gal Raviv, Hagai Shalom – horns Yigal Meltzer*, Ram Oren**, Eran Reemy (Hannah & Randy Polansky Endowed Chair), Yuval Shapiro, Nir Zemach▪ – trumpets

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Biographies Nir Erez*, Tal Ben Rei***, Micha Davis, Christian Schmiedescamp – trombones Micha Davis – bass trombone Itay Agmon*▪, Noam Nehemia▪ – tubas Dan Moshayev* (Murray S. and Natalie Katz Endowed Chair), Ziv Stein*** – timpani Elliot Beck, Alexander Nemirovsky, Ayal Rafiah, Ziv Stein – percussion • concertmaster (Canada Chair) * principal ** assoc. principal *** asst. principal ••• on leave or sabbatical ▪ guest-player Israel Philharmonic Orchestra & Zubin Mehta. Mahler – Symphony No. 3, 7.09, p. 56

Georgios Konstantinou

conductor, artistic direction of Greek Byzantine Choir

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Georgios Konstantinou was born in Galatas, Messolonghi in 1961. He has a doctoral degree from the Department of Music Studies of Ionian University and is a graduate of the ‘Marasleion’ Pedagogical Academy and of the Faculty of Physical Education and Sport Science of University of Athens. He has participated in numerous musicological and pedagogical conferences and international masterclasses in Greece and abroad. His teaching activities include publishing 7 volumes of the series The Theory and Practice of Church Music and edited the first documented scripts of the Three Masters (The Holy and Great Monastery of Vatopedi Publications) along with the works of Konstantinos Priggos (Apostoliki Diakonia Publications). A scholarship was granted to him to participate in the three-year Research Project ‘The Byzantine Maistor Ioannis Koukouzelis’ of the Alexander S. Onassis Public Benefit Foundation, under the supervision of the Lykourgos Angelopoulos. He taught psaltic music at the ‘Live-Giving Spring of the Most

photo: artist’s collection

Holy Theotokos’ School and at the School of the Metropolitan Diocese of Fthiotidos, as well as at the National Conservatory of Athens. He has served as a chanter in several churches of Attica. Since 1981, he is a member of the Greek Byzantine Choir and in 2014 became the Choir’s Conductor. In addition, he is actively involved in research regarding the study of written and oral traditions of the Ecclesiastical Chant and Music, its musical interpretation and the usage of its results for teaching purposes. Georgios Konstantinou is the Head of the Ecclesiastical Music Training and Further Education Programme, operating since 2003 with scholarships granted today by the Saint Maximus the Greek Institute.

photo: artist’s collection

Elin Lannemyr alto

Elin Lannemyr studied at the Academy for Music and Drama in Gothenburg (2001–2006). Since 2017, she is a member of the Swedish Radio Choir, and has earlier performed in several Scandinavian professional choirs and ensembles, such as Eric Ericson Chamber Choir, the Rilke Ensemble and the Norwegian Soloists’ Choir. She is frequently sought after as a soloist, but has a special fondness to ensemble singing and chamber music. Fairy Tales. Finding or Losing Our Identity – a MusMA concert, 9.09, p. 78

In the Shade of the Holy Mount Athos. Greek Byzantine Choir, 7.09, 8.09, 9.09, p. 48, 76, 84

Derrick Lawrence bass-baritone

Andrzej Kosendiak

condutor, artistic direction of Wrocław Baroque Ensemble Biography on p. 21 Inspirations from Venice, 14.09, 15.09, p. 130, 138

Guest performances took the bass-baritone Derrick Lawrence to Philadelphia, Santa Fe, Dallas, Charlotte (Opera Carolina), WinstonSalem (Piedmont Opera), Leeds (Opera North), Zurich and Budapest (Hungarian State Opera House), Stuttgart (Staatsoper), London as well as to numerous festivals such as the Mainau Festival, the Cleveland Blossom Music Festival, the Aspen Music Festival, the Chiemgau Festival, the Ludwigsburg Festival, the International Opera Festivalin Miskolc and to the Chaliapin Festival in Kazan, Russia.

photo: Karl Kramer

In the early stage of his career, he sang mostly bass roles, but over a period of time, it became obvious that his strong point lies in the portrayal of dramatic baritone repertoire. During his engagement as a member of the ensemble of Aachen, the artist understood how to impress audiences with parts like Figaro (Mozart’s Le nozze di Figaro), Arcesius (d’Albert’s Die toten Augen) or Eugene Onegin (by Tchaikovsky), just to name a few. In recent seasons with the Theater Freiburg, where he had a permanent engagement from 2002 until 2006, he was very successful with his performances as Escamillo (Bizet’s Carmen), Don Pizarro (Beethoven’s Fidelio), Macbeth (by Verdi) or the Conte (Le nozze di Figaro), Alfio (Mascagni’s Cavalleria rusticana) and Talbot (Donizetti’s Maria Stuarda). Moreover, he could be seen here as Village in the German premiere of Michaël Lévinas’s Les Nègres, as in the season 2006/07, the singer enjoyed an outstanding success performing Wotan in Wagner’s Rheingold. At the Pfalztheater Kaiserslautern and the National Theatre Brno he was the The ruler in Korngold’s Das Wunder der Heliane. Bass-baritone Derrick Lawrence received his musical education at the North Carolina School of the Arts, the renowned Juilliard School and at the Curtis Institute of Music. The artist was a prize winner in numerous international singing contests, rewarded among others with the Grace Bumbry Award, the Mario Lanza Award, the George London Award, the Sullivan Foundation Award, the Robert M. Jacobson Study Grant (Richard Tucker Music Foundation) and the 2006 Zelt Prize for Outstanding Classical

photo: Emil Matveev

Artists. Furthermore, in 1991 he won the Metropolitan Opera National Council Auditions. Derrick Lawrence is also very much in demand by international stages as a concert singer. He has sung with most prestigious orchestras in the world, including the symphony orchestras of Munich, Nuremberg, Aachen and St Louis, the SWR Symphonieorchester and the NDR Symphonieorchester, the New York Philharmonic, the Warsaw Philharmonic Orchestra, the American Symphony Orchestra and the Cleveland Orchestra. His performance on the 1993 Richard Tucker Gala conducted by Daniel Oren was broadcasted on the nation-wide American station PBS. In 2005 the label MonsRecords published the CD Bernstein-Gershwin Gala with a concert version of the opera Porgy and Bess, where Derick Lawrence sings the title role with the SWR Rundfunkorchester Kaiserslautern and David Stahl conducting. Porgy is one of his most-sung roles. Lately, he sung this very role in Lyon, Wiesbaden and in Switzerland with the Sinfonieorchester Baden-Baden. In the season 2014/15, he enjoyed huge success as Porgy in the new production at the Royal Danish Opera in Copenhagen and in gala concerts at the Hungarian State Opera House in Budapest. In the season 2015/16, he could be seen at the Theater Freiburg in the title role of Sondheim’s Sweeney Todd. In 2016/17, he was once again Porgy in numerous concerts in Switzerland and the USA. Summertime – Porgy and Bess, 15.09, p. 140

Julia Lezhneva soprano

One of the leading artists of her generation. Her international career skyrocketed when she created a sensation at the Classical Brit Awards at London’s Royal Albert Hall in 2010, singing Rossini’s Fra il padre at the invitation of Dame Kiri Te Kanawa. Born in December 1989 in a family of geophysicists on Sakhalin Island, she began playing piano and singing at the age of five. She graduated from the Gretchaninov Music School and continued her vocal and piano studies at the Moscow Conservatory Academic Music College. At 17 she came to international attention winning the 6th Elena Obraztsova International Competition of Opera Singers 2007, and next year shared the concert stage with Juan Diego Flórez at the opening of the Rossini Opera Festival in Pesaro. In 2008, she began studying with tenor Dennis O’Neill in Cardiff, completing her training under Yvonne Kenny at London’s Guildhall School of Music and Drama. She has attended masterclasses with Elena Obraztsova, Alberto Zedda, Richard Bonynge and Thomas Quasthoff. In 2009, she won the first prize at the Mirjam Helin International Singing Competition in Helsinki and the following year took the first prize at the Paris Opera Competition, the youngest entrant in each competition’s history. Opernwelt named her Young Singer of the Year in 2011 for her debut at La Monnaie in Brussels. The following year she performed at the Victoires de la Musique Classique in Paris

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Biographies and appeared at the Salzburger Festspiele in Handel’s Tamerlano opposite Plácido Domingo and Bejun Mehta. Her debut in Handel’s Alcina as Morgana at the Staatsoper Hamburg was widely celebrated in September 2018; on the spot, she was invited to return for Il barbiere di Siviglia by Rossini and the re-opening of Alcina. Concert versions of other operas will be held throughout 2019 and 2020 in Moscow, Vienna, Salzburg, Paris, and Basel, i.a. Porpora’s Germanico in Germania and Polifemo, Handel’s Rodrigo and Alessandro, Vivaldi’s Orlando furioso. Julia Lezhneva performs regularly with different ensembles such as La Voce Strumentale, Concerto Köln, Il Giardino Armonico, MusicAeterna, Venice Baroque Orchestra, and the Kammerorchester Basel in various cities like Berlin, Munich, Moscow, Vienna, Paris, Madrid, and Amsterdam. She is a guest to many festivals in Europe: the Lucerne Festival, Rheingau Musik Festival, Schleswig-Holstein Musik Festival to name a few. The year 2019 sees her as artist-inresidence at the Kissinger Sommer. Famous orchestras throughout the world are inviting her for concerts; for example, the Gewandhausorchester Leipzig, Münchner Philharmoniker, Deutsche Kammerphilharmonie Bremen, Mariinsky Theatre Orchestra in St Petersburg, Russian National Orchestra, Orquesta Nacional de España, Seoul Philharmonic Orchestra, Seattle Symphony. In the upcoming season 2019/20, she will give her debuts with the Berliner Philharmoniker and Adám Fischer in October 2019 and at the Musikverein Wien in February 2020. Julia Lezhneva is an exclusive Decca artist. April 2017 marks the release of Graun: Opera Arias – her latest solo-album with Concerto Köln. She won her an Opus Klassik Award 2018. Her latest releases are Vivaldi Gloria with Franco Fagioli and Diego Fasolis (2018), Porpora’s Germanico in Germania with Max Emanuel Cencic (2018), Handel Arias with Il Giardino Armonico (2015) und her much acclaimed solo-debut Alleluia again with Il Giardino Armonico (2014). Vivaldi – Juditha triumphans, 13.09, p. 114 160

photo: ensemble’s collection

Lemko ensemble ‘Łastiwoczka’ from Przemków A group of expatriates from Podkarpacie resettled to Lower Silesia as part of the Operation Vistula after 1947. The group’s repertoire includes a rich set of common and ritual songs performed by a multigenerational group based on tradition. Particularly noteworthy are the multi-part performances of old wedding songs and ballads. The ensemble is the winner of the 3rd prize of the International Festival of Highlander Folklore in Zakopane (2013), the 1st prize of the National Traditional Folk Dance Competition in Rzeszów (2017) and the awards of the Beskid Culture Week in Żywiec (2013, 2018). Lemko ensemble ‘Łastiwoczka’ from Przemków: Daniel Gałczyk, Joanna Gałczyk, Katarzyna Gałczyk, Agnieszka Gąsiorowska, Joanna Habura, Sandra Habura, Damian Herbut, Anna Horoszczak, Daniel Horoszczak, Marta Niemasz, Marta Nowak, Andrzej Peregrym, Anna Peregrym, Adam Polanowski, Iwona Polanowska, Natalia Sinkowska, Urszula Sinkowska, Łukasz Sorokanycz Songs from the Forests and Fields. Traditional Polish Folk Music, 12.09, 13.09, 14.09, p. 104, 120, 124

photo: artist’s collection

Oliwia Łuszczyńska from Krosnowice (Kłodzko District) folk singer

The artist adopted the repertoire and perfor mance style from her grandfather coming from the area of the San River Borderland as well as from members of the local community of Krosnowice in the Kłodzko Basin; mainly she performs lyrical love songs. Having received the 3rd prize of the Festival of Folk Bands and Singers in Kazimierz Dolny in 2017, she was presented on Polish Radio 2 as ‘an extraordinary artistic event of the 51st Festival in Kazimierz’. She also received the 2nd prize during the 3rd Real Musicians Tournament at the Philharmonic in Szczecin. She is currently studying at the University of Southern Denmark majoring in teacher education; she lives in Haderslev. Songs from the Forests and Fields. Traditional Polish Folk Music, 12.09, 13.09, 14.09, p. 104, 120, 124

and Bess. She will also perform the role in concert in the Czech Republic with the Prague Radio Symphony Orchestra. This season also includes a guest performance at the 2019 United Nations International Woman’s Day, as well as a concert series, ‘Diplomacy in Music’ hosted by Ambassador of Liechtenstein, as well as a concert hosted by Ambassador of Tunisia. She will perform as soprano soloist in Mozart’s Requiem, Beethoven’s Fantasy Op. 80 and Mass in C major Op. 86, as well as in Handel’s Messiah. Indira Mahajan performed the role of Bess at the Landestheater Linz in Austria and at the Festival de Wiltz in Luxembourg. She also performed the role at the Grand Théâtre de Genéve, the Chassé Theater in Breda, the Netherlands and Palais des Festivals et des Congrès in Cannes, France. She returned to Russia for a series of concert performances in Moscow, Yekaterinburg and Perm and appeared as a guest artist with the Klangvokal Musikfestival in Dortmund, Germany.

photo: artist’s collection

Indira Mahajan soprano

Indira Mahajan, the Marian Anderson Awardwinning soprano, is in demand by leading opera companies and orchestras worldwide. One of the most celebrated interpreters of the role of Bess, she appeared in that role over 120 times on five continents. In the United States, she has performed the role from coast to coast. She premiered the role in Francesca Zambello’s production at the Washington National Opera. She has also performed the role at the Dallas Opera as well as joining the roster at the Lyric Opera of Chicago. The Internationally acclaimed soprano has also appeared in Gershwin’s masterpiece at the Opéra Comique in Paris, Teatro di San Carlo in Naples as well as in the major capital cities of Amsterdam, Munich, Rome, Sao Paulo and Tokyo, among others. The 2018/19 season Indira Mahajan returns to Fort Worth Opera for performances as Bess in Francesca Zambello’s production of Porgy

Operatic highlights include the title roles in Puccini’s Madama Butterfly and Suor Angelica, the roles of Musetta and Mimì in La bohème, the title role in Verdi’s Aida, La traviata (as Violetta), Rigoletto (as Gilda), Nedda in Leoncavallo’s I Pagliacci, the title role of Lucia di Lammermoor by Donizetti, Sandrina in Mozart’s La finta giardiniera, Susanna in The Marriage of Figaro and Donna Elvira in Don Giovanni. Indira Mahajan was awarded both the New York City Opera Debut Artist of the Year Award and Dallas Opera’s Maria Callas Debut Artist of the Year Award as well as performing her debut recital at The John F. Kennedy Center for the Performing Arts in Washington, DC.

Orquesta Sinfónica Nacional de Costa Rica. Miss Mahajan has also performed as a soloist with the New York Philharmonic, the Royal Stockholm Philharmonic Orchestra, the Orchestra Sinfonica di Milano Giuseppe Verdi, Orchestra del Maggio Musicale Fiorentino, Orchestra dell’Accademia Nazionale di Santa Cecilia Roma, Teatro Lirico di Cagliari, the Iceland Symphony Orchestra and the Moscow Philharmonic Orchestra. New York audiences have enjoyed her performances with the New York Philharmonic, the Metropolitan Opera Orchestra, as soloist at Carnegie Hall and in performance in a benefit recital for Classical Action: Performing Arts Against AIDS. Indira Mahajan is a frequent guest artist with orchestras across America, her highlight appearances include performances with the Baltimore Symphony Orchestra, San Diego Symphony, Colorado Symphony, and Dallas Symphony Orchestra. Other concert perfor mances include Bach’s Mass in B minor and the Magnificat, Requiems by Brahms, Fauré, Mozart’s ‘Coronation’ Mass and Exsultate, jubilate, as well as Orff’s Carmina burana. The soprano has been seen on PBS Live from Lincoln Center in Benjamin Britten’s operetta, Paul Bunyan, Iowa Public Television in Madama Butterfly and as a soloist at The Richard Tucker Gala at Lincoln Center. Indira Mahajan holds a Master of Music degree from Mannes College of Music, a Bachelor’s degree from Oberlin College and a diploma from the Accademia Musicale Ottorino Respighi. Summertime – Porgy and Bess, 15.09, p. 140

Indira Mahajan’s orchestral repertoire extends from works in the Baroque and Classical genres to the foremost composers of today. She can be heard on the recording August 4, 1964 by Steven Stucky with the Dallas Symphony Orchestra conducted by New York Philharmonic music director, Jaap Van Zweden. Her international orchestral highlights include Beethoven’s Symphony No. 9 with both Gustavo Dudamel’s Simón Bolívar Symphony Orchestra in Caracas and with the KBS Symphony Orchestra at the United Nations, as well as Beethoven’s Mass in C with the 161

Biographies

photo: ensemble’s collection

Mala Punica Mala Punica combines musicological research with bold musical expression: virtuoso solo singing and playing, rich contrapuntal improvisation, and thorough stage presentation. Founded and directed by Pedro Memelsdorff, Mala Punica (Latin for pomegranates, symbol of fertility) is a vocal-instrumental ensemble devoted to the Ars nova and Ars subtilior – a luxuriant polyphonic repertoire that spread across Europe at the end of the Middle Ages. The ensemble’s path-breaking career includes eight recordings and over four-hundred concerts which have completely revolutionised the repertoire, changed accepted views and established new standards in the performance of medieval music, and revived neglected composers such as Paolo da Firenze, Matteo da Perugia, Antonello and Filippotto da Caserta or Antonio Zacara da Teramo.

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Mala Punica has performed at many of the most renowned venues, early-music festivals, and during classical series throughout Europe and North and South America. This includes the Konzerthaus and Musikverein in Vienna, the Konzerthaus in Berlin, the Queen Elizabeth Hall at Southbank Centre in London, the Théâtre de la Ville and Cité de la Musique in Paris, the Festwochen der Alten Musik in Innsbruck, the December Nights in Moscow, the Auditorium Parco della Musica in Rome,

photo: Charles Best

the Lucerne Festival and the Early Music Festivals of St Petersburg, York, Utrecht, Boston, Mexico City, Bogotá, Antwerp, Saintes, and New York. The ensemble has held artistic residencies at the Fondation Royaumont in Paris, the AMUZ in Antwerp, the University of California at Davis, the György Ligeti Milano Musica Festival / Teatro alla Scala in Milan and Harvard University in Cambridge, MA. Mala Punica’s recordings (Arcana, Erato, Harmonia Mundi, Ambroisie) have received more than forty international awards – such as several Diapason d’Or de l’Année, Choc du Monde de la Musique, 10 de Répertoire, Choc de Classica, Prix Joker and the MIDEM Classical Awards in France, the Caecilia Award in Belgium, Studio magazine Record of the Year in Poland, Edison Award in the Netherlands, and the Premio Internazionale del Disco Antonio Vivaldi in Italy. They have also inspired avant-garde composers such as the Mexican Georgina Derbez and Argentinian Pablo Ortiz, whose Non più infelice and Alius I-III were premiered in Cologne and Basel in 2010 and 2014. Beatum incendium. Medieval Manuscripts, 8.09, p. 62

Wayne Marshall conductor

British conductor, organist and pianist Wayne Marshall is Chief Conductor of the WDR Funkhaus orchester Köln, and Organist and Associate Artist of the Bridgewater Hall, Manchester. He became Principal Guest Conductor of Orchestra Sinfonica di Milano Giuseppe Verdi in 2007 and is a celebrated interpreter of Gershwin, Bernstein and other 20th-century American composers. Throughout 2018, Wayne Marshall played a key role in leading the Bernstein centenary celebrations. Highlights included Bernstein’s Mass with Orchestre de Paris in March 2018 at the Philharmonie de Paris and Kaddish with Orchestre National du Capitole de Toulouse later in the year. He also made his debut with Philharmonia Zürich in an all-Bernstein programme and conducted the rarely-performed White House Cantata in Utrecht with the Netherlands Radio Philharmonic Orchestra. In February 2018, he worked with the Münchner Rundfunkorchester at the Prinzregententheater in various shows by Leonard Bernstein and conducted the closing concerts at the Schleswig-Holstein Musik Festival with concerts in Munich and Berlin. In 2019, Wayne Marshall returns to Rotterdam Philharmonic Orchestra for their New Year’s Concert celebration and a concert version of Gershwin’s Porgy and Bess with the Prague Radio Philharmonic. He will be working with various orchestras including the Dresdner Philharmonie, SWR Symphonieorchester in a Frank Zappa project, Tonkünstler-Orchester at

the Musikverein and Grafenegg, Seattle Symphony Orchestra, Shanghai Philharmonic Orchestra, Czech Philharmonic, and will also be touring with Chineke! Orchestra in the United Kingdom. In October 2019, he will be opening the season and touring in the Netherlands with Het Gelders Orkest and Nederlandse Reisopera in a fully-staged production of Bernstein’s Wonderful Town. In 2020, Wayne Marshall has been invited to conduct Porgy and Bess at the Wiener Staatstoper with the Cape Town Opera Chorus. He will also be conducting the Vancouver Symphony Orchestra and Slovak Philharmonic and will be working with Dianne Reeves on a series of concerts in China and Japan. In June 2020, he will be conducting the Czech Philharmonic in their end-of-season concert. Some past highlights include conducting at the Semperoper Dresden (The Great Gatsby by John Harbison), Dallas Opera, Opéra de Montréal, La Scala, Teatro Carlo Fenice, Washington National Opera, Czech Philharmonic and Oslo Philharmonic Orchestras. He was the first conductor to direct the highly-acclaimed debut concert of Chineke! – Europe’s first professional black and ethnic minority orchestra – at the Queen Elizabeth Hall in London. Wayne Marshall was invited to conduct the Royal Scottish National Orchestra, Taipei Symphony Orchestra, Gewandhausorchester Leipzig, Wiener Symphoniker, New World Symphony, Orchestre national du Capitole de Toulouse, Malaysian Philharmonic Orchestra, Orchestre Philharmonique Luxembourg, Santa Cecilia, Royal Stockholm Philharmonic Orchestra, Orchestra Sinfonica Nazionale della RAI (Turin), BBC Philharmonic, Hong Kong Philharmonic Orchestra, Dresdner Philharmonie, and Moscow Chamber Choir. He made his debut at Opéra de Montréal by conducting Jake Heggie’s acclaimed opera Dead Man Walking and was immediately followed by a return-invitation to conduct the full production of Gershwin’s Porgy and Bess. He also conducted Bernstein’s Candide and Kurt Weill’s Mahagonny at the Deutsche Staatsoper in Berlin. At the Opéra Comique in Paris, Washington National Opera and Dallas Opera, he conducted Gershwin’s Porgy and Bess. In 2018, Wayne Marshall recorded a Gershwin CD with WDR Funkhausorchester and a double-CD featuring all of Bernstein’s lesser-known chamber music works. He recently recorded a CD with Chineke! Orchestra featuring Stewart Goodyear and his ‘Callaloo’ Suite under the Orchid label which will be released in 2019.

As organ recitalist, he has an exceptionally varied repertoire and performs worldwide. Recent organ recitals include Bridgewater Hall, Wiener Konzerthaus, Davies Hall, Lotte Concert Hall, Three Choirs Festival, Philharmonie Luxembourg, Notre-Dame de Paris, Royal Albert Hall, National Grand Theatre in Beijing and at the inaugural organ concert at the Philharmonie in Paris. In February 2020, Wayne Marshall will be performing a recital at Walt Disney Concert Hall in Los Angeles, Kölner Philharmonie, Royal Festival Hall and in May of the same year he will be performing a recital at the Elbphilharmonie Hamburg. As pianist-director and organist he has performed with many orchestras, including Los Angeles Philharmonic (world premiere of MacMillan’s organ concerto A Scotch Bestiary), Swedish Radio Symphony Orchestra, Symphonieorchester des Bayerischen Rundfunks and Berliner Philharmo niker under Sir Simon Rattle and Claudio Abbado. He regularly features as piano soloist with the London Symphony Orchestra. In 2004, he gave the inaugural organ recital in the new Walt Disney Concert Hall, Los Angeles. He has conducted several well-known soloists including Wynton Marsalis and JLCO, Dianne Reeves, Nicola Benedetti, Michel Camillo, and Kim Criswell. He is a regular performer at the BBC Proms and appeared in the 2012 season as organist and was co-presenter of the Barenboim Prom in Summer 2014. He recently appeared as soloist in the 2016 season at the Ten Pieces Prom. Past appearances include three organ recitals; the UK premiere of A Scotch Bestiary; Last Night of the Proms in 1997 and the First Night in 2008. In 1998 he conducted Porgy and Bess to celebrate the Gershwin centenary. Wayne Marshall has recorded extensively for numerous major labels and received an ECHO Deutscher Musikpreis for his Gershwin Songbook CD. In 2004, he received a honorary doctorate from Bournemouth University and became a Fellow of the Royal College of Music in 2010. In October 2016, he was a recipient of the Golden Jubilee Award, presented by the Barbados Government, for his services to music. In May 2018, Marshall was appointed Ambassador of the London Music Fund. Summertime – Porgy and Bess, 15.09, p. 140

photo: artist’s collection

Joanna Matusiak from Borówno (Czarny Bór District) folk singer She comes from a highlander family hailing from Podhale at the foot of the Tatra Mountains, who in the post-war years settled in Podsudecie at the foot of Sudeten Mountains. A two-time prize-winner of the Festival of Folk Bands and Singers in Kazimierz Dolny – the 2nd prize in 2012 and awards in 2015. With her unique vocal range, she suggestively performs the canon of songs from Skalne Podhale. She appears with Janicki band of Podhale Highlanders’ in Czarny Bór, singing in groups and solo, as well as participating in the ceremonial performances, including Highlanders’ Wedding in 2017 as the bride. Songs from the Forests and Fields. Traditional Polish Folk Music, 12.09, 13.09, 14.09, p. 104, 120, 124

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Biographies

photo: Oded Antman

Zubin Mehta conductor

Born in Bombay, Zubin Mehta grew up in a musical environment. His father, Mehli Mehta, founded the Bombay Symphony Orchestra and was Music Director of the American Youth Symphony in Los Angeles. His initial field of study was medicine, but he abandoned it at the age of eighteen to attend the Universität für Musik und darstellende Kunst Wien. Seven years later, he conducted both the Wiener and Berliner Philharmoniker. He rapidly became one of the world’s most sought after conductors, holding positions such as Music Director of the Orchestre Symphonique de Montréal (1961–67), Music Director of the Los Angeles Philharmonic (1962–78), Music Director of the New York Philharmonic (1978–91) and Music Director of the Bayerische Staatsoper (1998–2006). The Israel Philharmonic Orchestra appointed Mehta Music Advisor in 1969, Music Director in 1977, and Music Director for Life in 1981. Combining concerts, recordings and tours, Zubin Mehta has conducted thousands of performances on five continents with the IPO. Since 1985, he has also acted as Chief Conductor of the Orchestra del Maggio Musicale Fiorentino in Italy, becoming Honorary Conductor for Life in 2006. 164

photo: artist’s collection

Zubin Mehta has received countless awards and distinctions, including the Kennedy Center Honors, the Tagore Award for Cultural Harmony in India, the President’s Medal (Medal of Distinction) from Israeli President Shimon Peres, the Praemium Imperiale from the Japanese Imperial Family, honorary doctorates by the Hebrew University of Jerusalem, Tel Aviv University and the Weizmann Institute of Science in Israel, a special prize at the ceremony of the Israel Prize presentation and a special distinction with a star on Hollywood Boulevard. He is honorary citizen of both Florence and Tel Aviv and an honorary member of the Wiener Staatsoper, the Bayerische Staatsoper and the Gesellschaft der Musikfreunde Wien. 2006 saw the publication in Germany and Israel of his autobiography, Die Partitur meines Leben: Erinnerungen (The Score of my Life: Memories). Zubin Mehta continues to support the discovery and furtherance of musical talents all over the world. Together with his brother Zarin, he is cochairman of the Mehli Mehta Music Foundation in Bombay, where more than 200 children are educated in Western classical music. Israel Philharmonic Orchestra & Zubin Mehta. Mahler – Symphony No. 3, 7.09, p. 56

Pedro Memelsdorff

artistic direction of Mala Punica A music director, medievalist in musicology and recorder player, was born in Argentina, graduated from the Schola Cantorum Basiliensis (Basel) and the Sweelinck Conservatorium (Amsterdam), and obtained a PhD in musicology from Utrecht University. As a musician, he has been a member of Jordi Savall’s Hesperion XX/XXI since 1981 and of a duo with Andreas Staier since 1984. In the late 1980s, he played contemporary music with the ensemble Broken Consort Zurich. In 1987, he founded the ensemble Mala Punica, specialising in late medieval polyphony, with which he has performed over four hundred concerts at major early-music venues in Europe and America and published eight CDs that have received over forty international awards. Memelsdorff and his ensemble Mala Punica have been artists-in-residence at the University of California, Davis, the AMUZ in Antwerp, the Fondation Royaumont in Paris, and Blodgett Distinguished Artists at Harvard University in 2014. As a musicologist, Memelsdorff regularly publishes in specialised press. He has authored a monograph on the history and codicology of the Codex Faenza 117 (LIM, Libreria Musicale Italiana, Lucca 2013) and is preparing a further volume on the same manuscript for Brepols.

A Fellow of Villa I Tatti (Harvard University) in 2003–2004, Memelsdorff is now an Affiliate Researcher at the University of Tours, a member of the college of the Confederal PhD programme in Italian Civilisation (Switzerland), and of the Study Groups ‘Transmission of Knowledge as a Primary Aim in Music Education’ and ‘Tablature in Western Music’ of the International Musicological Society. He is also a member of the scientific boards of the Journal of the Alamire Foundation, and the Ars nova series of LIM. He was tenured Professor of Music at the Conservatory of Zurich (Switzerland) and the Civica Scuola di Musica of Milan (Italy), and still serves as a tenured Professor at the Escola Superior de Música de Catalunya in Barcelona (Spain), where he directs the Master programmes in Early Music Research and Performance. He has been guest Professor and lecturer at several music institutions in Europe, America and Japan, including the Schola Cantorum Basiliensis, Conservatories of Jerusalem, Haifa, Cologne, Mainz, Bremen, Maastricht, The Hague, Copenhagen, Lyon, Dublin, the New England Conservatory, the Royal Academy of Music in London; the Universities of Oxford, Harvard, Tel Aviv, Tokyo, Rome, Saarland, Salamanca, Würzburg, Davis, and Berkeley, as well as the City University of New York, the University of North Carolina at Chapel Hill, Catholic University of Argentina in Buenos Aires. In the spring of 2010, he was Ernest-Bloch lecturer at the University of California at Berkeley, where he gave a series of lectures entitled The Music of Theory: Theorist-Composers in Late Medieval Italy, and in December 2010 he was shortlisted for a position of full professorship in Historical Musicology at Harvard University. A tenured Director of the Egida Sartori and Laura Alvini Early Music Seminars at the Fondazione Giorgio Cini in Venice since 2006, he has also served as the Director of the Schola Cantorum Basiliensis in Basel, where he is Artistic Director of the early-music festival Festtage Alte Musik. He has recently been appointed as artistic planner for musical events at Villa I Tatti, The Harvard University Center for Italian Renaissance Studies in Florence. Beatum incendium. Medieval Manuscripts, 8.09, p. 62

photo: Alex Amengual

Raffaella Milanesi soprano

Born in Rome, Italian soprano Raffaella Milanesi completed her studies at the Accademia Nazio nale di Santa Cecilia in Rome. She is regularly invited to perform at the most important opera houses and venues such as: Theater an der Wien, Wiener Konzerthaus, Gran Teatro La Fenice, La Scala (Milan), Teatro San Carlo (Naples), Philharmonie Dresden, Grand Théâtre de Genève, La Monnaie (Brussels), Théâtre du Châtelet (Paris), Muziektheater Amsterdam, opera houses of Bordeaux, Toulouse, Strasbourg, Lausanne, and has appeared at the festivals of Eisenstadt, Potsdam, Innsbruck, Halle, Utrecht, Prague, Ambronay, Beaune, and at the Händel-Festspiele in Halle where she has performed many concerts and operas. Raffaella Milanesi has worked with such distinguished conductors as Rinaldo Alessandrini, Fabio Bonizzoni, Giuliano Carella, Ottavio Dantone, Alessandro De Marchi, Ádám Fischer, Nicola Luisotti, Václav Luks, Andrea Marcon, Enrique Mazzola, Marc Minkowski, Hervé Niquet, Donato Renzetti, Christophe Rousset, Andreas Spering, David Stern, Jordi Savall, Jérémie Rhorer, and collaborated with directors including Christof Loy, Pier Luigi Pizzi, Robert Wilson, Daniele Abbado, Karl-Ernst and Ursel Herrmann, Emilio Sagi, Mariame Clément, Francisco Negrin, Marthe Keller, Vincent Boussard, Jean-Paul Scarpitta.

She has appeared with the following Baroque orchestras: Les Talens Lyriques, Accademia Bizantina, Akademie für Alte Musik Berlin, L’Arte del Mondo, Collegium 1704, Capella Cracovien sis, Venice Baroque Orchestra, Il Complesso Barocco. Raffaella Milanesi’s extensive discography reflects the impressive breadth of her repertoire and her passion for the discovery of rare and less known operatic works as shown by these recordings on Naïve: Martín y Soler’s La capricciosa corretta (Cilia) and Salieri’s La grotta di Trofonio (Ofelia) both with Les Talens Lyriques conducted by Christophe Rousset; Vivaldi’s Armida al campo d’Egitto (Erminia), Bononcini’s Stabat Mater and Messa a cinque concertata with the Concerto Italiano and Rinaldo Alessandrini. For Deutsche Harmonia Mundi, she recorded Gluck’s La cle menza di Tito (Sesto) with L’Arte del Mondo under the baton of Werner Ehrhardt and Pergolesi’s L’Olimpiade (Aristea) with the Academia Montis Regalis conducted by Alessandro De Marchi. She has released the CD Handel – Le Cantate per il Cardinal Ottoboni with La Risonanza conducted by Fabio Bonizzoni on the Glossa label and appears as Donna Anna with the Ensemble Silete Venti! and Simone Toni on the Don Giovanni CD issued by Warner Classics. She has also recorded the title role in Purcell’s Dido and Aeneas (Challenge Classics) and Alessandro in Domenico Scarlatti’s Tolomeo e Alessandro with Alan Curtis (Deutsche Grammophon).

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Biographies One of the most sought after soloists in the field of Baroque music, Raffaella Milanesi’s repertoire includes parts in operas as varied as Monteverdi’s L’Orfeo (Proserpina), Il ritorno d’Ulisse in patria (Giunone) at La Scala in Milan; Cavalli’s La Calisto (Giunone) conducted by Christophe Rousset at the Strasbourg Opera; Francesco Provenzale’s La Stellidaura vendicante (title role) with Alessandro De Marchi in Potsdam; Vivaldi’s Teuzzone (Zidiana) with Jordi Savall in Versailles, Magnificat and Gloria under Fabio Biondi; Handel’s Alessandro (Lisaura) at the Opéra de Rennes and Alcina (title role) with David Stern in Shanghai; Pergolesi’s L’Olimpiade (Argene and Aristea), Stabat Mater under the baton of Václav Luks at the Rudolfinum in Prague; Niccolò Jommelli’s L’isola disabitata (Silvia) at the Teatro San Carlo in Naples. She has also performed numerous opera roles from the Classical era such as Sandrina in Haydn’s L’infedeltà delusa and Euridice in L’anima del filosofo. An admired Mozart interpreter, Raffaella Milanesi has appeared as Annio in La clemenza di Tito at La Fenice with Ottavio Dantone and Ursel Herrmann; Sifare in Mitridate, rè di Ponto under David Stern at the Drottningholms Slottsteater; Donna Anna in Don Giovanni at the Teatro della Pergola in Florence; Cherubino in Le nozze di Figaro under Christophe Rousset at the Opéra Royal de Wallonie-Liège. She was seen on stage as Susanna and Contessa d’Almaviva (Le nozze di Figaro), Zerlina, Donna Elvira (Don Giovanni), Fiordiligi (Così fan tutte) and Aminta (Il rè pastore). Recent and forthcoming engagements include the title role in L’incornazione di Poppea at the Theater St Gallen; Mandane in Arbace at the Händel-Festspiele in Halle under Carlo Ipata; Maria Maddalena in Handel’s La resurrezione with Fabio Bonizzoni/La Risonanza at the Bozar in Brussels and with Václav Luks/Collegium 1704 in Prague and Dresden; Maria Vergine in Alessandro Scarlatti’s La vergine addolorata at the Barocktage festival of the Staatsoper Berlin. She will sing cantatas and serenatas by Farina at the Early Music Festival Utrecht. Vivaldi – Juditha triumphans, 13.09, p. 114 166

photo: artist’s collection

Radi Morcos cantor

The Egyptian artist was born on 6th February 1973 in Sandafa, El Menya, in Upper Egypt. He belongs to the Coptic Orthodox Church in Egypt. He studied Coptic music and hymns at the Didymus Institute for Chanters in Cairo. Since September 2000, he has worked as a Cantor in the Church of Archangel Michael in Toson/ Shubra, Cairo. Since September 2000 till now, he has been teaching Coptic music and hymns for the students of Coptic Seminary in Cairo. Since October 2003, he has been teaching, with Cantor Gad Lewis, Coptic music and hymns for the Coptic Orthodox Church Choir of Sacred Music. Since June 2015, he has been the lead cantor of Coptic Orthodox Church Choir of Sacred Music. In 2016 he was ordained Deacon of the Coptic Orthodox Church. He has participated in the following festivals of sacred music: the Seminar and Concert ‘Coptic Liturgical Chant’ (December 2013, Venice), Festival de l’Imaginaire (March 2014, Paris), Salzburger Festspiele (July 2016, ‘Ouverture spirituelle – Eastern Christianity IV: Coptic hymns und Ethiopian chants’). Coptic Hymns, 6.09, 7.09, 8.09, 9.09, p. 30, 46, 74, 86

photo: Ignacy Dumin

Michalina Mrozik from Przejęsław (Osiecznica District) folk singer A re-emigrant from Bosnia originating from a family from Volhynia, who were resettled in the 19th century to the Balkans. She learned the songs from her father, who gave her an impressive set of them transferred from the village of Kolonia Śląska in Volhynia. Particularly noteworthy are soldier songs with a centuries-old tradition and unusual ballads. Among them, Tam pod lasem, pod podolskim is considered one of the oldest and probably complete variants of Song of a Wandering Soldier. Her interpretations of the traditional song repertoire are among the most outstanding in Polish culture. Winner of the two main awards of the Festival of Folk Bands and Singers in Kazimierz Dolny – Baszta in 1985 and 2013 and the prestigious Oskar Kolberg Award granted to her in 2017. She lives in a family farm in Przejęsław. Songs from the Forests and Fields. Traditional Polish Folk Music, 12.09, 13.09, 14.09, p. 104, 120, 124

Kölner Philharmonie, Boston University Theater, Teatro de la Maestranza (Seville), Teatro Olimpico (Rome) and festivals such as Spoleto Festival de Due Mondi, the HändelFestspielen Göttingen (Halle), the Semana de la Música Religiosa di Cuenca, the Santiago de Compostela Festival, the Opera Rara, the Dubrovnik Festival, and the Athens Festival. She is also a regular guest at the Greek National Opera, the Megaron of Athens, and the Thessaloniki Concert Hall.

photo: Irini Michopoulou

Mary-Ellen Nesi mezzo-soprano

Noted for her lustrous and superbly controlled voice, shimmering tone and strong connection with the public, Greek mezzo-soprano Mary-Ellen Nesi has performed to great acclaim on the most important stages worldwide, and has recorded and performed major roles with the most notable conductors of our time. Theatres she has appeared at include: the Bayerische Staatsoper, Royal Opera House Covent Garden, Oper Frankfurt, Semperoper Dresden, Carnegie Hall, Avery Fisher Hall (NY), Place des Arts (Montreal), Théâtre des Champs-Elysées (Paris), Concertgebouw (Amsterdam), Theater an der Wien (Vienna), Cadogan Hall (BBC Proms, London), Chungmu Art Hall (Seoul), Strathmore Hall (Washington DC), Royal Opera of Versailles, Opéra de Lausanne, Opéra de Nice, Opéra National du Rhin, Teatro Nacional de São Carlos (Lisbon), Tchaikovsky Concert Hall (Moscow), Juliusz Słowacki Theatre (Kraków), Teatro Arriaga (Bilbao), the historic opera houses of Florence, Ferrara and Modena, the Teatro Municipale of Piacenza, Festspielhaus Baden-Baden, Koerner Hall (Toronto), Frauenkirche (Dresden), Tonhalle Düsseldorf, Teatro Monumental (Madrid), Teatro Caio Melisso (Spoleto), Hessisches Staatstheater Wiesbaden, Palais des Beaux-Arts (Brussels),

Mary-Ellen Nesi’s repertoire consists mainly of Baroque, Classical and bel canto music. She has delighted the public in many major operatic roles such as the title roles in Bizet’s Carmen, Rossini’s Cenerentola, Der Rosenkavalier by R. Strauss, Vivaldi’s Orlando furioso and Farnace, Handel’s Serse, Oreste, Rodrigo and Faramondo, and also Ruggiero (Alcina), Andronico (Tamerlano), Dejanira (Hercules), Teseo (Arianna in Creta), Medea (Teseo), Charlotte (Massenet’s Werther), Romeo (Bellini’s I Capuleti e I Montecchi), Adalgisa (Norma), Rosina (Rossini’s Il barbiere di Siviglia), Giovanna Seymour (Donizetti’s Anna Bolena), Mozart’s Dorabella (Così fan tutte), Cherubino (Le nozze di Figaro), Sifare (Mitridate, rè di Ponto), Ramiro (La finta giardiniera), Megacle in Paisiello’s L’Olimpiade, Orfeo (Gluck’s Orfeo ed Euridice), Licida (Pergolesi’s L’Olimpiade), Monteverdi’s Ottavia (L’incoronazione di Poppea), Penelope and Melanto (Il ritorno d’Ulisse in patria), Antiope in the world premiere revival of Vivaldi’s Ercole su’l Termodonte, Anastasio in Vivaldi’s Giustino, Mitrena, Fernando & Ramiro in Vivaldi’s Motezuma, Hänsel in Humperdinck’s Hänsel und Gretel, Teresa in Bellini’s La sonnambula, Ino and Juno in Handel’s Semele, Lola in Mascagni’s Cavalleria rusticana, Maddalena in Verdi’s Rigoletto, Tebaldo in Verdi’s Don Carlos and principal roles in operas by contemporary composers. Conductors she has performed with include René Jacobs, Ivor Bolton, Charles Dutoit, Bruno Weil, Alan Curtis, Ottavio Dantone, Fabio Biondi, George Petrou, Frans Brüggen, Teodor Currentzis, Julia Jones, Diego Fasolis, Paul O’Dette, Stephen Stubbs, Andrea Marcon, Jean-Christophe Spinosi, Federico Maria Sardelli, Emmanuelle Haïm, John Reilly Lewis, Rubén Dubrovsky, and Eduardo López Banzo.

Her recordings of Handel’s Oreste (title role), Arianna in Creta (as Teseo), Tamerlano (as Andronico), Giulio Cesare (as Sesto), Alessandro Severo (as Alessandro) under George Petrou and Gluck’s Il trionfo di Clelia (as Orazio), led by Giuseppe Sigismondi de Risio, were received with the highest praise by the international press (including the ECHO Klassik 2008 for Tamerlano) She also performs the title role in the DVD and CD of Vivaldi’s Farnace, under Federico Maria Sardelli, Antiope in the DVD of Ercole su’l Termodonte, Polinesso in the DVD of Ariodante and Mitrena in the DVD of Motezuma, under Alan Curtis (all by Dynamic). She has also recorded D. Scarlatti’s Tolomeo e Alessandro (as Dorisbe, for Archiv), Handel’s Berenice (as Arsace, for Virgin), a solo CD Salve Regina (Deutsche Harmonia Mundi) under Alan Curtis, Vivaldi’s Farnace (as Berenice, for Virgin) under Diego Fasolis, Hasse’s Siroe, rè di Persia (as Emira) under George Petrou, Christmas at San Marco (Berlin Classics) under Peter Kopp. Her recent recordings include Le nozze di Figaro (as Cherubino) under Teodor Currentzis (Sony), Baroque Divas under George Petrou (Decca), Beethoven’s Symphony No. 9 under Bruno Weil (Tafelmusik Media), and Porpora’s Germanico in Germania (as Arminio) under Jan Tomasz Adamus (Decca). Mary-Ellen Nesi has given many recitals and Baroque music concerts and has premiered works by contemporary Greek composers at home and abroad. She had founded the Opera Festival of Ancient Corinth, which staged operas inspired by ancient Greece and ancient Rome in the archeological site of Ancient Corinth (2003–09). Born in Montreal, Canada, of Greek parents, Mary-Ellen Nesi studied in Athens under Misa Ikeutsi, graduating with distinction. She has also studied with Ernst Haefliger in Zurich, Arrigo Pola in Modena, Frangiskos Voutsinos and Kostas Paskalis in Athens. Vivaldi – Juditha triumphans, 13.09, p. 114

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Biographies NFM Choir

photo: Łukasz Rajchert

NFM Boys’ Choir Founded in 2009 by Andrzej Kosendiak – Director of the Witold Lutosławski National Forum of Music in Wrocław – the choir is ambitiously active in the artistic life and gives concerts with leading conductors and ensembles. Since the onset of its activities the NFM Boys’ Choir engages in collaborations with the Wrocław Opera (The Ugly Duckling, 2016–17), Capitol Musical Theatre (Alina Janowska’s Birthday concert during 34th Festival of Stage Song, 2013), and the Wrocław Puppet Theatre (Yemaya – Queen of the Seas, 2016–17). It is often invited to participate in prestigious events of the International Festival Wratislavia Cantans (it appeared under John Eliot Gardiner and Giovanni Antonini) or the Leo Festival. It has also performed in Austria, the Czech Republic, Slovakia, and Japan. The ensemble’s discography includes albums published by the NFM: The Salzburg Marian Mass (2015) with the works by W. A. Mozart, and an album released as part of the series Witold Lutosławski. Opera omnia – Vol. 7, with children’s songs by this composer (2018); both albums were recorded under the direction of Andrzej Kosendiak. Małgorzata Podzielny is Artistic Director of the NFM Boys’ Choir. 168

Apart from their regular rehearsals and concerts, the young singers participate in workshops, several times a year, run by Polish and international experts. NFM Boys’ Choir: Małgorzata Podzielny – artistic direction Mateusz Abulewicz, Mateusz Batóg, Antoni Bręczewski, Radosław Broda, Wiktor Dawidziuk, Bartosz Dubiel, Jakub Forma, Jacek Gaura, Tymoteusz Gaura, Oskar Gomółka, Szymon Goździkowski, Bruno Górski, Miłosz Graboń, Jan Grekow, Jan Greszta, Juliusz Jański, Mateusz Kępski, Krzysztof Kijewski, Adam Klepacki, Gabriel Knychas, Jan Knychas, Norbert Kohut, Radosław Łagódka, Kacper Makrucki, Sergiusz Mojzesowicz, Krzysztof Morgiel, Krzysztof Ostrowski, Piotr Ostrowski, Paweł Pierz, Szymon Postlethwaite, Mateusz Popik, Artur Rudnicki, Mateusz Słocki, Oliwier Smułka, Jacek Stefanowski, Wojciech Stefanowski, Jakub Szeptycki, Antoni Szuszkiewicz, Mikołaj Szuszkiewicz, Jan Szymeczek, Przemysław Witka, Mateusz Złomek Israel Philharmonic Orchestra & Zubin Mehta. Mahler – Symphony No. 3, 7.09, p. 56

The 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 of time, the choir became a leading ensemble on the Polish choral scene. The NFM Choir has 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, Philharmonie de Paris, and Salle Pleyel in Paris. The NFM Choir has been frequently invited to international music festivals, such as Ankara International Music Festival, International Festival of Arts and Ideas in New Heaven, Gent Festival van Vlaanderen, Gstaad Menuhin Festival & Academy, Jazztopad, Klarafestival, Musica Electronica Nova, Schleswig-Holstein Musik Festival, Serenade! Choral Festival, Warsaw Autumn, ISCM 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 Polish National Radio Symphony Orchestra (Katowice) and Orchestra of the Polish Radio (Warsaw). Its international collaborations include, among others, the Budapest Festival Orchestra, B’Rock Orchestra, Gabrieli Consort & Players, Il Giardino Armonico, Kammerorchester Basel, and the NDR Sinfonieorchester. The core of the ensemble’s activity are world premieres of choral and vocal-instrumental works, including works

NFM Wrocław Philharmonic One of the leading symphony orchestras on the Polish music scene. It cooperates with such recognised artists as Giovanni Antonini, Lawrence Foster, Philippe Herreweghe, Michael Schønwandt, Dima Slobodeniouk, Krzysztof Penderecki, Gilbert Varga, Mario Venzago, Piotr Anderszewski, Jonathan Biss, Ning Feng, Pablo Ferrández, Elisabeth Leonskaja, Midori, Javier Perianes, Julian Rachlin, Nemanja Radulović, Nikolai Szeps-Znaider, Elina Vähälä, István Várdai, Antje Weithaas, and others.

photo: Łukasz Rajchert

by such composers as Krzysztof Penderecki, Agata Zubel, Roxanna Panufnik, Rafał Augustyn, Paweł Łukaszewski, Julia Wolfe, and Bob Chilcott. 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). A cappella works performed by the NFM Choir feature on a disc with music by Chilcott The Seeds of Stars (2012) and on three discs with Polish choral music: Words Painted with Sounds (2012), Folk Love (2014), and De profundis (2016); the latter won Fryderyk 2017 award in the Album of the Year – Choral Music, Oratorio and Opera category. March 2017 saw the premiere of the album with The Seasons by Haydn, recorded with the participation of the NFM Choir under the baton of Paul McCreesh. 2018 saw the release of the Ubi caritas album, the premiere recording of the original version of Phantoms by Moniuszko (Fryderyk 2019 in the Album of the Year – Choral Music, Oratorio and Opera category) and Beethoven’s Symphony No. 9, recorded with Giovanni Antonini.

NFM Choir: Agnieszka Franków-Żelazny – artistic direction Paulina Boreczko-Wilczyńska, Małgorzata Ciężka-Kątnik, Natalia Kiczyńska, Patrycja Kujawa, Monika Michaliszyn, Agnieszka Niezgoda, Joanna Palac, Agnieszka Ryman, Aleksandra Turalska, Violetta WysockaMarciniak – sopranos Bianka Maxim, Marta Mączewska, Aleksandra Michniewicz, Ewelina Nawrocka, Agata Ranz, Joanna Rot, Aleksandra Sosna, Ewelina Wojewoda, Ewa Wojtowicz, Magdalena Wolska – altos Jakub Bieszczad, Marcin Belcyr, Marek Belko, Łukasz Czartowski, Krzysztof Domański, Andrzej Górniak, Jarosław Kawałko, André Khorsik, Łukasz Wilda, Paweł Zdebski – tenors Maciej Adamczyk, Jerzy Butryn, Filip Chudzicki, Dawid Dubec, Marek Fras, Paweł Jan Frasz, Marek Paśko, Jan Pieter, Michał Pytlewski, Piotr Woroniecki – basses Israel Philharmonic Orchestra & Zubin Mehta. Mahler – Symphony No. 3, 7.09, p. 56 Vivaldi – Juditha triumphans, 13.09, p. 114

The orchestra was founded in 1945. In 1994, it was named after Witold Lutosławski, and in 2015, along with the inauguration of its new home at the National Forum of Music, adopted the name NFM Wrocław Philharmonic. Since the 2017/18 season, its Artistic Director is the multiple Grammy Award winner, Giancarlo Guerrero. Previously, this function was held by, among others, Jacek Kaspszyk (2006-13) and Benjamin Shwartz (2013-16). During the season, in addition to regular concerts, the orchestra performs a wide variety of artistic projects, including educational concerts, open-air concerts and recording sessions. In educational activities, it focuses not only on concerts for children and young people, but also cooperates with the Academy of Music in Wrocław and the Orchestra Academy and Choir Academy (projects run by NFM). Thanks to cooperation with NFM festivals, such as Jazztopad and Musica Electronica Nova, the ensemble performs with leading representatives of the avant-garde and jazz scene, such as John Zorn, Brad Mehldau, Charles Lloyd and Wynton Marsalis & Jazz at the Lincoln Center Orchestra. The NFM Wrocław Philharmonic has gained special recognition in the 20th and 21st century symphonic repertoire, and regularly performs compositions commissioned by the NFM. Part of this activity are also albums and perfor mances of the orchestra in prestigious venues in Poland and in the world, including at the Berwald Concert Hall (Stockholm), Elbphilharmonie Hamburg, Kölner Philharmonie, Tonhalle Zürich, Concertgebouw (Amsterdam), Flagey (Brussels), the Chicago Symphony Center, the Warsaw Philharmonic and the new NOSPR venue (Katowice). In its recordings and on tour, the orchestra regularly performs the works of

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Biographies

photo: Łukasz Rajchert

such masters as Witold Lutosławski, Krzysztof Penderecki, and Arvo Pärt. A record with symphonies by the latter composer, recorded by the orchestra under Tõnu Kaljuste (ECM), received the 2019 International Classical Music Award. NFM Wrocław Philharmonic: Giancarlo Guerrero – artistic director Radosław Pujanek (1st concertmaster), Marcin Danilewski (concertmaster), Andrzej Woźnica (honorary concertmaster), Karolina Bartoszek, Dariusz Blicharski, Bartosz Bober, Dorota Bobrowicz, Elżbieta Bolsewicz, Maria Brzuchowska, Ewa Dragon, Danuta Drogowska, Beata Dziekańska, Jowita Kłopocka, Malwina Kotz, Anita Koźlak, Sylwia Puchalska, Beata Solnicka, Dorota Tokarek, Anna Undak – 1st violins

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Wojciech Hazuka (concertmaster), Tomasz Bolsewicz, Wioletta Porębska, Tomasz Kwieciński, Wojciech Bolsewicz, Zuzanna Dudzic-Karkulowska, Alicja Iwanowicz, Krzysztof Iwanowicz, Marzanna Kałużny, Lilianna Koman-Blicharska, Małgorzata Kosendiak, Ewa Kowol-Stencel, Andrzej Michna, Dorota Stawinoga-Morawiec, Marzena Wojsa – 2nd violins

Artur Tokarek, Artur Rozmysłowicz, Bożena Nawojska, Magdalena Dobosz, Paweł Brzychcy, Bogusława Dmochowska, Marlena GrodzickaMyślak, Ewa Hofman, Marzena Malinowska, Michał Mazur, Jolanta Mielus, Aleksandra Wiśniewska, Aleksandra Zych – violas

Mateusz Feliński, Adam Wolny, Łukasz Łacny, Czesław Czopka, Jan Grela, Robert Wasik – horns

Maciej Młodawski (1st concertmaster), Maciej Kłopocki (concertmaster), Wojciech Fudala (assistant concertmaster), Jan Skopowski, Sylwia Matuszyńska, Ewa Dymek-Kuś, Lidia Broszkiewicz, Radosław Gruba, Anna Korecka, Dorota Kosendiak, Robert Stencel, Miłosz Drogowski – cellos

Eloy Panizo Padrón, Paweł Maliczowski, Wojciech Nycz, Mariusz Syrowatko – trombones

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, Aleksandra Majda, Stefan Małek – oboes Stefan Małek – cor anglaise Maciej Dobosz, Jan Tatarczyk, Arkadiusz Kwieciński, Mariola Molczyk, Michał Siciński – clarinets Katarzyna Zdybel-Nam, Alicja Kieruzalska, Józef Cichy, Bernard Mulik – bassoons

Aleksander Kobus, Piotr Bugaj, Aleksander Zalewski, Justyna Maliczowska, Paweł Spychała – trumpets

Piotr Kosiński – tuba Miłosz Rutkowski, Aleksandra Gołaj, Zbigniew Subel, Krystyna Wojciechowska, Adrian Schmidt, Camille Bialas – percussion Diego Yañez Busto, Jacek Wota – timpani Malwina Lipiec-Rozmysłowicz – harp Władysław Kosendiak (associate) – saxophone Alina Wojtowicz (associate) – piano Summertime – Porgy and Bess, 15.09, p. 140

Odhecaton: Paolo Da Col – conductor, artistic direction Anna Simboli – soprano Guy James, Matteo Pigato, Andrea Arrivabene, Gianluigi Ghiringhelli – countertenors Alberto Allegrezza, Massimo Altieri, Vincenzo Di Donato – tenors Enrico Bava, Philippe Roche – basses Elisa La Marca – archilute Cristiano Contadin – violone Liuwe Tamminga – chest organ Alessandro Scarlatti – Rediscovered Works, 12.09, 13.09, p. 96, 122

photo: ensemble’s collection

Odhecaton The Italian vocal ensemble Odhecaton (pronounced Oh-DE-kah-tohn) owes its name to the first printed book of polyphony, published in 1501 by Ottaviano Petrucci in Venice, Italy: Harmonice Musices Odhecaton. The word Odhecaton is derived from the Greek words: odè (meaning ‘song’) and ècaton (meaning ‘100’). Harmonice Musices Odhecaton was a collection of some 100 songs. The name was chosen for the Italian vocal ensemble largely because of its core repertoire, which encompassed the work of French and Flemish composers during the Italian musical Renaissance of the 15th century, notably Jacob Obrecht, Josquin Desprez, and Loyset Compère. Since the group’s debut in 1998, the repertoire has grown to include early and contemporary works by a large spectrum of composers. Directed by Paolo Da Col, Odhecaton brings together some of the best Italian male voices specialising in the performance of Renaissance and Baroque music. The ensemble has made recordings dedicated to the music of Gombert, Isaac, Josquin, Peñalosa and Compère, and has helped rediscover the repertoire of 17th-century

Spanish and Portuguese composers active in the Canary Islands. These programmes have led to appearances at Europe’s leading festivals, and won them important recognition in the world of recordings: Diapason d’Or de l’Année, 5 Diapasons, Choc du Monde de la Musique, Disco del mese (Amadeus and CD Classics), and CD of the Year (Goldberg). Beyond its central repertoire, Odhecaton has also presented a semi-staged production of Orazio Vecchi’s L’Amfiparnaso (directed by Enrico Bonavera, with scenography by Lele Luzzati), and a production of sacred music by Gesualdo da Venosa. From 2008 forward, Odhecaton has paid particular attention to the music of Palestrina, and recently released a recording of Orlando di Lasso. The group also works occasionally with instrumentalists specialising in their repertoire, including Bruce Dickey and Concerto Palatino, Gabriele Cassone, Liuwe Tamminga, Paolo Pandolfo, Jakob Lindberg, laReverdie, and Andrea De Carlo with Ensemble Mare Nostrum. In April 2018, Odhecaton ensemble was honoured by Italy’s National Association of Music Critics with the Franco Abbiati Prize.

Michele Pasotti theorbo

Michele Pasotti graduated in lute with highest honours, studying with Massimo Lonardi, and specialised attending masterclasses by Hopkinson Smith and Paul O’Dette. At the Civica Scuola di Musica in Milan he later specialised in Renaissance music theory and counterpoint and deepened the study of late medieval practice both in Milan and Barcelona (Esmuc). At Rome’s University ‘Tor Vergata’ he attended the specialisation course Ars Nova in Europa, getting a first class degree. He also received a first class degree in philosophy at the University of Pavia. From 2013 to 2018, Michele Pasotti ran an Ars Nova course at the Civica Scuola di Musica di Milano. He is Professor of lute at the Conservatorio di Musica ‘Bruno Maderna’ in Cesena. He also gives lectures, either on musicological subjects, or to introduce and spread the knowledge of lutes and early music. He is the founder and director of ‘la fonte musica’, an ensemble specialising in late medieval music. Their first two CDs Le Ray au Soleyl for the label ORF/Alte Musik and Metamorfosi Trecento were acclaimed by critics (Diapason 171

Biographies

photo: RamusPhotography

d’Or, 5 Diapasons, two times Disco del Mese di Amadeus, Pizzicato’s Supersonic Award, finalist at ICMA 2018). In many concerts across Europe, Michele Pasotti has worked with conductors such as Claudio Abbado, John Eliot Gardiner, Giovanni Antonini, Marc Minkowski, Ottavio Dantone, Thomas Hengelbrock, Diego Fasolis, Christophe Rousset. He regularly performs with Il Giardino Armonico, I Barocchisti, Les Musiciens du Louvre, Balthasar-Neumann-Ensemble, Akademie für Alte Musik Berlin, Les Musiciens du Prince, Ghislieri Consort, Il Canto di Orfeo, Accademia Bizantina, and Sheridan Ensemble. He has also played with Orchestra Mozart, Orchestra del Teatro alla Scala, I Solisti della Scala, English Baroque Soloists, Les Talens Lyriques, Kammerorchester Basel, Venice Baroque Orchestra, Capella Cracoviensis, Orfeo 55. He has been hosted by the most eminent musical seasons and concert halls in Europe, the United States and Asia. As a soloist (lutes, theorbo, Baroque guitar) he has a repertoire that spans from the Middle Ages to the late 18th century. Since 2012, he has being recording and touring Europe’s most important music venues with Cecilia Bartoli, performing also as a soloist. He is regularly invited to conduct vocal ensembles, especially Capella Cracoviensis.

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Among his more than 70 recordings (beyond those for Deutsche Grammophon, Decca, EMI/ Virgin Classics, Naïve, Sony/Deutsche Harmonia

photo: Yann Toma

Mundi, SWR, Glossa, ORF, Ricercar, Avie, Rai Radio 3, RSI Rete Due, France 2, France Musique, Mezzo, The Classic Voice, Amadeus), noteworthy is a work dedicated to the guitarist Francesco Corbetta (Dynamic), where he plays as a soloist, and a CD entirely devoted to Pergolesi with Orchestra Mozart conducted by Claudio Abbado (Deutsche Grammophon). Sud, sud – a Musical Journey from Rome Beyond the Mediterranean Sea 14.09, 15.09, p. 126, 136

Marcel Pérès

artistic direction of Ensemble Organum After studying organ and composition at the Conservatoire à Rayonnement Régional in Nice, Marcel Pérès pursued his musical education in Great Britain and Canada. Back in Europe in 1979, he began to specialise in medieval music and founded, in 1982, Ensemble Organum, with which he undertook a methodical exploration of medieval liturgical repertoires. He founded in 1984 at the Fondation Royaumont a research centre for the perfor mance of medieval music, the CERIMM (Centre Européen pour la Recherche sur l’Interprétation des Musiques Médiévales – European Medieval Music Research and Performance Centre),

of which he was director until 1999. With Ensemble Organum he has released thirty or so records and CDs of which most have been awarded the highest acclaims: Diapason d’Or, MIDEM Classical Awards, Choc de l’année du Monde de la Musique. In 2001, at the former Abbey of Moissac, Marcel Pérès created the CIRMA (Centre Itinérant de Recherche sur les Musiques Anciennes – Itinerant Centre for Early Music Research), designed to be a showcase, via music, of man’s migration, his thinking and his know-how during the past centuries and to develop a mutually informative approach between living traditions and musical archeology. Marcel Pérès’s international activity was acknowledged in 1990 when he was awarded the French Secretary of State’s international cultural relations’ Leonardo da Vinci Prize (Prix Léonard de Vinci), he received in 1996, by the French Ministry of Culture, the distingtion of Knight of Arts and Letters (Chevalier de l’Ordre des Arts et des Lettres) and in 2013 the distingtion of Officer of Arts and Letters (Officier de l’Ordre des Arts et des Lettres). He is the godfather of the bell ‘Marcel’, which was cast in 2012 and consecrated on 2nd February 2013 for the feast of 850 years of the Cathedral Notre-Dame de Paris. A Mediterranean Mosaic. Mozarabic Chant, 10.09, 11.09, p. 88, 94

photo: Magdalena Opołka

Małgorzata Podzielny

artistic direction of NFM Boys’ Choir She studied music education and theory of music at the Academy of Music in Wrocław, where she obtained two diplomas with distinction. She also completed postgraduate studies in choral conducting at the Academy of Music in Bydgoszcz. 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, Małgorzata Podzielny 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 children’s vocal ensembles methodology class. As a recognised specialist in children’s and youth choirs, she is regularly invited to seminars devoted to work with young choristers. She is the author of Kształtowanie postawy artystycz nej młodego chórzysty (Shaping the Artistic Attitude in a Young Chorister), published by the Academy of Music in Wrocław in 2014. She holds a number of awards for the best conductor granted by the jurys of choral competitions. Her honours include a ‘Merit

photo: Javier del Real

to Polish Culture’ badge and a Second Grade Award of the Minister of Culture and National Heritage. Her ensembles participate in national and international competitions, winning numerous awards, so far over 70. Israel Philharmonic Orchestra & Zubin Mehta. Mahler – Symphony No. 3, 7.09, p. 56

Sonia Prina contralto

Sonia Prina quickly established herself as one of the leading contraltos of her generation. After graduating in singing and trumpet from the Conservatorio di musica ‘Giuseppe Verdi’ in Milan, she was admitted to the Academy of Lyric Opera of the Teatro alla Scala for young singers. She made her operatic stage debut at La Scala at only 23 years old as Rosina in Rossini’s Il barbiere di Siviglia conducted by Riccardo Chailly and featuring the young Juan Diego Flórez as Almaviva. Thanks to her unique voice, she received international recognition and won several prizes including the Italian music critics’ Franco Abbiati Prize in 2006 and the ‘Tiberini d’Oro’ Prize in 2014 both naming her Best Singer of the Year. Sonia Prina has collaborated with conductors such as Rinaldo Alessandrini, Giovanni Antonini, Harry Bicket, Fabio Biondi, Ivor Bolton, Alan Curtis, William Christie, Ottavio Dantone, Diego Fasolis, Christopher Hogwood, René Jacobs, Paul McCreesh, Marc Minkowski, Jean-Christophe Spinosi, Patrick Summers, Jordi Savall, to name just a few, and appeared in productions of Robert Carsen, David McVicar, Pier Luigi Pizzi, John Copley, and David Alden. Career highlights include the title roles in Mozart’s Ascanio in Alba (Salzburger Festspiele) and in Gluck’s Ezio (Oper Frankfurt). She was Clarice in Rossini’s La pietra del paragone

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Biographies (Théâtre du Châtelet, Paris) and Isabella in L’italiana in Algeri (Teatro Regio, Turin). She performed Handel’s La resurrezione with the Berliner Philharmoniker under Emmanuelle Haïm.

House, Barbican Centre in London, Lyric Opera of Chicago, San Francisco Opera, Bayerische Staatsoper, Salzburger Festspiele, Festival d’Aix-en-Provence, Opernhaus Zürich.

In addition to the Baroque period, Sonia Prina has distinguished herself in Romantic and post-Romantic repertoire. She sang Mistress Quickly in Verdi’s Falstaff with conductors Donato Renzetti and Riccardo Frizza (Berlin, Parma, Turin), Smeton in Donizetti’s Anna Bolena (Barcelona) with Edita Gruberová and Elīna Garanča, and Maman, La Tasse chinoise, La Libellule in Ravel’s L’enfant et les sortilèges (Palermo, Naples), Federica in Verdi’s Luisa Miller and Beethoven’s 9th Symphony at the Royal Albert Hall for the BBC Proms.

She was invited to sing Vivaldi’s Magnificat at the Vatican under the baton of Zhang Xian for Pope Benedict XVI and Giorgio Napolitano, the former President of the Italian Republic.

Particularly fond of Handel, she has sung the title roles in Giulio Cesare (Paris, Dresden, Turin), Orlando (Sydney, Paris, Dresden), Tamerlano (Munich), Amadigi (Naples), Rinaldo (Zurich, Milan and Glyndebourne), Lucio Cornelio Silla (Rome). She also performed as Bradamante in Alcina (Paris), Polinesso in Ariodante (Aix-en-Provence, Barcelona and San Francisco), Bertarido in Rodelinda (London and Vienna), Goffredo in Rinaldo (Chicago), Amastre in Serse (San Francisco and Houston), and in Aci, Galatea e Polifemo (Brussels). Sonia Prina’s repertoire comprises the Monteverdi Trilogy in which she appears as Ottone in L’incoronazione di Poppea with Rinaldo Alessandrini, Penelope in Il ritorno d’Ulisse in patria with Ottavio Dantone, Messaggera and Speranza in L’Orfeo with William Christie at the Teatro Real in Madrid. With Jordi Savall she has performed Vivaldi’s Farnace (Madrid) and Teuzzone (Gran Teatre del Liceu, Barcelona). In 2017/18 she was artist-in-residence at Wigmore Hall, London, where she has been re-invited year after year since 2012. She gives recitals in major cities throughout Europe, South America and Japan with orchestras such as the Venice Baroque Orchestra, Il Giardino Armonico, Accademia Bizantina, Le Concert d’Astrée, Europa Galante, Kammerorchester Basel, Ensemble Matheus.

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Sonia Prina regularly returns to La Scala in Milan, Théâtre des Champs-Elysées, Opéra National de Paris, Teatro Real in Madrid, Gran Teatre del Liceu in Barcelona, Sydney Opera

Her vast discography includes several works by Handel – Il trionfo del tempo e del disinganno, La resurrezione (Virgin), Lotario (DHM), Rodelinda (Deutsche Grammophon), Ezio (Erato) – and by Vivaldi: Senna festeggiante, L’Olimpiade, the title role in Ottone in villa and the solo album Arie ritrovate (Naïve). Sonia Prina also recorded Monteverdi’s L’Orfeo (Erato) and the title role in Gluck’s Ezio. She appears in the following DVDs: Ascanio in Alba (Deutsche Grammophon) and Rinaldo (Opus Arte) in which she sings the title roles, as well as La pietra di paragone (Naïve). With the label Glossa, Sonia Prina has recently released 3 albums: Handel’s Catone and Lucio Cornelio Silla (title role) and the solo album dedicated to Gluck Heroes in Love which includes some world premiere recordings. Among her recent and future engagements are Handel’s Messiah at the Musikverein Wien under the baton of Erwin Ortner and Mozart’s Requiem with Antonio Pappano at the Accademia Nazionale di Santa Cecilia in Rome. She sings Disinganno (Il trionfo del tempo e del disinganno) at the Royal Danish Opera, Federica (Luisa Miller) at the Gran Teatre del Liceu in Barcelona and the title role in Lucio Cornelio Silla with Europa Galante and Fabio Biondi at the Bucharest George Enescu Festival. Vivaldi – Juditha triumphans, 13.09, p. 114

Ronald Samm tenor

Ronald Samm was born in Port of Spain, the younger son of two headteachers. His musical training began at St Mary’s College, where he was a regular prizewinner in the island-wide biennial Music Festival. He studied voice and

photo: Jack Liebeck

piano with Noelle Barker and Ian Kennedy at the Guildhall School of Music and Drama in London and won scholarships from the Peter Moores Foundation and Lord Pitt Foundation to pursue postgraduate study with Nicholas Powell at the Royal Northern College of Music in Manchester. Opera appearances have included Canio (Leoncavallo’s I Pagliacci); Siegfried (Wagner’s Götterdämmerung); Iro (Monteverdi’s Il ritorno d’Ulisse in patria); Tamino (Mozart’s Die Zauberflöte); Don José (Bizet’s Carmen); Drum Major (Berg’s Wozzeck); the title roles in Britten’s The Prodigal Son and Verdi’s Otello; Jake (Gershwin’s Porgy and Bess); Sigmund (Wagner’s Die Walküre) and Florestan in the multi award winning production of Beethoven’s Fidelio, for Birmingham Opera Company, directed by Graham Vick. Ronald Samm’s oratorio repertoire includes Handel’s Messiah; Bach’s Magnificat and St John Passion; Mendelssohn’s Elijah; Beethoven’s Mass in C major; Mozart’s Requiem; Verdi’s Requiem; Stainer’s Crucifixion and Lazarus in staged performances of John Adams’s The Gospel According to the Other Mary for Theater Bonn. He appeared as The Preacher in Bernstein’s Mass at the 2012 BBC Proms with the BBC National Orchestra of Wales. Summertime – Porgy and Bess, 15.09, p. 140

Angela Simpson made her debut as Serena in Graz, Austria, in a concert version of Porgy and Bess at the Styriarte Festival, under the baton of Nikolaus Harnoncourt. The performances were recorded live and were released under the RCA Red Seal label. The soprano also starred in the same role in Opéra Comique’s premiere production in Paris, France. In previous seasons, Simpson sang with Los Angeles Opera, La Scala Opera, Houston Grand Opera, Dallas Opera, San Diego Opera, Miami Opera, and New York City Opera. In 2005, she performed the role of Cilla in Michigan Opera Theatre’s World Premiere production of Richard Danielpour’s Margaret Garner, starring Denyce Graves. She repeated the role with Opera Carolina in 2006. She has also performed with the New York City Opera in the televised broadcast ‘Live from Lincoln Center’ as Serena in Porgy and Bess. photo: artist’s collection

Angela Renée Simpson soprano

Critics the world over have proclaimed dramatic soprano Angela Renée Simpson’s voice wonderfully powerful, fascinating, thrilling and extraordinary. In 2018, she made her debut with the Prague Radio Symphony Orchestra in a concert version of Porgy and Bess by Gershwin under the baton of Wayne Marshall. 2016 saw the soprano make her debut with Kentucky Opera and return to Dallas Opera in the role of Queenie for Kern and Hammerstein’s Show Boat. In subsequent seasons, the soprano has performed this role with Portland Opera, San Francisco Opera, Washington National Opera, Central City Opera, and Lyric Opera of Chicago. In 2015, Angela Simpson made her debut at the Klangvokal Musikfestival Dortmund American Night concert with the WDR Funkhausorchester Köln, again under the baton of Wayne Marshall. The soprano has performed with Orchestra del Maggio Musicale Fiorentino (Florence, Italy), the Iceland Symphony Orchestra (Reykjavik, Iceland), the Orchestra Sinfonica di Milano Giuseppe Verdi (Milan, Italy) and the Royal Stockholm Philharmonic Orchestra (Stockholm, Sweden).

In concert, Angela Simpson has performed in Cagliari (Teatro Lirico) and Naples (Teatro San Carlo), Italy. In 2008, she made her Carnegie Hall debut, with the New York Pops Orchestra in a Gerswhin tribute under the baton of Andrew Litton. In the same year, she also made her debut with the Alabama Symphony Orchestra under the baton of Justin Brown and with the Orchestra dell’Accademia Nazionale di Santa Cecilia with Wayne Marshall at the podium. The dramatic soprano has been heard with the Hartford Symphony Orchestra, Minnesota Orchestra, the Dallas Symphony Orchestra, the Colorado Springs Symphony, the Charleston Symphony Orchestra, Orchestra of the Novaya Opera Theater in Russia, in Weill Recital Hall and at the Bravo Music Festival singing Mozart’s Requiem, Fauré’s Requiem, Bernstein’s Jeremiah Symphony, Mozart’s Grand Mass in C minor, and Barber’s Knoxville: Summer of 1915. Summertime – Porgy and Bess, 15.09, p. 140

photo: Francesco Ferla

Giovanni Sollima cello

Giovanni Sollima was born in Palermo in 1962 into a family of musicians. He studied in Palermo, Salzburg and Stuttgart, and, still a teenager, embarked on a brilliant international career of cellist, collaborating with Claudio Abbado, Martha Argerich, Jörg Demus, and Giuseppe Sinopoli. Alongside the soloist career, his creative curiosity has led him to explore new territories in the field of composition: his unmistakable style is characterised by cross-overs of different genres: minimalism, rock, electronic and ethnic music from all over the Mediterranean area, with echoes of early and Baroque music, on the basis of a thorough classical training. His music has been played by classical performers such as Yo-Yo Ma, Riccardo Muti, Antonio Pappano, Daniele Gatti, Iván Fischer, Mischa Maisky, Viktoria Mullova, Sol Gabetta, Mario Brunello, Bruno Canino, but also popstars Patti Smith, Larry Coryell, Mauro Pagani, Stefano Bollani, and Elisa (protagonist of his opera Ellis Island). He has composed a lot of music also for cinema, television, and theatre. As a soloist, or with different instrumental groups, he has performed his compositions all over the world: at

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Biographies the Carnegie Hall, the Merkin Concert Hall and the Brooklyn Academy of Music in New York, La Scala in Milan, the Queen Elizabeth Hall and the Wigmore Hall in London, the Tchaikovsky Concert Hall in Moscow, the Liszt Academy in Budapest, the Sydney Opera House, the Tanglewood Festival, the Santa Cecilia Hall in Rome, the Venice Biennale, the Ravenna Festival, the Lockenhaus Kammermusikfest, and tours in the UK, the Netherlands, the USA, Canada, Russia, Japan, China, Australia. In 2012, he was the main founder and the artistic director of the explosive musical ensemble of the 100 Cellos, which over six years performed with his ‘Itinerant Festival’ in Rome, Milan, Budapest, Turin, Ravenna, Lucca, and Palermo. On 2nd June 2017, for the Festa della Repubblica, he performed a concert at the Quirinale in front of the Presidents of the Republic and of the Chambers, and the ambassadors from all over the world. In October 2018, he was honoured with the prestigious Anner Bijlsma Award on the occasion of the Cello Biennale Amsterdam, where he was artist-in-residence. Among the many CDs, noteworthy are Aquilarco for Point Music/Universal (on invitation by Philip Glass), Works and When We Were Trees for Sony, Neapolitan Cello Concertos and the Sonatas for Cello by Giovanni Battista Costanzi – Sonate per violoncello for Glossa Music, Caravaggio, 100 Cellos Live in Rome and Aquilarco – Live in New York for Egea Music, Onyricon, Il Caravaggio rubato and A Clandestine Night in Rome for Decca. Sollima plays a cello made by Francesco Ruggeri (Cremona, 1679). In his creations he also uses western and eastern acoustic instruments and electrical and electronic tools, mixed with others of his own invention, such as the aquilarco, and others specially for him, like the tenor violin present in the paintings of Caravaggio and an ice-cello that in the winter of 2007 he played at 3,200 meters above sea level, in an igloo theatre built in a glacier of the Dolomites.

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Sud, sud – a Musical Journey from Rome Beyond the Mediterranean Sea 14.09, 15.09, p. 126, 136

photo: artist’s collection

photo: Debbie Ram Photography

Zofia Tarasiewicz from Bolesławiec

place of residence is Catania in Italy, where she occasionally presents her songs during concerts in historic churches.

She comes from a group of Čadca highlanders who arrived in 1946 from the area of Bukovina. Her grandfather, Michał Irski, was the batman of Józef Piłsudski during the formation of Polish legions in Bukovina during World War I. The family for generations has shown great attachment to family traditions dating back to mid-19th century in Cieszyn Silesia. She has taken most of her repertoire from her grandfather, as well as parents and uncles who, endowed with beautiful voices, often sang in the family circle. Zofia Tarasiewicz’s repertoire includes old recruit, orphan, and courtship songs as well as ballads. The singer has a strong, clear voice, allowing her to sing wide phrases. A two-time winner of the highest prize Baszta at the Festival of Folk Bands and Singers in Kazimierz Dolny in 1996 and 2001 and the first prize in 2018. At present, her

Songs from the Forests and Fields. Traditional Polish Folk Music, 12.09, 13.09, 14.09, p. 104, 120, 124

folk singer

David Temple

artistic direction of Hertfordshire Chorus One of the country’s foremost choral directors and has been Musical Director of Hertfordshire Chorus since 2000. He also founded and continues to conduct Crouch End Festival Chorus. Highlights with Hertfordshire Chorus include critically acclaimed performances in St Albans Cathedral, Sage Gateshead and the major London concert halls. David Temple is passionate about supporting the development of

photo: Łukasz Rajchert

new music and of involving the next generation of singers through providing opportunities for school and youth choirs to perform whenever possible.

Jarosław Thiel

David Temple has worked with many eminent conductors including Valery Gergiev, Esa-Pekka Salonen, Semyon Bychkov, and Edward Gardner, preparing choirs for major perfor mances. With Crouch End Festival Chorus he recorded Bach’s St John Passion in 2016. Not only involved with traditional classical music, he has collaborated closely for many years with Ray Davies, Oasis, Noel Gallagher, Goldfrapp, Take That, Bombay Bicycle Club, and Muse.

Cellist and conductor. A graduate of the Poznań Talent School. He studied cello at music academies in Poznań and Łódź and completed post-graduate studies at the Universität der Künste in Berlin in the Baroque cello class of Phoebe Carrai and Markus Möllenbeck (diploma with honours).

Recording work includes music for the BBC’s Doctor Who at Air Studios and soundtracks such as A Cure for Wellness, Loving Vincent, The Awakening and the recently released Rocketman. David Temple is the regular UK chorus master for Ennio Morricone and Andrea Bocelli. He is also a guest chorus master for the BBC Symphony Chorus. Summertime – Porgy and Bess, 15.09, p. 140

conductor, artistic direction of Wrocław Baroque Orchestra

In his artistic activity, he focuses primarily on the issues of historical performance practices. He regularly performs as a soloist and chamber musician – he played in this position at many Polish and international festivals of early music. He has collaborated with the most important Polish ensembles performing Baroque music. For several years, he was the principal cellist of the Dresdner Barockorchester, and since 2006 has been a member of the FestspielOrchester Göttingen led by Laurence Cummings. He collaborates with other leading German ensembles such as Cantus Cölln, Akademie für Alte Musik Berlin, and Gaechinger Cantoray.

Since 2006, he has been Artistic Ditrector of the Wrocław Baroque Orchestra – recordings of the ensemble under his direction won a Fryderyk in the Phonographic Debut of the Year category and a number of nominations for this award. The lastest WBO album with Phantoms by Moniuszko (conductor Andrzej Kosendiak) received a Fryderyk 2019 in the category Album of the Year – Choral Music, Oratorio and Opera. Since 2017, he has also been serving as Deputy Director for Programme Coordination at the NFM. Jarosław Thiel runs the historical cello class at the Academy of Music in Poznań and during the Varmia Musica Festival in Lidzbark Warmiński. In 2017, he released his album, recorded in a duet with Katarzyna Drogosz, featuring Cello Sonatas op. 5 and Variations WoO 45 by Ludwig van Beethoven (CD Accord); the album was nominated for the Fryderyk 2018 award. Domenico Scarlatti – Tolomeo e Alessandro, 6.09, 7.09, 8.09, p. 36, 44, 72

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Biographies

photo: artist’s collection

Love Tronner tenor

The Swedish tenor is active both as a professional ensemble singer and soloist. Since 2004, he has been a member of the Swedish Radio Choir – Sweden’s most famous professional choir where he has worked with conductors such as Peter Dijkstra, Claudio Abbado, Riccardo Muti, Daniel Harding, and Valery Gergiev. As a soloist Love Tronner has performed both opera – focusing on Baroque opera – and oratorios such Bach’s passions, Handel’s Messiah, Mozart’s Requiem and Puccini’s Messa di Gloria. Moreover, he has a penchant for the lesser known modern solo parts, since he greatly enjoys encountering new music and relishes the challenge to perform something that is both technically and musically difficult. Fairy Tales. Finding or Losing Our Identity – a MusMA concert, 9.09, p. 78

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photo: ensemble’s collection

The ‘Waliszowianie’ ensemble from Nowy Waliszów A group of Polish expatriates from Podolia, who settled in the village of Tarnowica Polna near Tlumach. Thanks to that densely built-up area, it was possible to save the repertoire of old songs; particularly noteworthy are the carol and wedding songs. For its performances the group received the 3rd prize of the Festival of Folk Bands and Singers in Kazimierz Dolny in 2011 and an award during the Real Musicians Tournament at the Philharmonic in Szczecin in 2016. In 2012, the group collaborated with the Song of the Goat Theatre on the production of a theatrical spectacle entitled Pomnę, pomnę . . .

The ‘Waliszowianie’ ensemble from Nowy Waliszów: Zdzisława Bogucka, Teresa Czeladzińska, Lucyna Frankowska, Elżbieta Galuk, Malwina Kołcz, Danuta Koniuszek, Elżbieta Łubkowska, Bronisława Maksylewicz, Bogusława Przygoda, Waleria Skwarek, Janina Suchodolska, Anna Syposz Songs from the Forests and Fields. Traditional Polish Folk Music, 12.09, 13.09, 14.09, p. 104, 120, 124

photo: Model House Stockholm

David Wijkman baritone

The artist was accepted at Adolf Fredrik’s Music School in Stockholm at the age of 9 and has been singing since that day. David Wijkman continued his musical studies at the Royal Danish Academy of Music in Copenhagen and the Opera School of the Hochschule für Musik Franz Liszt in Weimar. Since 2010, he has sung roles such as Papageno in Die Zauberflöte, Figaro in Le nozze di Figaro by Mozart, the title role in Tchaikovsky’s Eugene Onegin and Nick Shadow in Stravinsky’s A Rake’s Progress. David Wijkman has performed at stages such as Theater Nordhausen, Staatstheater Aschaffenburg, Deutsches Nationaltheater Weimar, Royal Danish Opera in Copenhagen, and Folkoperan in Stockholm. He has always enjoyed ensemble and choir singing and through the years he has sung with the Danish National Radio Choir, Swedish Radio Choir, Eric Ericson Chamber Choir, Mogens Dahl Chamber Choir among others as well as making frequent soloist performances within the oratorio repertoire. Fairy Tales. Finding or Losing Our Identity – a MusMA concert, 9.09, p. 78

photo: Łukasz Rajchert

Wrocław Baroque Ensemble Wrocław Baroque Ensemble specialises in historically informed performance, having the main focus on exploration into uncommon repertoire from central Europe. The group presents a variety of early music, from chamber works to oratorios and cantatas, keeping a particular interest in heritage of Polish Renaissance and Baroque. It was founded in 2012 by Andrzej Kosendiak and from the very beginning it has been operating under his artistic direction. Currently, it is one of the resident ensembles of the National Forum of Music in Wrocław. The core of the group consists of outstanding instrumentalists and singers from European countries (Poland, the Czech Republic, Great Britain, and Germany). Wrocław Baroque Ensemble can boast a wide recording catalogue, which includes a series of CD albums dedicated to a Baroque repertoire featuring mainly works by the Polish composers – Grzegorz Gerwazy Gorczycki, Barłomiej Pękiel, and Marcin Mielczewski (CD Accord). Soon, as part of this recording series a CD with all surviving works by Stanisław Sylwester Szarzyński and an album with works by Mikołaj Zieleński will be released. The series is available

on Spotify and worldwide distributed by Naxos, earning positive international reviews on MusicWeb International, ClassicsToday.com and Fanfare Archive. The first album, with music by Gorczycki, was awarded the Wrocław Music Prize in 2013. In 2013, 2015, 2017, 2018, and 2019 the albums were nominated to a prestigious Polish music award, Fryderyk. In 2019, Mielczewski II won a Fryderyk in the Album of the Year – Early Music category. In 2015, the group released The Salzburg Marian Mass (with liturgical music by Mozart) in collaboration with the NFM Boys’ Choir under the baton of Andrzej Kosendiak. The ensemble has appeared at major international festivals, such as Wratislavia Cantans, Ohrid Summer, Emilia Romagna Festival, Usedomer Musikfestival, and has performed in numerous cities in Poland. Wrocław Baroque Ensemble: Andrzej Kosendiak – conductor, artistic direction Aldona Bartnik, Aleksandra Turalska – sopranos Daniel Elgersma, Piotr Łykowski, Piotr Olech – countertenors Maciej Gocman, Benjamin Glaubitz, Florian Cramer – tenors

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photo: Łukasz Rajchert

Tomáš Král, Jerzy Butryn, Jaromír Nosek, Szczepan Nowak – basses

Wrocław Baroque Orchestra

Zbigniew Pilch – 1st violin

Founded in 2006 by Andrzej Kosendiak, it is a resident ensemble of the Witold Lutosławski National Forum of Music, one of few cultural institutions in Poland boasting its own Baroque orchestra playing historical instruments.

Mikołaj Zgółka – 2nd violin Piotr Chrupek – viola Jarosław Thiel – cello Julia Karpeta – viola da gamba Krzysztof Karpeta – violone Maximilian Ehrhardt – harp Marta Niedźwiecka – chest organ Aleksandra Rupocińska – harpsichord Anton Birula, Přemysl Vacek – theorbos Bruce Dickey – cornet William Lyons – dulcian Ferdinand Hendrich – alto trombone Masafumi Sakamoto – tenor trombone Karl Heinrich Wendorf – bass trombone Inspirations from Venice, 14.09, 15.09, p. 130, 138 180

During each NFM concert season, WBO presents its own concert series, always ardently applauded by the audience. The WBO repertoire encompasses works from early Baroque to Romanticism, from chamber line-ups to large oratorios. The superb cellist Jarosław Thiel has been Artistic Director of WBO since its inception. Today, Wrocław Baroque Orchestra counts among the most important Polish ensembles playing historical instruments. The orchestra’s output and high level of performance result in collaborations with the biggest names on the international early music scene. WBO has performed under the baton of Philippe Herreweghe, Giovanni Antonini, Andrew Parrott, Paul McCreesh, Andreas Spering, HansChristoph Rademann, Laurence Cummings,

Rubén Dubrovsky, and Christian Curnyn. The orchestra has invited excellent ensembles and soloists, and among them Collegium Vocale Gent, Cantus Cölln, Taverner Consort, Dresdner Kammerchor, Gli Angeli Genève, Olga Pasichnyk, Vivica Genaux, Julia Lezhneva, Renata Pokupić, Nicholas Mulroy, Daniel Taylor, and Aleksandra Kurzak. WBO guest performs at prestigious festivals, participates in radio broadcasts and recording sessions. The first CD of WBO won a Fryderyk in the Phonographic Debut of the Year category, and the following recordings have been nominated for the same award several times. 2017 saw the release of a new album – Haydn The Seasons – a result of collaboration with Paul McCreesh and his Gabrieli Consort & Players (the disc was nominated for Gramophone Awards in the Best Choral Recording category and was a recording of the month of the BBC Music Magazine in June 2017). 2018 saw the release of the album with the premiere recording of the original version of Phantoms by Moniuszko (CD Accord), featuring WBO, and the album 17th-Century Sacred Music in Wrocław, recorded with

Gli Angeli Genève and Concerto Palatino under the direction of Stephan MacLeod (Claves). The former received the Fryderyk 2019 in the Album of the Year – Choral Music, Oratorio and Opera category, the latter an International Classical Music Award 2019 in the Baroque Vocal category. Wrocław Baroque Orchestra: Jarosław Thiel – conductor, artistic direction Zbigniew Pilch (concertmaster), Mikołaj Zgółka, Radosław Kamieniarz, Kamila Guz – 1st violins Adam Pastuszka, Violetta Szopa-Tomczyk, Małgorzata Malke, Anna Nowak-Pokrzywińska – 2nd violins Dominik Dębski, Piotr Chrupek, Michał Mazur – violas Bartosz Kokosza, Edyta Maksymczuk-Thiel – cellos Janusz Musiał – double bass Dóra Ombodi, Małgorzata Klisowska – flutes Marek Niewiedział – oboe Aleksandra Rupocińska, Nathan Mondry (Special Prize winner in the 1st International Competition for Basso Continuo and Partimento in Katowice; Prize funded by National Forum of Music) – harpsichords Stanisław Gojny – lute Domenico Scarlatti – Tolomeo e Alessandro, 6.09, 7.09, 8.09, p. 36, 44, 72

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Listen to the masterâ&#x20AC;&#x2122;s works at NFM!

BEETHOVEN CYCLE In 2020, we celebrate the 250th birthday of Ludwig van Beethoven, the last representative of Viennese Classicism and at the same time the precursor of Romanticism. On this occasion, we would like to present to you his most well-known symphonies, sonatas, piano and violin concertos, quartets and even the septet. We invite you to a series of events dedicated to the works of one of the greatest composers of all time!

28 September 2019 Beethoven’s Ninth Symphony 40th anniversary of the NFM Leopoldinum Orchestra 25 October 2019 Tradition and Avant-Garde 26 October 2019 A Tribute to the Master 13 December 2019 Power of the Absolute 6 February 2020 Violin Fantasy 7 February 2020 Lithuanian National Symphony Orchestra

20 February 2020 Beethoven’s Septet

5 June 2020 Emperor Piano Concerto

24 February – 1 March 2020 Beethoven Academy

14 June 2020 The Triple Concerto

6 March 2020 Contrasting Traditions 15 March 2020 NDR Radiophilharmonie 27 March 2020 Absolute Music 5 April 2020 Sound Imagination 23 May 2020 From Youth to Maturity

19 June 2020 Dreaming about Athens Details at: www.nfm.wroclaw.pl

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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.

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Bardo with its monastery and numerous traces of Cistercians is one of the most important stopovers on the Cistercian track. The over900-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 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

Bielawa 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. For more information about Bardo see www.bardo.pl

Bielawa is located in Lower Silesia at the foot of the oldest mountains in Europe – the Sowie Mountains. It is only 50 km away from Wrocław. Four main tourist paths run, among others, across eight thousand hectares of the Sowie Mountains Landscape Park. In Bielawa, there is Poland’s most beautifully located natural water reservoir of nearly 24 ha – Lake Bielawskie. The sandy beach, kayak, and pedal boats rental, wakeboard lift, as well as a modern swimming pool with a water playground are the most important of its attractions. A lovely place is also an island with tourist shelters, BBQ places and piers to which you can get by walking across the only pedestrian pier in the region. The biggest tourist attractions of the town include: • church viewing tower (101 meters high) • ropes course and canoe route in the municipal park • Aquarius water park • Sowie Mountains, and in them 500 kilometres of tourist paths • Forest School and Interactive Energy Centre For more details, see jeziorobielawskie.com.pl and um.bielawa.pl

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 being 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 Museum of Ceramics, the statue of Field Marshal M.I. Kutuzov, the Odeon – the former

Głogów 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 in the Bolesławiec-Zgorzelec 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 flag and certificate 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 illus ionist tricks, music, dance, and parades. Głogów is the native town of Johann Ernst – 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 educa tion Concerts for children called The Jazz

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Krotoszyn Academy. Club concerts, meetings with artists, and star performances are the essence of the event. The festival has been crucial in creating performance opportunit ies 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 Wrób lewski, 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. The International Andreas Gryphius Sum mer Festival ‘Words and Music’ is a series of concerts presenting a broad classical reper toire and taking place in Głogów’s important historical places. The mission of the festival is to present concerts combining music with recited fragments of poetry, drama and fic tion. The main focus is the work of Andreas Gryphius, but ample time and space were also given to literary people from Głogów, including contemporary poets. For two years Głogów hosted a Festival of Film Directing. Our town was visited by Jerzy Hoffman, Daniel Olbrychski, Zygmunt Malanowicz, Robert Gonera, 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 first edition of the festival gave us lots of unforgettable and joyous cinematic experiences. 194

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!

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 the area became part of the state of Poland. The first record of the village comes from 1405, and ten years later it was given the urban status by the knight called Wierzbięta, of Łodzia coat of arms. Hence, the celebrations of 600 years of Krotoszyn took place in 2005. The town was located in accordance with the Magdeburg Law, 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 Rozdrażewski family became the town’s owners. The oldest two historic monuments come from that period: the wooden St Fabian and St Sebastian and the laid with brick Minor Basilica 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.

Pocysterskie Opactwo w Krzeszowie In the period of the German rule, the independence-oriented activities of Krotoszynians contributed to the success of the 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 operating here prove the active 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 the Netherlands (Brummen), Germany (Dierdorf), France (Fontenay-le-Comte), Turkey (Bucak), and Lithuania (Maišiagala). A collaboration agreement with Oki Islands in Japan was signed previous year. Krotoszyn’s Old Town was revitalised last year with the Market Square being a true jewel of architecture. For two years now, culture and the arts of the highest order have added vibrancy to this place, including a concert series ‘Więc Wiec’.

The post-Cistercian abbey in Krzeszów is a monumental complex of historical buildings on the prestigious list of Monuments of History. This place is visited annually by over 120,000 tourists and pilgrims. Among the monuments, the Basilica Minor deserves special attention, as it is the largest Baroque church of Silesia with a capacity of 118,210 cubic metres. Deservedly named the Golden House, it was erected in honour of the Mother of God Emmanuel by the Abbot Innozenz Fritsch in 1728–35. The Krzeszów Abbey, rightly called the ‘European Pearl of Baroque’ is a centuries-old place of worship, but it is also an extremely important point on the tourist and cultural map of Poland. The abbey offers visitors many opportunities to visit, but also many cultural events – including concerts and performances. It is also worth noting that the whole town of Krzeszów is rich in attractions, the area delights with landscapes and natural monuments, and the centre vibrates with numerous cafes and meeting places.

Legnica Legnica, one of the oldest towns in the region, is the third biggest town in Lower Silesia. Its population is almost 100,000 people, and it is an important centre of economic, and cultural life. From 1975 to 1998, Legnica was the capital of Legnickie Province. At present it is the capital of the Legnica country and a diocese of the Roman Catholic Church. Legnica, Liegnitz, and Lignica have been the names of the town throughout the centuries of its colourful history, blending traditions of various nations and cultures. For over 500 years Legnica was ruled by the Piast dynasty, being its residence for the longest period in Poland’s history. As the rest of Lower Silesia, Legnica next went under the rule of the Czech Kingdom, Austria, Prussia, and Germany. The bloody battles of the Thirty Years’ War afflicted Legnica. It was the site of other historic battles too. The first one was fought against the Mongols in 1241, who the same year reached the westernmost areas of their European expansion. Then, in 1760 Legnica was the theatre of a battle of the Prussian army under Frederic the Great against the Austrian army. In 1813 the joint forces of the Prussian-Russian alliance, under the command of Marshal Blücher, defeated the troops of Napoleon. The town’s rich history is best illustrated by its monuments of architecture, and among them the medieval Piasts castle, the Cathedral, the Lutheran Church of the Virgin Mary, and a number of Baroque churches as well as the Military Academy, up to art nouveau villas in the neighbourhood of Tarninów. In the latest history of Legnica there was a period of almost 50 years when the town was dominated by the Red Army, and after the downfall of the USSR – the Russian Federation Army. From 1945–1993, a Soviet Garrison headquartered here with the general staff of the Northern Army. Strategic military 195

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Nowogrodziec decisions that made the history of the Soviet Bloc were reached in Legnica, and the invasion of Czechoslovakia started here in 1968. For a half century the town had no sovereignty and had to consult every decis ion with the Russian commanders. For 15 years after the last Russian soldiers left the town, the whole and massive property left by the Russian Army was revitalised, and morphed into the elegant district of Tarninów, and several housing developments and public buildings located in the former barracks. Thus Legnica regained a third of its area. For half a century Legnica had often been called a Little Moscow, and witnessed a very peculiar kind of co-existence of the two nations, forced to live side by side by politics and history. When the wounds were healed, what remained was memory and the Little Moscow legend, which inspired film director Waldemar Krzystek to produce a film called The Little Moscow, awarded the Golden Lions at the Gdynia Film Festival. Legnica is a vibrant arts centre in Lower Silesia, boasting the prize-winning and internationally acclaimed Helena Modrzejewska Theatre, the Museum of Copper, and the Art Gallery specialising in exhibitions of artistic silver, the Legnica Culture Centre, and many others. Legnica is famous for attractive events on the national and international level, such as the International Exhibition Satiricon Legnica, Legnica Festival of Silver, National Choral Contest ‘Legnica Cantat’, International Folklore festival ‘The World at Kyczera’, Legnica Organ Conversatorium, National Violin Competition ‘The Young Paganini’, Legnica Film Academy – Animated Film Workshops. The whole families can have fun spending their free time during the Virgin Mary Street Nameday Celebrations, Regattas of Do-It-Yourself Boats, Blacksmiths Tournament, and the Legnica Holiday. The calendar of events is rich and diversified. 196

Nowogrodziec is a commune located in the north-western part of the Lower Silesian Voivodship, on the border of the Izerskie Foothills and Lower Silesian Forests. It covers an area of 176.3 km 2 , of which 16.2 km 2 is the city. The commune administratively consists of the city of Nowogrodziec and 12 rural areas. Of the local monuments noteworthy are: ruins of the monastery of Nuns of St Mary Magdalene, parish church of St Peter and St Paul, church of St Nicholas, a historic Evangelical church – currently the MUZA Culture and Art Centre, Town Hall, figure of St John of Nepomuk, the lookout tower, defensive walls, a milestone of the Saxon Post. Nowogrodziec is a commune with many traditions associated with folklore and folk culture. Every year, during numerous cultural events and meetings, the culinary traditions of the region are presented, old trades passed on from generation to generation, alongside folk and artistic craft products. The richness of Nowogrodziec is folklore groups that represent the commune in reviews and festivals. The history of Nowogrodziec is closely related to ceramics. Thanks to the development of pottery crafts, Nowogrodziec became a city of ‘a good pot’. In 1933, on the 700-year anniversary of the founding of the city, 24-year-old Jerzy Buchwald, the son of a potter made a pot 3.34 metres high with a capacity of 8702 litres. On the face of the pot he placed an inscription: ‘The largest pot in the world, made in the jubilee year of 1933 by Jerzy Buchwald, Capacity 8702 litres.’ The large pot was destroyed in 1945 in unexplained circumstances. Referring to the history and tradition associated with pottery and the cultural heritage of settlers, every year during the Nowogrodziec Commune Days we present individual villages of the

commune bringing closer their values, tradition, culture and all interesting initiatives affecting local development and engaging the largest possible number of local communities. The history of Nowogrodziec is also associated with the figure of Johann Ignaz Schnabel, a German composer, teacher and organiser of musical life in Wrocław, born in Nowogrodziec on 24th May 1767. In order to promote the life and work of the composer, in 2009 the International Festival ‘Music with Johann Ignaz Schnabel’ was initiated. More at www.nowogrodziec.pl and www.gckis.nowogrodziec.pl

Oleśnica

Strzegom

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, mode rn 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 ins titutions and educational centres, as well as due to residents’ and visitors’ active participation.

Strzegom has enjoyed prosperous fortunes for centuries now. It developed almost 800 years ago on huge deposits of granite, the richest in Europe. Not without a reason, it is called the Granite Heart of Poland. Strzegom is located in the picturesque foothills of the Sudeten Mountains, bearing the name of the Strzegom Hills, halfway between Wrocław and Jelenia Góra. The river flowing through it received the name Strzegomka, after the name of the town. Strzegom’s medieval old town, full of monuments, attracts numerous tourists. Of the five Gothic churches, the most beautiful and a true architectural hallmark of the city is the Minor Basilica of the Holy Apostles Peter and Paul; a peerless, largest Gothic church built of stone in Lower Silesia, and perhaps in this part of Europe.

A modernised theatre with 3D cinema for 400 people, a ballroom, Social Activity Centre ‘Karmel’ with a multimedia centre of information about the town and the local museum, as well as 17 rural lounge rooms are the premises of the Strzegom Cultural Centre – the organiser of many cultural and social projects of both local and national range. The annual International Folklore Festival held in August attracts lovers of folk culture from around the world to Strzegom. Nearly 450 bands from 80 countries around the world, which have visited Strzegom so far, have made the small Lower Silesia town become a folkloric centre emanating multiculturalism, youth and joy.

Strzegom is a thriving centre of granite mining and processing. Strzegom Granite is the driving force of the local economy. Annual extraction at the level of 5 million tons, with granite deposits estimated at 1.5 billion tons, allows for another 300 years of exploitation. Granite is also the theme of the annual Strzegom Granite Festival taking place in June, and also biennial Strzegom Open Air Sculpture in Granite, which effects can be seen across the town and on the newly opened open-air sculpture alley. Today Strzegom stands not only for unique monuments and stone industry. It is also a place for cultural and sports meetings. It boasts well-developed sports facilities: modernised city stadiums and swimming pools, and an indoor swimming pool Dolnośląski Delfinek. The annual three-day event taking place in nearby Moravia is a European and world horse sports feast. 197

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Syców

Szczawno-Zdrój

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 Ostrzeszowskie Hills, and is historically referred to as the Silesia – Greater 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. 1z1

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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 World War II found itself within Polish borders. Historic monuments testify to the town’s rich past: • Catholic Church of the Holy Apostles 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 Classical 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 meters 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 In 2010, with a huge support from the Norwegian Financial Mechanism, the most important communal facilities were modernised, including 198

the drainage system, ecological developments, revitalisation 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 Stradomia 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.

Whatever you want to write about SzczawnoZdrój, a town in Lower Silesia, you should first of all write that it has been a renowned health resort ever since the 16th century. The first records of Szczawno can be found in Księga Henrykowska (The Book of Henryków) dated 1221. For centuries it was a country estate, with changeable fortunes, as was the case of many Polish villages and towns. It seems that the ‘true’ history began when in 1598 Caspar Schwenckfeldt, the doctor of the Hochberg family, confirmed the medical qualities of the local mineral waters which had already been used for centuries, and it is believed that even for treating leprosy. At the beginning of the 19th century, following the initiative of Dr August Zemplin, Szczawno began to develop rapidly: many health resort buildings were erected, including the mineral water pump room. The resort became fashionable across Europe and could not complain about the lack of visitors. On the contrary, they came in large numbers and praised the effective therapies and the atmosphere of the spa. With their well-being in mind, towards the end of the 19th century the Spa Theatre was built, presenting excellent repertoire, famous guest artists, and attracting elegant audiences. And the spa tradition has continued until today. The natural qualities please the body and the soul: the mountain-front mild climate, the mineral waters, and the beautiful landscape (over a half of the community area is covered with forest and parks, including two historic parks in Szczawno-Zdrój) play an important role in the treatment of musculoskeletal disorders, the respiratory system, the digestive system, the urinary system, laryngological disorders and mild forms of diabetes.

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Środa Śląska The natural assets of the area are enhanced by the efforts of local authorities who care about the town with a view to make it attractive for spa guests and tourists.

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, constantly changing reality. 1z1

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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 km2 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, and Rakoszyce, 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.

For several years now we have witness many Wrocławians come for leisure activities to Środa Śląska, encouraged by the short distance between Wrocław and Środa, good road connections and competitive prices. In the community area, the Środa Śląska Public Transport system was launched, based on low-emission vehicles, thanks to which travelling to Środa Śląska is now faster. 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 the 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. There are many companies located in Środa Śląska. Investment-oriented policy of the local authorities and a developed network of organisations and institutions which support enterprises still draws new investors. We invite everyone to visit Środa Śląska which prides itself on its history, the residents’ hospitality, and impressive economic potential. 199

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Acknowledgements The organisers of the 54th International Festival Wratislavia Cantans wish to thank: Commune of Wrocław Mayor Jacek Sutryk

Kapitał Dolnego Śląska magazine Marcin Prynda / CEO of Prasa Dolnośląska

Office of the Marshal of Lower Silesian Province Marshal Cezary Przybylski

PIK.wrocław.pl Dorota Olearczyk / Editor in Chief

Ministry of Culture and National Heritage Minister Piotr Gliński Polish Radio 2 Małgorzata Małaszko-Stasiewicz / Director TVP1 Mateusz Matyszkowicz / Director TVP Kultura Wojciech Klata / Director TVP.pl Krzysztof Kuba Sufin / Editor in Chief Polish Television 3 Wrocław Mirosław Spychalski / Director Rzeczpospolita daily Bogusław Chrabota / Editor in Chief Gość Niedzielny weekly Fr Adam Pawlaszczyk / Editor in Chief Gazeta Wyborcza Wrocław Leszek Frelich / Editor in Chief

Co Jest Grane Grażyna Marzec Embassy of Israel in Warsaw Anna Azari / Ambassador Instituto Italiano di Culture di Cracovia Ugo Rufino / Director of the Instituto Italiano di Culture Cracovia Institut français de Pologne Georges Diener / Director of the Institut français de Pologne Linda Marchetti / Deputy Director of Institut français de Pologne Bardo City and Cummune Office Krzysztof Żegański / Mayor Fr Mirosław Grakowicz CSsR / Rector of the Minor Basilica of the Visitation of the Blessed Virgin Mary

La Vie Tomasz Kacprzak / Editor in Chief

Bielawa City Office Andrzej Hordyj / 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

Gmina Polska. Krajowy Przegląd Samorządowy magazine Tomasz Miarecki

Bolesławiec City Office Piotr Roman / Mayor

Radio Wrocław and Radio RAM Jolanta Piątek / Director Presto Kinga Wojciechowska / Editor in Chief

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Wroclaw.pl Ewa Waplak / Editor in Chief

Ewa Lijewska-Małachowska / Director of the Culture Centre Fr Dr Andrzej Jarosiewicz / Rector of the Minor Basilica of the Assumption of the Blessed Virgin Mary and St Nicholas Głogów City Office Rafael Rokaszewicz / Mayor Bartłomiej Adamczak / Director of the City Centre for Culture Canon Rafał Zendran / Rector of the Collegiate Church of the Assumption of the Blessed Virgin Mary in Głogów 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 Krzeszów Prelate Marian Kopko / Rector and Curator of the Abbey Sanctuary of Our Lady of Grace Jacek Trybuła / ‘European Baroque Pearl’ Foundation Legnica City Office Tadeusz Krzakowski / Mayor Grzegorz Szczepaniak / Director of Legnica Culture Centre Nowogrodziec City Office Robert Relich / Mayor Eliza Szwed / Director of the Commune Centre of Culture and Sport Oleśnica City Office Jan Bronś / Mayor Agata Szpiłyk / Director of Library and Culture Forum Fr Mieczysław Janczyszyn / Rector of the Minor Basilica of St John the Apostle and Evangelist

Organisers Strzegom City Office Zbigniew Suchyta / Mayor Krzysztof Kalinowski / Director of Strzegom Culture Centre Fr Marek Babuśka / Rector of the Parish of Holy Apostles Peter and Paul, Minor Basilica in Strzegom Syców City and Commune Office Dariusz Maniak / Mayor of the City and Commune Paulina Syposz-Ciemny / Director of the Culture Centre Fr Canon Sławomir Borowczyk / Rector of the Parish of Holy Apostles Peter and Paul Szczawno-Zdrój City Office Marek Fedoruk / Mayor Marzena Sobczyk / Director of the Henryk Wieniawski Theatre Środa Śląska City Office Adam Ruciński / Mayor Grzegorz Ptaszyński / Director of the Culture Centre Fr Jan Walów / Rector of the Church of the Exaltation of the Holy Cross Wrocław Fr Paweł Cembrowicz / Rector of the Cathedral of St John the Baptist and Acting Rector of the Church of the Holy Cross Fr Arkadiusz Krziżok / Rector of the Parish of the Most Holy Name of Jesus Fr Andrzej Brodawka / Rector of the Church of St Stanislaus, St Dorothy and St Venceslaus Jewish Community of Wrocław Wratislavia Cantans volunteers

General Director Andrzej Kosendiak Artistic Director Giovanni Antonini Festival Coordinators Jolanta Galary / Assistant to Artistic Director Oliwia Grela Image concept of the 54th International Festival Wratislavia Cantans Elisa Vendramin Festival Promotion Kamila Janaszkiewicz Press Office Agnieszka Frei Olga Benedyktowicz

NFM Team Agata Adamczyk, Mateusz Ancygier, Michał Andruszewski, Justyna Banaś, Karolina Baran, Krystian Barczyk, Teresa Benedyczak, Olga Benedyktowicz, Bogusław Beszłej, Mateusz Białaszczyk, Szymon Bira, Agata Błędowska, Zbigniew Bodzek, Joanna Bogdańska, Joanna Borek, Maciej Buczek, Jacek Bukowiecki, Joanna Brylowska, Wioleta Bruzi, Paweł Chmielewski, Teodora Ciesielska, Maria Czerwińska, Jarosław Danielak, Katarzyna Darul-Tylicka, Jakub Dąbrowski, Karolina Dunaj, Ewa Dyrda, Andrzej Fidór, Agnieszka Frei, Anna Gabryluk, Jędrzej Gajowiak, Jolanta Galary, Monika Gatner, Karol Gawroński, Małgorzata Gimbut, Szymon Goleń, Izabela Grad, Oliwia Grela, Aleksandra Gronowska, Krystyna Guzek, Krzysztof Haremza, Adrianna Hołdys, Kamila Janaszkiewicz, Paulina Jendrychowska, Tomasz Jezierski, Katarzyna Jodlowski, Maciej Kabała, Małgorzata Klajn, Natalia Klingbajl, Olga Kończak, Małgorzata Korysławska, Andrzej Kosendiak, Karolina Kostwicka, Rafał Kowalczyk, Joanna Kowalska, Alicja Książek, Andrzej Kurowski, Jędrzej Kuziela, Małgorzata Kuźmińska, Gabriela Kwarta, Wojciech Kwinta, Olga Kwiatek, Paweł Lorek, Maria Lubczyńska, Katarzyna Łasek, Klaudiusz Łuszczyna, Anna Maciałek, Monika Mały, Anna Marks, Joanna Marszałek, Elżbieta Matczak, Joanna Matkowska, Dorota Małolepsza, Mateusz Maziarz, Ryszard Mazurkiewicz, Maria Mąkowska, Agata Michalak, Barbara Migurska, Martyna Mizerkiewicz, Anna Musiał, Łukasz Myszyński, Marta Niedźwiecka, Aleksandra Nowak, Jerzy Nowak, Halina Ołdakowska, Anna Opala, Agnieszka Ostapowicz, Dominika Otmar, Filip Pajołek, Piotr Papier, Nathalie Paprić, Halina Piecka, Izabela Piekielnik, Marcin Piłat, Paweł Piotrowicz, Marta Piwowar-Wierzbicka, Paweł Płachetka, Michał Podgóreczny, Maciej Pomianek, Paweł Ptaszek, Renata Puczyńska, Joanna Pukienas, Renata Raczyło, Łukasz Rajchert, Kamila Ramza, Bartosz Rogalski, Joanna Rokita, Dominika Rudkowska-Kołakowska, Piotr Rudnicki, Kalina Rosińska, Ewa Schubert, Aleksander Sobecki, Mirosław Sobiech, Marta Sokołowska, Karol Sokołowski, Dorota Sosna, Sebastian Sroka, Piotr Stanclik, Wioletta Stasik, Tomasz Stypułkowski, Anna Szczepańska, Michał Szczerek, Agnieszka Szklarczuk-Wach, Krzysztof Szymczak, Przemysław Świątek, Michał Święcki, Krzysztof Tabisz, Ira Terebenets, Jarosław Thiel, Katarzyna Toczyńska, Piotr Turkiewicz, Agnieszka Tracz, Agnieszka Truszkowska, Joanna Tyczyńska, Joanna Wagner-Zadorska, Maciej Walczak, Zbigniew Wasik, Karolina Wąsowicz, Piotr Wierzbicki, Jolanta Wiewiórska, Mikołaj Wolniewski, Małgorzata Woźnicka, Agnieszka Wróblewska, Andrzej Wysmyk, Marcin Zając, Bartosz Zarzycki, Aleksandra Zegar, Jakub Zienkiewicz, Joanna Zubel, Dorota Żak, Rafał Żelechowski, Krystian Żychliński

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Index Composers and Works Anonymous Allaho akbar p. 88, 94 Alleluia. Ego sum pastor bonus (Gua, 194v) p. 62 Ave Regina celorum – antyfona (SM574, 109v-110r) p. 62 Basse danse (Fa117, 94v) p. 62 Beatus homo quem tu erudisti p. 88, 94 Benedicam te dicit Dominus p. 88, 94 Benedicamus Domino (Ox229, 53v) p. 62 Bi adoulli kad wafayto babaka p. 88, 94 Buki moje, buki, uż mi nie szumicie p. 104, 120, 124 Chudobno mie mama miała p. 104, 120, 124 Cinka koszulinka p. 104, 120, 124 Con lagreme bagnandomi il viso (Bux, 38) p. 62 Czyjeż to kuniczki po horce brykają p. 104, 120, 124 De profundis clamavi ad te, Domine p. 88, 94 Deo gratias (Fa117, 79r-v) p. 62 Dzieciątko się narodziło p. 104, 120, 124 Ej, dej mie mamo p. 104, 120, 124 Ej, Janicku p. 104, 120, 124 Et erit tamquam lignum (recitation) p. 88, 94 Hec est regina – antiphon (SM572, 141r) p. 62 Hej, nam hej! W polu na ugorze p. 104, 120, 124 Hej, w zielonym gaiku zaśpiewaj nam słowiku p. 104, 120, 124 Homo al jiba’lo p. 88, 94 Hymn of Peace

` Pouro ` nte p. 30, 46, 74, 86

* p. 30, 46, 74, 86 Apetj/k ` ebol p. 30, 46, 74, 86 Hymn <ere ne Maria p. 30, 46, 74, 86 Hymn Rase ne ` w ]yèotokoc p. 30, 46, Hymn Hymn

74, 86

Deute pent/c ` ilài ton ar,iaggeli p. 30, 46, 74, 86 Hymn Hwc ` erof ` arihou` o p. 30, 46, 74, Hymn

86 206

Hymn of the Holy Week 46, 74, 86

Ke ` upertou p. 30,

Golgoya p. 30, 46, 74, 86 <rictoc ` anect/ p. 30, 46, 74, 86 Hymn of the Holy Spirit’s Descent Pìpneuma Hymn Hymn

p. 30, 46, 74, 86

Hymn ` Acwmen tw Kuriw p. 30, 46, 74, 86 Ide ja se, ide p. 104, 120, 124 In die illa (recitation) p. 88, 94 In medio ecclesiae aperuit os eius (recitation) p. 88, 94 In memoria aeterna erit iustus p. 88, 94 In omnem terram exivit sonus eorum p. 88, 94 Jakżem jechał z karczemki p. 104, 120, 124 Kam laka mine ni’matine alaya p. 88, 94 Kontakion of the Akathistos; 4th plagal mode p. 48, 76, 84 Kyrie – organum (Fa117, 79r-v) p. 62 Laetatus sum in his quae dicta (recitation) p. 88, 94 Melody; 2nd plagal mode p. 48, 76, 84 Moje Bukura More (traditional Albanian melody from Sicily) for cello p. 126, 136 Mom jo se Janicka p. 104, 120, 124 Na zielonej horce szubieniczki p. 104, 120, 124 Oj, siadaj, siadaj kochanie moje p. 104, 120, 124 Oj, wersze mij, wersze p. 104, 120, 124 Paśli pasterze woły p. 104, 120, 124 Per gloriam nominis tui Christe p. 88, 94 Pod lodem woda p. 104, 120, 124 Santu Paulu (traditional melody from the Salento region) for cello and b.c. p. 126, 136 Si ambulem in medio umbrae mortis p. 88, 94 Spadła iskierka do ogródeczka p. 104, 120, 124 Swit mi misjaczku p. 104, 120, 124 Szesnastego lipca z rana p. 104, 120, 124 Tahya bikom kolou ardine p. 88, 94 Tam pod lasem, pod podolskim p. 104, 120, 124

Tam, w ogródeczku p. 104, 120, 124 Tarakto baba arraja p. 88, 94 First stanza of the Typika of Psalm 102 (103); 4th plagal mode p. 48, 76, 84 U jeziora zimna woda p. 104, 120, 124 Universi qui te expectant – graduale (GT, 16) p. 62 Vespers verses of psalms; 1st mode in six dactylic beats p. 48, 76, 84 Videant pauperes et laetentur p. 88, 94 Wletiło jabłoczko p. 104, 120, 124 W szczerym polu ptaszek siada p. 104, 120, 124 W szczyrym polu grusza stoi p. 104, 120, 124 Zèzèzè (ngòmbí harp piece from Central Africa) for cello p. 126, 136 Zidni bi faradi al houbi p. 88, 94

Ciconia Johannes Albane, misse celitus – motet (Q15, 271v-272r) p. 62 Merçé o morte – ballata (Pz, 18v-19r; BU, 51r) p. 62 O beatum incendium – contrafactum (Q15, 266v-167r) p. 62 O felix templum jubila – motet (Q15, 223v-224r) p. 62 O Padua, sidus preclarum – motet (Q15, 257v-258r) p. 62 Petrum Marcello Venetum – motet (Q15, 248v-249r) p. 62 Ut te per omnes – motet (Q15, 260v-261r; Ox213, 119v-120r) p. 62 Costanzi Giovanni Battista Sinfonia in B flat major for cello and b.c. p. 126, 136 Decrock Liesbeth I Am p. 78

Dionysios Firfiris Verses of the short polyeleos – Psalm 135 (136) p. 48, 76, 84 Gershwin George Porgy and Bess – concert version (shortened) p. 140 Ioannis Troparia from Odes I and IX of the Canon of 8th September; 2nd mode and 4th plagal mode p. 48, 76, 84 Ioannidis Kyriakos Trisagion – Dynamis of the Trisagion, melody: Kyriakos Ioannidis; 1st plagal mode p. 48, 76, 84 Jung Jean-François The Formidable Mill p. 78 Koukouzelis Ioannis The communion Hymn for Sundays; 1st plagal mode p. 48, 76, 84 Kratimata; 1st mode p. 48, 76, 84 Stichos – poetic verse before Psalm 103 (104); 4th plagal mode p. 48, 76, 84 Verse from Latrinos polyeleos; 1st mode p. 48, 76, 84 Verse 10 of Psalm 111; 4th mode p. 48, 76, 84 Mahler Gustav Symphony No. 3 for alto, boys’ choir, female choir and orchestra p. 56 Peloponnesios Petros Doxastikon set in all eight modes for the Vespers of the Domition p. 48, 76, 84 Protopsaltis Jakub Sticheron for the Vespers of the Dormition of the Mother of God; 1st mode p. 48, 76, 84

Rau Krzysztof Foam p. 78

Xenakis Iannis Kottos for cello p. 126, 136

Ruvo Giulio de Ciaccona for cello p. 126, 136 Romanella for cello p. 126, 136 Tarantella for cello p. 126, 136

Zieleński Mikołaj Offertoria et communiones totius anni: Ascendit Deus (offertorium; In festo Ascensionis Domini) p. 130, 138 Benedictus sit Deus Pater (offertorium; In festo Sanctissimae Trinitatis) p. 130, 138 Deus firmavit orbem terrae (offertorium; In secunda Missa Nativitatis Domini) p. 130, 138 Ecce Virgo concipiet (communione; In festo Annuntiationis Beatae Mariae Virginis) p. 130, 138 Fantasia a due p. 130, 138 Fantasia a tre p. 130, 138 In monte Oliveti (motetto) p. 130, 138 Magnificat p. 130, 138 Responsum accepit Simeon (communione; In festo Purificationis Beatae Mariae Virginis) p. 130, 138 Salve festa dies (Motetto in festo Paschae) p. 130, 138 Spiritus Sanctus docebit vos (communione; Feria secunda Pentecostes) p. 130, 138 Video caelos apertos (communione; In festo Sancti Stephani) p. 130, 138 Viderunt omnes fines terrae (communione; In Nativitate Domini ad tertiam Missam) p. 130, 138 Vidimus stellam eius (communione; In Epiphania Domini) p. 130, 138 Vox in Rama (communione; In festo Sanctorum Innocentium) p. 130, 138

Scarlatti Alessandro Magnificat a 5 voci e basso continuo p. 96, 122 Miserere mei, Deus a 9 voci in doppio coro p. 96, 122 Missa defunctorum a 4 voci e basso continuo p. 96, 122 Scarlatti Domenico Tolomeo e Alessandro – concert version (shortened) p. 36, 44, 72 Scipriani Francesco Paolo Toccata No. 5 for cello and b.c. p. 126, 136 Selma y Salaverde Bartolomé de Fantasia No. 5 for cello and b.c. from Primo libro de canzoni, fantasie et correnti (Venice, 1638) p. 126, 136 Sollima Eliodoro Sonata 1959 for cello p. 126, 136 Sollima Giovanni Lamentatio for cello p. 126, 136 Strootman Aart Once upon a Two Times Three p. 78 Tarrodi Andrea Vintergatan (The Milky Way) p. 78 Vivaldi Antonio Juditha triumphans, RV 644 p. 114

207

Publisher PUBLISHER OF THE PROGRAMME BOOK THE WITOLD LUTOSŁAWSKI NATIONAL FORUM OF MUSIC pl. Wolności 1 50-071 Wrocław Executive Editor Marta Niedźwiecka Assistants Małgorzata Klajn Dominika Otmar Programme Book Music Editor Krzysztof Komarnicki Copy-editing Agnieszka Kurpisz Authors of the programme notes Artur Bielecki Henryk Dumin Paweł Gancarczyk Michael Ghattas Mariusz Gradowski Agnieszka Leszczyńska Piotr Maculewicz Marcin Majchrowski Aneta Markuszewska Robert Pożarski Anna Ryszka-Komarnicka Jan Topolski Translations Anna Kaspszyk Anna Marks Ewa Pater-Podgórna Irena Wypych Illustrations for the programme book Elisa Vendramin Layout DTP Service Miłosz Wiercioch Printed by Drukarnia Argraf

The edition was closed on 29 July 2019. Information sent after this deadline was not included in this book. The presenter reserves the right to make changes to the programme. ISBN: 978-83-64875-72-4