Katalog Seviqc Brežice 2013 by Seviqc Brežice

2013

festival stare glasbe early music festival

Festival stare glasbe

Republika Slovenija

Evropska Unija

Repubblica Italiana

République française

Early music festival

‫ناريا یمالسا یروهمج‬ (Islamska republika Iran)

República Federativa do Brasil

Republik Österreich

Reino de España

Koninkrijk der Nederlanden

Republika Hrvatska

Mnogo slišimo, kako razdeljena je ta dežela. Vendar ne, umetnost je univerzalna in nad tem. Različnost je naša osnovna pravica, o delitvah razglabljajo bolj tisti, ki jih je strah, ker ta dežela vedno znova rojeva tisto, na kar smo lahko vsi ponosni. Seviqc je zrasel iz tega okolja in mu dolguje vso zavezo. Zato smo njegov grb oblikovali kot združeni grb slovenskih zgodovinskih dežel. Ne iz nostalgije, ampak iz zavedanja korenin in nam vsem v pogum pri naslednjih korakih.

We can hear a lot about how this country is divided. But no, art is universal and rises above this division. Diversity is our basic right; division is talked about by those who are scared of the things that this country can deliver – the things we should all be proud of. Seviqc has grown in this exact environment and owes it everything it has produced. This is why we designed the coat-of-arms as a fusion of the countries in the history of the Slovenian territory. Not out of nostalgia, but rather out of the recognition of our roots, which will give us the courage we need to keep on going.

Tudi tu se želim zahvaliti Francoski republiki za visoko priznanje, ki pa ne gre zgolj meni, ampak tudi vsej tovarišiji, ki ste mi stali ob boku pri razvoju tega odličnega projekta. Ta nas zavezuje k odgovornemu ravnanju tudi v prihodnosti. V prav nič manjši meri pa obvezuje tudi vse, ki ste zavezani tej državi. Nadaljnja pot se ne kaže lahka, prepričan pa sem, da je bil Goljat premagan tako s preudarnostjo kot esprijem, predvsem pa z odlično preračunano ergonomijo moči. Tega v kriznem obdobju ne gre spregledati, povprečju pa Seviqc nikoli ni bil prav udoben spremljevalec.

I would like to use this opportunity to, once again, thank the French Republic for the high recognition, which is not only mine, but rather belongs to everyone who stood beside me in the developing of this wonderful project. It is what makes it necessary for us to continue to work responsibly in the future. At the same time, it is of no lesser importance for those of you who are committed to this country. The road in front of us does not seem easy, but I am certain that Goliath was defeated with prudence as well as esprit, and especially with an excellent calculation of strength application. This is something that cannot be overlooked in time of crisis, besides, Seviqc and mediocrity have never been very good companions.

eviqc Brežice pričenja svojo 32. sezono. Vsakoletno razveseljuje ljubitelje z zakladi evropske kulturne dediščine. S premišljeno zasnovo, nepopustljivostjo in mnogimi referencami si je utrdil mesto med najuglednejšimi tovrstnimi prireditvami v svetu, hkrati pa je ena najprodornejših slovenskih blagovnih znamk. Ponaša ime svoje dežele v širšo okolico in odpira vrata njenim umetnikom na najpomembnejše koncertne odre. Naš zadnji dogodek na prvi pomladanski dan je prvič v tako silni meri prikazal uspeh treh desetletij delovanja.

Naša nadaljnja pot bo še naprej prodorna tako doma kot tudi na mednarodnem prizorišču. Tako za naprej. Za danes in tukaj pa Vas vabim, da si postrežete z najlepšim, kar nek festival sploh lahko ponudi. Klemen Ramovš

eviqc Brežice is ready to start its 32nd season of providing music lovers with the treasures of European cultural heritage. With a well-thought-out plan, a lot of determination and many references, it has certainly made its place among the most esteemed events of its kind in the world, and it has, at the same time, become one of the most successful Slovenian brands. It has carried the name of its country into the world and opened the doors to the most important concert stages for its artists. Our latest event, which was held on the first day of spring, managed to show the fruits of three decades of hard work in an extremely powerful way for the first time.

We will continue to be strong in our endeavours at home as well as on the international level. That is our plan for the future, but today and at this moment, I invite you to enjoy the very best a festival can offer. Klemen Ramovš

Brežice Grad Brežice / Brežice Castle Pišece Grad Pišece / Pišece Castle

Občina Rogaška Slatina

2 Občina Dolenjske Toplice

Soteska Hudičev turn / Devil’s Tower

7 Občina Slovenska Bistrica

3 Občina Grad

Grad Grad Grad / Grad Castle

Občina Litija

OBÈINA LITIJA GRB - ZASTAVA

Občina Škofja Loka

Mestna občina Ljubljana

Škofja Loka Sokolski dom

9 Občina Velike Lašče

Ljubljana Narodni muzej Slovenije / National Museum of Slovenia

Slovenska Bistrica Grad Slovenska Bistrica / Slovenska Bistrica Castle

Litija Cerkev Sv. Nikolaja / Church of St. Nicholas

Rogaška Slatina Grand hotel Rogaška

Turjak Grad Turjak / Turjak Castle

10 Občina Vojnik

Lemberg Grad Lemberg / Lemberg Castle

7 10 6 8 5

1 9 2

Pod pokroviteljstvom Androulle Vassiliou, članice Evropske komisije, in Zofije Mazej Kukovič, slovenske poslanke v Evropskem parlamentu Under the patronage of Androulla Vassiliou, member of the European Comission and Zofija Mazej Kukovič Slovenian member of the European Parliament

Mestna občina Ljubljana

Četrtek / Thursday, 21. 3. 2013, 20:00 Ljubljana, Narodni muzej Slovenije - Prešernova National Museum of Slovenia - Prešernova

Evropski dan stare glasbe

Ponosno predstavljamo slovensko sceno stare glasbe / We proudly present Slovenian early music scene

Programski odbor za Slovenijo / Programme Committee for Slovenia: Janez Jocif, Domen Marinčič, Klemen Ramovš, Bor Zuljan Umetniki / Artists: Marko Angelski, Domen Anžlovar, Mateja Bajt, Gašper Banovec, Barbara de Costa, Žiga Faganel, Višnja Fičor, Erazem Grafenauer, Benjamin Izmajlov, Manca Izmajlova, Janez Jocif, Barbara Kanc, Kaja Kapus, Jan Kuhar, Egon Mihajlović, Dalibor Miklavčič, Domen Marinčič, Kristina Martinc, Marta Močnik Pirc, Borut Novaković, Suzana Ograjenšek, Tadeja Pance, Tomaž Sevšek, Blaž Strmole, Mirjam Strmole, Boris Šinigoj, Miha Šinigoj, Tomaž Šinigoj

Foto / photo: Matic Borković – Foto Čorba

V Evropi se je rodil nov praznični dan! 21. marca 2013 je Evropska mreža za staro glasbo REMA prvič praznovala Evropski dan stare glasbe. Ta dan je bil živ spomenik evropski glasbeni dediščini. S koncerti, konferencami in drugimi prireditvami, ki so se hkrati dogajale ves dan po vsej celini, smo staro glasbo približali širokemu občinstvu. 21. marec sovpada z rojstnim dnevom Johanna Sebastiana Bacha, pa tudi z začetkom pomladi. Prireditve REMA na Evropski dan stare glasbe je podprla Evropska zveza radijskih in televizijskih postaj. Nad vseevropskim dogajanjem je bila pokroviteljica ga. Androulla Vassiliou, članica Evropske komisije. Nad slovenskim delom praznovanja, s katerim smo ponosno predstavili del slovenske scene stare glasbe, je bila pokroviteljica ga. Zofija Mazej Kukovič, slovenska poslanka v Evropskem parlamentu.

A new festive day is born in Europe! On 21 March 2013, REMA European Early Music Network organised its European Day of Early Music for the very first time. With concerts, conferences, and other events taking place simultaneously all over the continent, the day has been a living memorial to the European historical musical heritage with the aim of promoting early music to a wide audience. 21 March coincides with the birthday of Johann Sebastian Bach, and also with the beginning of spring. The REMA European Day of Early Music was supported by the European Broadcasting Union. The Europe-wide celebration has happened under the patronage of Mrs Androulla Vassiliou, member of the European Commission. The Slovenian part, with which we proudly presented a part of Slovenian early music scene, has been under the patronage of Zofija Mazej Kukovič, Slovenian member of the European Parliament.

Preko portala U-Sophia smo koncert vključili v mrežo neposrednih prenosov v živo. Posnetki prazničnega dogajanja po vsej Evropi so dosegljivi na: www.u-sophia.com/Global-Art-Village/REMA-EEMN Celoten posnetek Evropskega dne stare glasbe 2013 v Ljubljani si lahko pogledate tudi preko YouTube kanala Seviqc Brežice: www.youtube.com/user/SeviqcBrezice

Through the U-Sophia portal we have included the concert directly in the live streaming broadcast. Festive events across Europe will be also available later on demand at: www.u-sophia.com/Global-Art-Village/REMA-EEMN The entire recording of the European Day of Early Music 2013 in Ljubljana can be seen via the Seviqc Brežice YouTube channel: www.youtube.com/user/ SeviqcBrezice

Orchestra Barocca di Bologna bo predstavil izbor najslavnejših koncertov za solistične inštrumente, ki jih je napisal slavni orglarski mojster Johann Sebastian Bach: Brandenburški koncerti, posvečeni brandenburškemu grofu Christianu Ludwigu, z datumom 24. 3. 1724. Veličastna antologija barv in zvokov, ki skupaj tvorijo nekaj enkratnega v panorami evropske baročne glasbe, se tako vrača sodobnemu občinstvu z uporabo starih inštrumentov.

Orchestra Barocca di Bologna Sobota / Saturday, 22. 6. 2013, 20:30 Brežice, Grad Brežice / Brežice Castle (otvoritveni koncert / opening concert)

Johann Sebastian Bach (1685-1750) Concerto 6.to. a‘ due Viole da Braccio, due Viole da Gamba,Violoncello, Violone e‘ Cembalo. (BWV 1051)* [Allegro] / Adagio ma non tanto / Allegro

Johann Sebastian Bach Brandenburški koncerti Brandenburg Concertos

Concerto 4.to. a‘ Violino Principale, due Flauti d‘echo, due violini, una Viola e‘ Violone in Ripieno,Violoncello e‘ Continuo. (BWV 1049)* Allegro / Andante / Presto

Paolo Faldi (kljunasta flavta, oboa / recorder, oboe) Lorenzo Cavasanti (kljunasta flavta / recorder) Gabriele Cassone (naturna trobenta / natural trumpet) Paolo Cantamessa (violina, viola / violin, viola) Laura Scipioni (violina / violin) Luca Ronconi (violina, viola / violin, viola) Emanuele Marcante (viola) Massimiliano Varusio (violončelo / cello) Giovanni Calcaterra (kontrabas / double bass) Silvia De Rosso (viola da gamba / viol) Rosita Ippolito (viola da gamba / viol) Miranda Aureli (čembalo / harpsichord)

Concerto a violino principale, oboe, violino primo di ripieno, violino secondo, viola , violoncello e basso continuo (BWV 1060) Allegro / Largo / Allegro Concerto 2.do a‘ 1 Tromba,1 Flauto, 1 hautbois, 1Violino concertanti, e‘ 2 Violini, 1 Viola e‘ Violone in Ripieno con Violoncello e‘ Basso per il Cembalo. (BWV 1047)* [Allegro] / Andante / Allegro assai * „Six Concerts / Avec plusieurs Instruments / Dediees A Son Altesse Royalle / Monseigneur CRETIEN LOUIS / Marggraf de Brandenbourg &c. &c. &c. / par Jean Sebastien Bach“.

O ansamblu Orkester Barocca di Bologna je bil ustanovljen leta 1995. Večina članov igra s pomembnimi evropskimi ansambli in orkestri baročne glasbe, kot so Hesperion XX, Le Concert de Nations, La Capella Reial, Wiener Akademie in Concerto Koln. Od prvega koncerta januarja 1995 v Arezzu ob otvoritvi sezone društva Amici della Musica so imeli številne koncerte v pomembnih italijanskih mestih (Vicenza, Trento, Bolzano, Bologna, Sassari, Campobasso, Arezzo, Alghero ...) ter snemali za nacionalne in regionalne radijske in televizijske postaje (RAI, Tetetruria, Antenna 2 Veneto). V avgustu 1995 so na festivalu v Braunschweigu (Nemčija) uprizorili opero „Enrico Leone“ A. Steffanija. Njihovi programi pogosto vključujejo enega ali več solistov in različne dirigente pri izvedbi del, kot so Bachove kantate, italijanski oratoriji in italijanska sakralna glasba, pihalni koncerti in baročne opere da camera. Na prvi svetovni predstavitvi so Igrali glasbo F. A. Vallottija. Maja 2002 so bili povabljeni na festival stare glasbe v Regensburg v Nemčiji, v letih 2006 in 2010 pa so sodelovali na pomembnem festivalu stare glasbe Seviqc Brežice v Sloveniji z Vivaldijevimi deli in nastopili na svetovi predstavitvi “Missa Viennensis” avtorja J. B. Dolarja. Za založbo Tactus je Orkester Barocca di Bologna posnel dva zgoščenki. Na eni je moč slišati arije iz Vivaldijevih oper s sopranistom Angelom Mazottijem, naslov druge pa je Messa, Salmi, Sinfonie e Magnificat priznanega bolonjskega skladatelja G. A. Pertija. Leta 2011 so izdali DVD opere “La Rosaura” avtorja G. A. Pertija. Čudovit koncert. Bachov Magnificat so zaigrali z opaznimi sodelujočimi, bistroumnimi glasbenimi idejami in tehnično dovršenostjo (Gavino Garau, Unione Sarda, 6. 6. 2010) Oratorij skladatelja Antonia Tonellija “San Filippo Neri” … čudoviti pevci pod glasbenim vodstvom dirigenta Paola Faldija ... (Carlo Vitali, Amadeus, november 2007) ... Pasijon po Janezu J. S. Bacha je bil izveden intenzivno in globoko čustveno ... dolgi aplavzi občinstva ... (Gabriella Biagi Ravenni, LaNazione, 15. 6. 1998)

Orchestra Barocca di Bologna is going to present a selection of the most famous concertos for solo instruments, written by the famous organist Johann Sebastian Bach: Brandenburg Concertos, dedicated to the Margrave Christian Ludwig of Brandenburg, dated 24 March 1724. A magnificent anthology of colours and sounds that constitutes a unicum in the panorama of European Baroque music is so returning to the modern audience with the use of period instruments. About ensemble The Orchestra Barocca di Bologna was founded in 1995. Most of the members play with important European ensembles and orchestras of baroque music, such as Hesperion XX, Le Concert de Nations, La Capella Reial, Wiener Akademie, and Concerto Koln. Since the first concert in January 1995 in Arezzo for the inauguration of the Amici della Musica's season, they have given several concerts in important Italian towns (Vicenza, Trento, Bolzano, Bologna, Sassari, Campobasso, Arezzo, Alghero ...) and for national and regional broadcasting (RAI, Tetetruria, Antenna 2 Veneto). In August 1995 the Orchestra realized the Opera »Enrico Leone« by A. Steffani for the Festival of Braunschweig (Germany). The programming often involves one or more soloists and conductors in works such as Bach cantatas, Italian oratorios, Italian sacred music, wind concertos and da camera baroque operas. The Orchestra Barocca di Bologna has played music by F. A. Vallotti in the first world performance. In May 2002 they were invited to the well-known Early Music Festival of Regensburg, Germany. The orchestra also participated in the important Early Music Festival Seviqc Brežice in 2006 and 2010 with Vivaldi’s works, and they were the first in the world to perform “Missa Viennensis” by J. B. Dolar. They recorded two CDs for the label Tactus. One of the CDs contains arias and sinfonias from Vivaldi’s operas with the sopranist Angelo Manzotti, and the other Messa, Salmi Sinfonie and Magnificat by Giacomo Antonio Perti. In 2011 they issued a DVD of the opera “La Rosaura” by G. A. Perti. Wonderful concert. Bach’s Magnificat was played with evident participations, clever musical ideas and technical perfection. (Gavino Garau, Unione Sarda, 6 June 2010) The oratorio by Antonio Tonelli, “San Filippo Neri” … Wonderful singers and the direction of Paolo Faldi … (Carlo Vitali, Amadeus, November 2007) ... the St. John Passion by J. S. Bach was performed with intensity and deep emotion … long applauses from the audience … (Gabriella Biagi Ravenni, LaNazione, 15 June 1998)

Ansambel Nour poskuša odkriti in poustvariti glasbeno avro, ki si jo delita Vzhod in Zahod, skupen jezik, ki je v zgodovini glasbe morda nekoč obstajal. Repertoar ansambla izvira iz obeh tradicij, perzijske in evropske: “Conductus” iz 13. stoletja in melodije v “Nava” načinu … gregorijanska koralna psalmodija, pomešana s psalmodijo zgodb iz pokrajine Uraman v Kurdistanu … kontrast, ustvarjen s kombinacijo besedil iz Korana in biblijskih besedil, zapetih skupaj, a z ohranitvijo posebnosti obeh … Tekmovalnost med kurdskimi in španskimi zbori pri petju “cantigas” avtorja Alfonsa X el Sabia. Glasbeniki in pevci se igrajo tako z različnimi barvami in slogi kot tudi s podobnostmi vsakega od glasbenih izročil. Glasba ansambla Nour je kot talilni lonec, v katerem se srečujejo ta stara izročila in sodobni repertoar, ki ga interpretirajo umetniki 21. stoletja.

Gloria (Graduale Romanum, stran/page 824) & Sourat Al Fateheh (Koran) Nenbresse te Madre (Cantigas de Santa Maria, no. 421 & tradicionalno perzijsko / Persian traditional) Christophe Rezai (1966) Alba Hich (Nič / Nothing) & De Grad’ a Santa Maria (Cantigas de Santa Maria, no. 253 & tradicionalno perzijsko / Persian traditional) Gloria (Graduale Romanum, stran/page 824) & Ayatol Korsi (Koran, Al Baqarah, verz 255)

Nour Ensemble Občina Rogaška Slatina

Sreda / Wednesday, 3. 7. 2013, 20:30 Rogaška Slatina, Grand hotel Rogaška Kristalna dvorana / Crystal Hall

Alba Pesem svetlobe - stara evropska in perzijska glasba The chant of Light - Ancient European and Persian Music Christophe Rezai (tenor, indijski harmonij, vodstvo / tenor, Indian Harmonium, direction) Mostafa Mahmoudi (perzijsko in kurdsko petje / Persian and Kurdish chant) Pierre-Yves Binard (bariton, tolkala / baritone, percussion) Pierre Baranger (tenor, traverso) Hamid Khosroshahi (bas / bass) Ali Boustan (oud, shouranguiz in glas / oud, shouranguiz, voice) Reza Asgarzadeh (duduk, kljunasta flavta, glas / duduk, recorder, voice) Jasmin Martorell (svetovalec za vokal / vocal advisor)

Santa Maria amar (Cantigas de Santa Maria, no. 7 & tradicionalno kurdsko / Kurdish traditional) Azan (Graduale Romanum & arabska molitev / Arabic pray) Uterus Hodie (Conductus iz/from Ecole Saint Martial of Limoges & tradicionalno perzijsko / Persian traditional: poezija/poetry Baba Taher, 11. st. / cent.) Novus annus (Conductus iz/from Ecole Saint Martial of Limoges & tradicionalno kurdsko / Kurdish traditional) Christophe Rezai (1966), Ali Boustan (1968) Que Es Om Christophe Rezai (1966) Alla Weiss Tanto vay Santa Maria (Cantigas de Santa Maria, no. 371 & tradicionalno kurdsko / Kurdish traditional) * Avtor aranžmajev je Cristoph Rezai / Author of the arrangements is Cristoph Rezai

O ansamblu www.nourensemble.com Ansambel Nour je bil ustanovljen leta 2000 med ustvarjanjem neke skladbe v okviru projekta ALBA. Kombinacija iranske in evropske vokalne glasbe je popolna novost. Leta 2002 je vokalni kvintet Nour delal na repertoarju zahodnjaške polifonije iz obdobja od 15. do 17. stoletja. Ansambel je nastopil v mnogih starih cerkvah province Azerbajdžan v Iranu. O tem glasbenem potovanju je bil posnet dokumentarni film v sodelovanju s televizijskim kanalom ARTE. Leta 2003 se je ansambel Nour osredotočil na prav to glasbeno izkušnjo med Perzijo in Zahodom. Evropskim in iranskim pevcem se je tako pridružilo nekaj iranskih inštrumentov. Z novim repertoarjem so se prvič pokazali oktobra leta 2003 v pariškem „Forum des Halles“. Leta 2004 je ansambel Nour posnel svoj prvi album na osupljivi lokaciji, in sicer na gradu Ardeshir Babakan (iz časa Sasanidske dinastije) iz 3. stoletja. Tudi o tej glasbi in snemanju je bil posnet dokumentarni film. Odtlej je ansambel Nour sodeloval na mnogih koncertih in festivalih v Evropi, delal pa je tudi z mnogimi drugimi glasbenimi ansambli. Junija 2012 je ansambel nastopal na festivalu sakralne glasbe v Fezu (Maroko) in na festivalu „Les Orientales“ v Franciji, kjer je njihov koncert prenašal televizijski kanal Mezzo. Septembra 2012 je bil ansambel Nour povabljen na Le Festival de musique baroque de Pontoise - koncert je prenašala radijska postaja France-Musique. Po 11. septembru je srednji vek postal zanimiv kot praoblika krščanskoislamskega boja - s križarji na eni strani in Saraceni na drugi, in to brez kančka skupnega. A to sliko na navdihujoč način izpodbija pogumen projekt, ki ga je začela muslimanska država, s katero smo očitno na poti proti apokaliptičnemu končnemu obračunu - Iran. V votlinastem gradu na jugu Irana se srečajo francoska skupina stare glasbe in iranski glasbeni mojstri ter skupaj odkrivajo povezave med evropskimi korali in islamsko liturgijo, med provansalskimi trubadurji in sufi-mističnimi pesniki. Kljub velikim razlikam v vokalnem stilu, je tu skupna eterična želja, ki pevcem omogoča, da zavzamejo isto mesto in se gibljejo eden okrog drugega kot v nekakšnem milenijskem plesu. Če se lahko iranski elementi realnosti približajo bolj kot to uspe poustvarjenim zvokom Francozov, gre tu za izjemno izkušnjo, vredno truda, s trenutki resnično zastrašujoče lepote. Na žalost pa je bil prvi del, simultana recitacija Biblije in Korana, odstranjen zaradi strahu pred ekstremisti. (Mark Hudson, Daily Telegraph, 2005)

The Nour ensemble is trying to discover and recreate a musical aura shared by the East and the West, a common language that perhaps once existed in the history of music. Nour’s repertoire springs from sources in both traditions, Persian and European: “Conductus” from the 13th century and melodies in “Nava” modality … Gregorian plainsong psalmody mixed with psalmody of talse from the Uraman region of Kurdistan … counter point created with melodies from Koran and Bible texts sung together in their own style … Competition between Kurdish and Spanish choirs singing “cantigas” of Alfonso X el Sabio. The musicians and singers play with the different colours and styles as well as with the similarities of each musical tradition. Nour’s music is a melting pot where these ancient traditions and the creation of a contemporary repertoire interpreted by artists of the 21st century meet. About ensemble www.nourensemble.com Nour ensemble was founded in 2000 around the creation of a musical piece with project ALBA. It was the first experience combining Iranian and European Vocal music. In 2002 the Nour vocal quintet worked on the Occidental polyphonic repertoire from the 15th to the 17th century. The ensemble performed in several ancient churches of the Azerbaijan province in Iran. A documentary has been made in collaboration with ARTE TV Channel about this musical voyage. In 2003, the Nour ensemble decided to focus on this musical experience between Persia and the West. Some Iranian instruments joined the European and Iranian singers. This new repertoire was performed for the first time in October 2003 at the „Forum des Halles“ in Paris. In September 2004, the Nour ensemble recorded its first album in a stunning site: namely the castle Ardeshir Babakan (from the Sassanid dynasty) dated from the 3rd century. A documentary was made about this music and this recording. Since then, the Nour ensemble has participated in several concerts and festivals in Europe and has worked with many other musical ensembles. In June 2012 Nour Ensemble performed in World Sacred Music Festival of Fez (Morocco) and in „Les Orientales“ Festival in France where the concert was recorded by Mezzo TV Channel. In September 2012 Nour Ensemble was invited to perform at Le Festival de musique baroque de Pontoise - the concert was recorded by France-Musique. Since 9/11, the Middle Ages have been evoked as the archetype of ChristianIslamic struggle - with crusaders on one side, Saracens on the other, and not an inch of common ground. But this picture is inspirationally refuted by this brave project, initiated from an Islamic country with which we appear to be moving towards an apocalyptic showdown - Iran. In a cavernous castle in southern Iran, a French early music group meet Iranian master musicians in an exploration of the links between European plainsong and the Islamic liturgy, between Provençal troubadours and Sufi mystic poets. Despite huge differences in vocal style, there’s a shared ethereal yearning that allows the singers to inhabit the same space, moving around each other in a kind of millennial dance. If the Iranian elements feel closer to lived reality than the essentially recreated sounds of the French, reality than the essentially recreated sounds of the French, this is a very worthwhile and genuinely transporting experience, with moments of truly haunting beauty. Sadly, the first section, a simultaneous recitation of the Bible and the Koran, has been omitted for fear of reprisals from extremists. (Mark Hudson, Daily Telegraph, 2005) Foto / photo: Ali Boustan

Café Europa Petek / Friday, 12. 7. 2013, 20:30 Pišece, Grad Pišece Pišece Castle Vzpon na Mont Ventoux v d-molu / D minor Ascent of Mont Ventoux Emmanuelle Cordoliani (igra / acting) Varoujan Doneyan (violina / violin) Johann Sebastian Bach (1685 – 1750) Sei solo à violino senza basso accompagnato, IV (BWV 1004) Allemanda / Corrente / Sarabanda / Giga / Ciaccona Francesco Petrarca (1304 - 1374) Vzpon na Mont Ventoux / Ascent of Mont Ventoux Epistolae familiares (IV, 1)

Petrarcov vzpon na Mont Ventoux je enodnevno potovanje, pri katerem gre poleg telesnega vzpona tudi za vzpon duše. Ko pride pesnik do vrha, z enim pogledom zaobjame širno območje od španskih Pirenejev do gorovja Balkan oziroma Črnega morja (današnjo Evropo). Najslavnejši stavki iz Bachove partite se izmenjujejo s Petrarcovimi zapisi o tem iniciacijskem potovanju. Ko se Petrarca vrne s svojega velikega potepa, na kratko poroča svojemu spovedniku, ki je ostal v Italiji. Ob prihodu na vrh Petrarca z enim pogledom zaobjame širno območje, ki leži med španskimi Pireneji ter gorovjem Balkan ali Črnim morjem. Tako predvidi Republico Litterario, za katero velja, da je Petrarca njen duhovni oče. Globoko duhovno srečanje besedila in glasbe. Partita za violino solo v d-molu (BWV 1004) je bila napisana v letih 1717–1723 in nekateri strokovnjaki – še zlasti profesorica Helga Thoene – domnevajo, da je bila napisana v spomin Bachovi prvi ženi, Marii Barbari Bach. Prvi štirje stavki imajo močno skupno temo. Allemande nam ponudi le slutnjo – skoraj neopazen ponavljajoč se bas, ki v nadaljevanju postaja vedno bolj prisoten, v Ciacconi pa se popolnoma razkrije. Medtem ko prvi štirje stavki odražajo običajno plesno suito iz časa nemškega baroka, celotno delo preveva temni značaj, ki pride najbolj do izraza v Ciacconi, s katero se delo zaključi. O ansamblu www.emmanuellecordoliani.com Procope, Majestic ali Museum, Slavia, Florian ali Zinger … Že stoletja se evropski umetniki in politiki srečujejo v kavarnah. Francija je matično pristanišče naših kulturnih in umetniških projektov, v katerih se združujeta besedilo in glasba. Je mesto, kamor se vedno vračaš in ki je nepogrešljivo pri vsaki odiseji. In prav to je Café Europa. Snidenja, potovanja in zbrane zgodbe, pripravljene za poročanje.

The ascent of Mont Ventoux by Petrarch is a one-day journey, which raises the question of the elevation of the soul as well as of the body. Reaching the top, Petrarch embraces in one glance of the soul the vast area that lies between the Spanish Pyrenees and the Balkan mountains or the Black Sea (present-day Europe). Bach‘s most famous partita movements alternate with the reports Petrarch makes of this initiation journey. Back from this great wandering, Petrarch briefly reports to his confessor who had remained in Italy. Reaching the top, Petrarch embraces in one glance of the soul the vast domain that lies between the Spanish Pyrénées and the Balkan mountains or Black Sea. And so he foresees the Republica Litteraria, of which he is considered to be the spiritual father. A highly spiritual moment of text and music. The Partita in D minor for solo violin (BWV 1004) was written during the period 1717–1723 and some scholars – Professor Helga Thoene prominently – suggest it was written in memory of Bach‘s first wife, Maria Barbara Bach. A strong common theme is shared between the first four movements. In the Allemande, there is a hint at the repeated bass, which from then on continues to haunt the piece until it makes its full appearance in the Ciaccona. While the first four movements reflect the standard German baroque dance suite, the overall dark character of the partita is enhanced by the monumental Ciaccona, which closes the work. About ensemble www.emmanuellecordoliani.com Procope, Majestic or Museum, Slavia, Florian or Zinger … For centuries, Europe of the arts and of politics has been meeting in Cafés. France is the cultural and artistic home port for our projects blending text and music. A returning point, necessary to any Odyssey. For that, it is. The Café Europa. Encounters, journeys and stories collected to tell.

»Petje Emmanuelle Cordoliani zacveti v androgeni mešanici moči in krhkosti. Amazonka besede, ki usklajuje ljubeče razmišljanje z moškim nasiljem. Je živa legenda žrtvovanja, kot ženski Prometej je prišla, da bi moškemu ukradla privilegij njegove pobudniške strasti. Toda iz te nedostopna Golgote naredi svojo goro Sainte-Victoire.«

“Emmanuelle Cordoliani blossoms her singing in an androgynous mix of power and fragility. Amazon of the verb, she reconciles loving contemplation with male violence. She is this living legend of the sacrifice, this female Prometheus who came to steal the man the privilege of his initiatory passion. But this inaccessible Golgotha, she makes her Sainte-Victoire.”

(Roland Duclos, La montagne, avgust 2008)

(Roland Duclos, La montagne, August 2008)

Glasba na dvoru portugalskega kralja Manuela I V času velikih odkritij je bila Portugalska trgovska velesila Evrope, kralj Manuel I. pa si je močno prizadeval za trdnost portugalskega imperija. Lizbona, največje mesto, je vzbujala pozornost s svojim neizmernim bogastvom, ki je izhajalo iz trgovanja z Vzhodom. Repertoar portugalskih renesančnih pesmi nam da občutek duha tistega časa. Ohranile so se v nekaj notnih rokopisih, ki jih hranijo v knjižnicah na Portugalskem in v Franciji. Vsi rokopisi so šli skozi roke inkvizitorjev, ki pa jih iz neznanih razlogov niso uničili. Iz teh rokopisov je ansambel izbral skladbe, ki predstavljajo najboljše, kar lahko ponudi portugalska polifonija. Music in the Court of Manuel I from Portugal At the time of great discoveries Portugal was one of the biggest merchants of Europe and Manuel I, king of Portugal, did much to strengthen the Portuguese empire. Lisbon, the biggest city, became very attractive for its immense wealth that came from the trade with the East. The musical repertoire of Portuguese Renaissance songs gives a small taste of the time. The music has survived in a few manuscripts now preserved in the libraries in Portugal and France. Though all of them had been in the hands of inquisitors, for some reason they were not destroyed. From these manuscripts the ensemble has selected the pieces that represent the best of Portuguese polyphony.

Música Antiga da UFF Leandro Mendes (glas, kljunaste flavte, krivi rog / voice, recorders and krummhorn) Lenora Mendes (kljunaste flavte, krivi rog, viole da gamba, gamsov rog, viela, rebek, / recorders, gemmshorn, krummhorn, viols, medieval fiddle, rebec) Mario Orlando (basovska viola da gamba, tolkala, glas / bass viol, percussion and voice) Marcio Selles (glas, basovska viola da gamba, krivi rog, kljunasta flavta / voice, bass viol, krummhorn and recorder) Sonia Wegenast (glas, psalterij, tolkala / voice, psaltery, percussion) Virginia Van der Linden (flavte, lajna, kornamuza, gamsov rog, krivi rog / flute, hurdy gurdy, cornamuse, gemmshorn, krummhorn)

Občina Grad

Petek / Friday, 19. 7. 2013, 20:30 Grad, Grad Grad Grad Castle

Diego Ortiz (ca. 1510 - ca. 1570) Recercada primera e segunda Anonymous XVI st. / cent. Não tragais borzeguis pretos Anonymous XVI st. / cent. Señora del Mundo Anonymous XV st. / cent. Propiñan de melyor Juan del Encina (1468 - 1529) Todos los Biens del Mundo Diego Ortiz (ca. 1510 - ca. 1570) Recercada primera (de la seconda manera de taner) Francisco de la Torre (fl. 1483 - 1504) Danza Alta Anonymous XVII st. / cent. Puestos estan frente a frente

Anonymous XVI st. / cent. Amor loco

Anonymous (iz Maranhão-a, BR / from Maranhão, BR) Rei é Rei, Rei Sebastião

Anonymous XVI st. / cent. Soy Serranica

Anonymous Os barcos

Anonymous XVI st. / cent. Venid a sospirar al verde prado Anonymous. XVI st. / cent. Cuydados meus taõ cuidados Anonymous XVI st. / cent. Antonilha es desposada Anonymous XVI st. / cent. Que he o q vejo Anonymous XVI st. / cent. Vos señora a maltratarme Anonymous XVI st. / cent. Niña era la ifanta Anonymous A la villa voy ***

Čudeži Svete Marije V srednjem veku so bile zapisane mnoge pesmarice, ki vsebujejo marijanske čudeže in kažejo, kako pomembna je bila Devica Marija za srednjeveške ljudi. Med njimi je tudi rokopis, ki sedaj nosi ime Llibre Vermell (Rdeča knjiga) in vsebuje romarske pesmi iz katalonske katedrale Montserrat. Zbirka Laudas Marianas iz 14. stoletja predstavlja izraz frančiškanske pobožnosti, ki se je razvila v Italiji in skozi glasbo slavila Devico Marijo. Cantigas de Santa Maria (Hvalnice Sveti Mariji), ki jih je uredil kralj Alfonz X. Modri, obsegajo veliko zgodb o čudežih Device Marije na področju Iberskega polotoka in po vsej Evropi. Miracles of Saint Mary Many songbooks containing Marian miracles were written in the Middle Ages showing the importance of Virgin Mary for medieval people. Among the bestknown is the manuscript called Llibre Vermell (Red Book), containing pilgrimage songs from the Cathedral of Montserrat in Catalonia. The Laudas Marianas from the 14th century are an expression of Franciscan piety that developed in Italy and praised Virgin Mary through music. The collection Cantigas de Santa Maria edited by king Alfonso X the Wise brings narrations about miracles produced by Virgin Mary in the Iberian peninsula and throughout Europe.

Občina Litija

OBÈINA LITIJA GRB - ZASTAVA

Sobota / Saturday, 20. 7. 2013, 20:30, Litija Cerkev Sv. Nikolaja Church of St. Nicholas

Alfonso X el Sabio (1221 - 1284) Como podem per sas culpas Alfonso X el Sabio (1221 - 1284) Null’ome per ren non deve Alfonso X el Sabio (1221 - 1284) Virgen Santa Maria Alfonso X el Sabio (1221 - 1284) Maravillosos e piadosos Anonymous (XIV st. / cent.) Laude novella Anonymous (XIV st. / cent.) Da ciel venne mezzo novelo Alfonso X el Sabio (1221 - 1284) Miragres fremosos *** Alfonso X el Sabio (1221 - 1284) Ben com’ aos que van per mar Alfonso X el Sabio (1221 - 1284) Fol é o que cuida que non poderia Alfonso X el Sabio (1221 - 1284) Ay Santa Maria Alfonso X el Sabio (1221 - 1284) Tanto quer Santa Maria Anonymous (XIV st. / cent.) Maria Matrem Anonymous (XIV st. / cent.) Stella splendes in monte Anonymous (XIV st. / cent.) Los set goytz recomptarem Anonymous (XIV st. / cent.) Cuncti simus con canentes

O ansamblu Ansambel Música Antiga da UFF je z delovanjem pričel leta 1981. Od vsega začekta poskušajo obujati in širiti ne le glasbo, ampak tudi srednjeveški in renesančni pogled na svet. Z leti so njegovi člani postali strokovnjaki za tehniko igranja na srednjeveške in renesančne inštrumente, pa tudi za interpretacijo pesmi teh pomembnih zgodovinskih obdobij. Skupina, ki so jo ustanovili Leandro Mendes, Lenora Pinto Mendes, Márcio Paes Selles, Mario Orlando, Sonia Leal Wegenast in Virginia van der Linden, še vedno raziskuje in odkriva nove načine informiranja javnosti o stari glasbi zahodne Evrope. Poleg zgodovinskega in raziskovalnega dela lahko občinstvo vidi replike inštrumentov, ki so jih v teh obdobjih uporabljali, in sliši zgodbe, ki izvajano glasbo spremljajo. V času svojega delovanja je ansambel posnel sedem CD-jev in tematsko LP ploščo, ki je bila prodana v 20.000 kopijah. V teh letih je ansambel izvedel tudi več kot 2.000 koncertov po Braziliji, snemal glasbo za glasbene videe in organiziral tečaje na festivalih in renesančnih sejmih. UFF Early Music Ensemble nastopa v najbolj pomembnih koncertnih dvoranah v Riu de Janeiru, koncertiral pa je tudi po celotni Braziliji.

About ensemble The UFF Early Music Ensemble started its activities in1981, retrieving and transmitting not only music, but the very worldview of the Medieval and Renaissance periods. Over the years its members have specialized in the techniques of the medieval and renaissance instruments and in the interpretation of the songs of these important historical periods. Formed by Leandro Mendes, Lenora Pinto Mendes, Márcio Paes Selles, Mario Orlando, Sonia Leal Wegenast and Virginia van der Linden, the group is still researching and discovering new ways to inform the public about the early music of Western Europe. Beyond historical and musicological research, the audience has the opportunity to see replicas of the instruments used in those periods and hear the stories that come along with the songs and music performed. During their career, the group has recorded seven CDs and a themed LP that sold a total of 20.000 copies. Over these years the group has held more than 2.000 concerts throughout Brazil, recorded soundtracks to music videos, in addition to organizing courses at festivals and Renaissance fairs. The UFF Early Music Ensemble performs in the most important concert halls of Rio de Janeiro and has also performed in concert halls throughout Brazil.

Marc Mauillon Angélique Mauillon Vivabiancaluna Biffi Pierrre Hamon Občina Vojnik

Občina Dolenjske Toplice

Guillaume de Machaut (ca. 1300 – 1377) Quant je sui mis Comment qu’à moy lonteine Puisqu’en oubli Amour me fait désirer

Petek / Friday, 26. 7. 2013, 20:30 Vojnik, Grad Lemberg Lemberg Castle

Dame vostre doux viaire

Sobota / Saturday, 27. 7. 2013, 20:30 Soteska, Hudičev turn Devil‘s tower

J’aime mieux languir

Doulz amis

Doux mal qui m’a longuement

Mon chant vous envoy Virelaji, balade in rondoji Guillauma de Machauta / Virelais, ballades et rondeaux de Guillaume de Machaut

Ploures dame

Marc Mauillon (glas / voice) Vivabiancaluna Biffi (viela, glas / medieval fiddle, voice) Angélique Mauillon (gotska harfa, glas / gothic harp, voice) Pierre Hamon (srednjeveške flavte, dude, boben / medieval flutes, bagpipe, drum)

Dix et sept, cinq

Se ma dame

Liement me deport J’aim sans penser

S programom Mon chant vous envoy (Pošiljam vam svojo pesem) Marc Mauillon, Pierre Hamon, Vivabiancaluna Biffi in Angélique Mauillon nadaljujejo svojo očarujočo pustolovščino, v kateri nam z obilico domišljije in natančnosti ter na povsem nov način prikažejo enega največjih evropskih glasbenikov srednjega veka: Guillauma de Machauta. Kako je mogoče, da imajo več kot 700 let kasneje ta zaporedja notnih znamenj tolikšen učinek? To je skrivnost. Čeprav originalno besedilo pogosto deluje izumetničeno, je glasba nenavadno sveža. Ta dela so tako moderna, da lahko v njih uživa tudi današnje občinstvo, ne da bi jih bilo treba posodobiti. Ta glasba predvsem razkriva dušo pesnika, čigar besede so neverjetno blizu našim lastnim občutenjem; nemirna duša, ki se sprašuje o skrivnostni usodi in ljubezenskih bolečinah, medtem ko gleda v nebo, a ne najde nobene gotovosti. Virelaji, balade in rondoji predstavljajo tisti vidik glasbe Guillauma de Machauta, ki je še vedno premalo poznan, glasbo, na katero prepogosto gledamo kot na razumsko in težko dostopno. Res, bil je prvi skladatelj, ki je pisal dela, ki se po virtuoznosti in intelektualnih ambicijah lahko primerjajo z Bachovo Umetnostjo fuge (Ma ﬁn est mon commencement). Pisal pa je tudi miniature s pridihom ljudske glasbe (Douce dame jolie). V teh delih ni nobene pretirane sentimentalnosti, pomenijo pa vrhunec poetične umetnosti dvorske ljubezni, katere melodije so neverjetno žive in so del našega spomina, naše duše ter v nas prebujajo strasti in strahove tistega mučnega obdobja, štirinajstega stoletja, ko so se v svetu vojn in epidemij rojevali tako strastna intelektualna razmišljanja kot tudi čudovita žeja po življenju. Izvajalci, zbrani okrog Marca Mauillona in Pierra Hamona, so najprej dodobra raziskali pesnikov jezik in posvetili veliko časa besedilu, pri čemer so se o pomembnejših vprašanjih posvetovali z jezikoslovci in muzikologi, strokovnjaki za tisto obdobje, in šele potem pa so bili pripravljeni, da dela predstavijo. Uspelo jim je obnoviti vso modernost in brezčasnost teh pesmi, ki jih je napisal prvi francoski »kantavtor« v sodobnem pomenu izraza. Po dveh ploščah, ki so ju kritiki pohvalili zaradi izjemne spretnosti Marca Mauillona kot pevca-pripovedovalca in zaradi močnega pristopa, pri katerem je bil vsakdo v polnosti vključen tako v glasbo kot v dramatičnost, iz česar je nastalo čudovito komorno delo (L’Amoureus Tourment, 2006, Le Remède de Fortune, 2009, priznanje Diapason d’Or, obe pri založbi Eloquentia), nam novi program odkriva nepričakovane vidike umetnosti Guillauma de Machauta.

With „Mon chant vous envoy“, Marc Mauillon, Pierre Hamon, Vivabiancaluna Biffi and Angélique Mauillon continue their fascinating adventure, shedding new light with imagination and precision on one of the greatest European musicians of the Middle Ages: Guillaume de Machaut. How is it that more than 700 years later these sequences of notes can have such an impact? This is a mystery. Although the original lyrics often seem overwrought, the music is extraordinarily fresh. These works are so modern that audiences of today can appreciate them exactly as they are, without any need for updating. This music reveals above all the soul of a poet whose words are amazingly close to our own sensibilities, an unquiet soul questioning destiny, the mysteries of fate and the torments of love, while looking to heaven but finding no certainty. Virelais, ballades and rondeaux represent the aspect of Guillaume Machaut’s music that is still too little known, music that is all too often regarded as intellectual and not easy to approach. Granted, he was the first composer to write pieces of a virtuosity and intellectual ambition comparable to J. S. Bach’s The Art of Fugue (“Ma fin est mon commencement”). But he also composed folklike miniatures (“Douce dame jolie”). There is no oversentimentality in these works, which mark the culmination of the poetic art of courtly love, whose melodies are so incredibly alive, a part of our memory, our psyche, awakening the passions and anxieties of that tormented age, the fourteenth century, when, on a background of war and epidemics, were expressed such intense intellectual speculation, such a wonderful thirst for living. After devoting thorough research to the poet’s language and much thought to the text, after discussing the matter with linguists and musicologists specialising in this period, the performers gathered around Marc Mauillon and Pierre Hamon were ready to present these pieces. They restore all the modernity and the timelessness of these songs written by France’s first “singer-songwriter”, in the modern sense of the term. After two recordings distinguished by the critics for the revelation of Marc Mauillon’s exceptional skills as singer-narrator and for the strength of an approach that involves everyone fully in the music and the drama, resulting in a wonderful chamber work (L‘Amoureus Tourment, 2006, Le Remède de Fortune, 2009, Diapason d‘Or of the Year, both on the Eloquentia label), this new programme reveals unexpected facets of the art of Guillaume de Machaut.

Johann Joseph Fux (1660 - 1741) Ouverture à 4 Ouverture / Aria / Aire la Volage / Marche des Ecurieus / L’inegalitè Johann Heinrich Schmelzer (1623-1680) Lamento sopra la morte Ferdinandi III a tre Bartolomé Selma y Salaverde (prva polovica 17. st. / first half of 17th cent.) Canzona terza Paul Peuerl (1570-1625?) Newe Padouan (1611) Padouan / Intrada / Dantz / Galliarda Johann Joseph Fux (1660 - 1741) Partita (K329) Canzona / Aria / Menuet / Duetto / Il Libertino / Gigue Johann Heinrich Schmelzer (1623-1680) Balletti Intrada / Sarabanda / Aria Viennesa / Canario / Pastorella / Gavotta styriaca, gallica e Bavaria *** Johann Heinrich Schmelzer (1623-1680) Serenata con alter arie Serenata / Erlicino / Adagio / Allegro / Campanella / Lamento Johann Caspar Kerll (1627-1693) Sonata à 2

Accentus Austria Občina Slovenska Bistrica

Petek / Friday, 2. 8. 2013, 20:30 Slovenska Bistrica, Grad Slovenska Bistrica Slovenska Bistrica Castle

Aria Viennesa Ulli Engel (baročna violina / baroque violin) Johanna Sensi-Gamerith (baročna violina / baroque violin) Ivan Becka (baročna viola / baroque viola) Thomas Wimmer (viola da gamba, violone / viol, violone) Michael Posch (kljunasta flavta / recorder) Erich Traxler (čembalo / harpsichord) Wolfgang Reithofer (tolkala / percussion)

Johann Jakob Froberger (1616-1667) Toccata (FbWV 102) Johann Joseph Fux (1660-1741) Sonata (K367) Adagio / Allegro / Lento Gottfried Finger (1660 –1730) Sonata (op.1 No. 8) Adagio / Allegro / Adagio / Presto Linzer Orgeltabulatur (~1610) Es flog ein kleines Waldvögelein / Mein traurn ach Gott ist ohn Endt / Pückelhäring Johann Joseph Fux (1660-1741) Symphonia ex C Turcaria / Passa Gallia / Janitshara / Posta Turcica

Sobivanje različnih kultur je že od nekdaj iskra, ki neti vznemirljive dogodke v razvoju glasbe. To morda še posebej drži za habsburško cesarstvo v 17. stoletju. Visoka družba je uživala v italijanskem slogu z virtuozno instrumentalno glasbo, po drugi strani pa so bile ulice in pivnice polne glasbenikov iz Avstrije, Madžarske, Češke in Poljske, ki so igrali svojo očarljivo ljudsko glasbo, nabito s čustvi. V koncertnih dvoranah so se ljudje smejali duhovitim posnemanjem tega zvoka in se predvsem zabavali ob čudni glasbi Turkov, ki je bila strašna in privlačna obenem, zaradi česar je pomenila okno v drug, neznan svet. O ansamblu Iz navdušenja nad multukulturno podlago, iz katere izhaja glasba vzhodnega dela habsburškega imperija v 16. in 17. stoletju, se je ansambel Accentus Austria začel posebej zanimati za vokalno in instrumentalno glasbo Avstrije in sosednjih držav. Če želimo osvetliti raznovrstne zaklade redke in nepoznane glasbe in doumeti enkratnost njenega sloga, sta potrebna tako vpogled v lastno resno in popularno glasbo kot tudi pogled prek meja proti zahodu in vzhodu. Accentus Austria »gleda« na drugi konec Evrope: mnoga leta ukvarjanja s špansko staro glasbo so vodila do razvoja repertoarja, ki se razteza od ustnega izročila sefardskih romanc prek razkošne in raznovrstne polifonične glasbe 16. stoletja do solistične baročne glasbe poznega 17. in zgodnjega 18. stoletja. V zadnjih nekaj letih je Accentus Austria nastopal v vseh pomembnih avstrijskih koncertnih dvoran, v vseh evropskih državah, pa tudi v Maroku, Egiptu, Dubaju in Izraelu. Leta 2006 je Accentus Austria izvedel odrsko produkcijo “The Lament of Arianna” v gledališču Teatro Apollon v grškem mestu Patras (Evropska prestolnica kulture 2006), posnel pa je tudi veliko zgoščenk s sefardsko, špansko in avstrijsko glasbo. Trenutno se je ansambel začel ukvarjati s serijo zgoščenk, posvečenih redko igrani ali neizdani avstrijski baročni glasbi, pri založbi SONY – Deutsche Harmonia Mundi. »Celo dodatek je bil mojstrovina, polna miline in ustvarjalne moči.« (Jörg Handstein, Donaukurier, 25. 8. 2008) »Fuxova Symphonia ex C, izvedena v okviru nove, očarujoče zasnove avstrijske baročne glasbe, je poslušalce končno povsem prevzela!« (Haaretz – Tel Aviv, 28. 5. 2012) »Schmelzerjeva Sonata con altre arie je postala vrhunec baročne glasbe: ples violin, srebrno iskrivi toni kljunaste flavte ter zanimivi ritmi teorbe in tolkal – preprosto veličastno.« (Journal of Early Music, 28. 5. 2010)

The coexistence of different cultures has always been an ignition spark for exciting musical developments. This may be especially true of the Habsburg Empire in the 17th century: The high society was delighted by the Italian style with its virtuoso instrumental music and, on the other hand, the streets and pubs were full of musicians from Austria, Hungary, Bohemia and Poland, playing their emotional and fascinating folk-music. In the concert halls people used to amusedly enjoy the witty quotations of this sound and, above all, the strange music of the Turks, frightening and attractive at the same time, which seemed to be a window to another, unknown world. About ensemble Fascinated by the multi-cultural substrate, out of which the music in the eastern Habsburg Empire in the 16th and 17th century arose, the ensemble Accentus Austria made vocal and instrumental music of Austria and the neighbouring countries its main concern. To bring to light the treasures of rare and unknown music and to work out the uniqueness of the style, it is necessary to look both into the own art music and popular music as well as across the borders to the West and to the East. Accentus Austria “looks” to the other end of Europe: many years of dealing with Spain’s Early Music have led to the development of a repertoire that extends from orally transmitted Sephardic Romances, by the way of the sumptuous and manifold polyphonic music of the 16th century, to the soloist baroque music of the late 17th and the beginning of the 18th century. In recent years Accentus Austria has appeared in every important Austrian concert halls, in all European countries as well as in Morocco, Egypt, Dubai and Israel. In 2006 Accentus Austria performed the scenic stage production “The Lament of Arianna” in the Teatro Apollon at Patras/Greece (European Cultural Capital 2006). It has recorded numerous CDs with Sephardic, Spanish and Austrian music. At present the ensemble has started a CD series devoted to rarely performed or unreleased Austrian baroque music for the label SONY – Deutsche Harmonia Mundi. „Even the encore came to a masterpiece full of grace and creative power.“ (Jörg Handstein, Donaukurier, 25. 8. 2008) „Fux‘ Symphonia ex C finally, performed in a fascinating new concept of Austrian Baroque chamber music, had the audience sitting at the edge of its seats!“ (Haaretz – Tel Aviv, 28. 5. 2012) „Schmelzer’s Sonata con altre arie became a highlight of baroque music: dancelike passages of the violins, silvery sparkling tones of the recorder and groovy rhythms by the theorbo and percussion – simply spectacular.“ (Journal of Early Music, 28. 5. 2010)

Mednarodni mojstrski tečaji / International master courses

MUSICA

LOCOPOLITANA Škofja Loka, Slovenija 28. 8. 2013 - 1. 9. 2013

Vokalna delavnica / Vocal workshop Dr. Michael Malkiewicz (AT) Kljunasta flavta / Recorder Mateja Bajt (SI) Renesančni, baročni in klasični traverso Renaissance, baroque and classic traverso Stefano Bet (IT) Lutnja / Lute Xavier Díaz-Latorre (ES) Ples / Dance Tanja Skok (SI) Asistentka za komorno glasbo / Chamber music assistant Tineke Steenbrink (NL)

Prijavnina / Application fee: 25 EUR Šolnina za aktivne udeležence / Enrolment fee for active participants: 150 EUR Šolnina za pasivne udeležence / Enrolment fee for passive participants: 100 EUR Rok za prijavo / Application deadline: 1. 8. 2013 Za udeležence / For participants: 9:00-10:00 jutranji ples za vse udeležence / warm up for all participants 10:15-13:00 individualni pouk / individual programme Za javnost / For public: 15:00 popoldanski koncert / afternoon concert 15:30-18:00 open door: komorna igra / chamber music workshop 16:00-20:00 program za družine / programme for families 18:30-19:30 javno predavanje / public lectures 20:30 večerni koncert / evening concert 21:30 večernica na srednjeveškem grajskem vrtu evening gathering at the medieval castle garden Musica Locopolitana ponuja ustvarjalno druženje mladim glasbenikom, ki pri svojem rednem glasbenem izobraževanju posebno pozornost posvečajo zgodnji glasbi. Potekala bo od 28. 8. 2013 do 1. 9. 2013 v Škofji Loki, enem najbolje ohranjenih slovenskih srednjeveških mest, ki s številnimi avtentičnimi ambienti udeležencem ponuja enkratno navdihujoče okolje. Udeleženci posamezne ustvarjalne dneve začenjajo s skupnim jutranjim plesom, ki mu sledijo mojstrske delavnice oziroma individualni pouk z vrhunskimi domačimi in tujimi mentorji. Popoldnevi so posvečeni skupinski igri in predavanjem. Delovno vzdušje mojstrskih tečajev želimo prenesti tudi na mestne trge in ulice in ga s kratkimi opoldanskimi in večernimi koncerti predstaviti njenim prebivalcem in obiskovalcem. Dan zaključimo z večernico na grajskem srednjeveškem vrtu. Musica Locopolitana offers a creative kind of socialising to those young artists who devote special attention to early music in their regular music education. International master classes will be held from 28th August 2013 to 1st September 2013 in Škofja Loka, one of the most preserved Slovenian medieval towns, which offers a unique inspiring environment to the participants with its numerous preserved authentic ambiences. The participants begin each creative day with a common morning dance class followed by master classes or individual instruction with top local and foreign mentors. The afternoons are meant for chamber music workshops, public lectures and concerts. We finish the day with a concert and an evening gathering at the medieval castle garden. Več informacij / More information: www.musica-locopolitana.si

Mojstrski tečaji in individualni pouk za aktivne udeležence Komorna igra, predavanja in koncerti Master classes and individual lessons for active participants Chamber music, lectures and concerts

Koprodukcija / Coproduction: Ars Ramovš (Ljubljana, SI) Javni sklad RS za kulturne dejavnosti (Ljubljana, SI), OI Škofja Loka

Občina Škofja Loka

Musica Locopolitana Občina Škofja Loka

Nedelja / Sunday, 1. 9. 2013, 20:30 Škofja Loka, Sokolski dom Kristalna dvorana / Crystal Hall

Zaključni koncert mojstrskih tečajev / The closing concert of master courses Koprodukcija / Coproduction: Ars Ramovš (Ljubljana, SI) Javni sklad RS za kulturne dejavnosti (Ljubljana, SI), OI Škofja Loka Škofja Loka je najbolje ohranjeno srednjeveško mesto v Sloveniji, ki navdihuje s številnimi zgodbami. Bogata cehovska tradicija, odmevi preteklosti, ki odzvanjajo na starodavnih trgih in ulicah ter mozaik celoletnih prireditev v mesto pod mogočnim Škofjeloškim gradom privabljajo radovedneže od blizu in daleč. Ena od teh navdihujočih zgodb je Musica Locopolitana kot mednarodno izobraževalno središče za staro glasbo. Na zaključnem koncertu mojstrskih tečajev bomo prisluhnili strnjenemu programu petdnevnega delovnega vzdušja mladih umetnikov in njihovih profesorjev. Škofja Loka, the best preserved medieval town in Slovenia, inspires many stories. Rich guild traditions, echoes of the past, ancient streets and squares, a mosaic of year-round events in the city under the mighty castle attract the curious from near and afar. One of these inspiring stories is Musica locopolitana as an international educational centre of early music. At the final concert of the master classes, it will be possible to enjoy the five-day working atmosphere of young artists and their professors packed into one brief music programme.

Orchester Purpur Petek / Friday, 6. 9. 2013, 20:30 Brežice, Grad Brežice Brežice Castle Joseph Haydn ORLANDO PALADINO, Dramma Eroicomico in tre atti, Hob. XXVIII:11 Koprodukcija / Coproduction: Ad Libitum Konzertwerkstatt gGmbH (Villach, AT), Ars Ramovš (Ljubljana, SI), Associazione Orchestra Sinfonica „Guido d‘Arezzo“ (Arezzo, IT), Festival Kvarner (Opatija, HR), New European Opera (Paris, FR) Blagoj Nacoski (Orlando Paladino – tenor) Dorothée Lorthiois (Angelica - sopran / soprano) Christos Kechris (Medoro – tenor) Olga Siemienczuk (Eurilla - sopran / soprano) Alberto Sousa (Pasquale, Licone - tenor) Simon Duus (Rodomonte – bas / bass) Sophie Goldrick (Alcina - sopran / soprano) Daniel Borowski (Caronte - bas / bass) Michael Fendre (dirigent / conductor)

Ljubezen in sovraštvo, igrivo draženje in čista krvoločnost. Pari se izgubijo v kaosu vojne, so domnevno mrtvi, ukvarjajo se celo s prostozidarstvom, dokler »hollywoodski srečen konec« ne prinese olajšanja, na katerega so vsi čakali. Samo Josephu Haydnu je lahko uspelo združiti vse to v eni operi. Mnogi strokovnjaki menijo, da so Haydnove opere na isti ravni kot Mozartove opere pred Da Pontejem. No, ali so vzporednice z njegovim Don Giovannijem le naključne? In to, da lahko iste like najdemo v obeh in še v Mozartovi Čarobni piščali, ki ima prav tako pridih prostozidarstva? Naključje? Vsekakor enkratna in povsem primerna tema za Purpur: neokrnjena in pristna je predstavljena v novi preobleki in v okviru odmevnega projekta, ki ga financira Evropska unija.

Love and loathing, ludic banter and sheer bloodlust. Couples lose each other in the turmoil of war, are presumed dead, practice even freemasonry, before a „Hollywood happy end” brings the longed-for release. Only Joseph Haydn succeeds in packing all this into an opera composition. Many scientists place Haydn‘s operas on one level with Mozart‘s pre-Da-Ponte operas. Well, are parallels to his Don Giovanni by pure chance? And the fact that the same characters can be found here and there and moreover in Mozart‘s The Magic Flute, which has a freemasonic touch as well? Coincidence? Unique in any case and the exactly right subject for Purpur: Pure and genuine it is presented, repacked and enabled by a much-noticed project, funded by the European Union.

O ansamblu www.purpur.eu Orkester Purpur, ki je bil ustanovljen leta 2011 v okviru projekta PurPur – European Sound Interchange, financiranega s strani Evropske unije, združuje mlade in visoko nadarjene glasbenike z vseh koncev Evrope. Značilnost, ki najbolj vpliva na kompozicijo in posledično na enkraten orkestrski zvok ter na igralno kulturo tega novgea orkestra, je povezava z mnogimi člani dunajskega in berlinskega filharmoničnega orkestra. Pogosto so ti celo odgovorni za izbiro mladih glasbenikov. Zasedba orkestra šteje 66 stalnih glasbenikov. Zaradi svojega izjemnega in prožnega programa, mednarodnega značaja in značilnega ter enkratnega glasbenega jezika si Purpur ustvarja ugleden status med orkestri. V Orkestru Purpur smo si tudi zelo blizu z našimi partnerskimi organizacijami, ki o nas širijo dober glas in nam želijo najboljše. Med njimi so: Akademija za glasbo »Hanns Eisler« v Berlinu, Conservatoire national supérieur de musique et de danse de Paris – CNSMDP, Kraljeva akademija za glasbo v Londonu, Akademija za glasbo v Zagrebu, Akademija za glasbo v Ljubljani ter Univerza za glasbo in upodabljajoče umetnosti na Dunaju. Izmenjava znanja in kulture, ki ju potrebujemo za še boljše razumevanje glasbe in razširjanje obzorij, je za nas vedno na prvem mestu. Gre za novo, intelektualno glasbeno mobilnost! V zadnjem letu je Orkester Purpur pri izvajanju koncertov skupaj s svetovno znanimi glasbeniki, kot so hrvaša pianistka Martina Filjak, „The Clarinotts“ in drugi solisti berlinskega in dunajskega filharmoničnega orkestra, pridobil dragocene izkušnje. Vrhunec leta 2012 nam je pomenila tudi produkcija Haydnove opere “Armida”, ki je bila teatralno izvedena na odru festivala Kvarner, v koncertni obliki pa na festivalu Seviqc Brežice v Sloveniji. Doslej je orkester nastopal predvsem na festivalu Kvarner v Opatiji na Hrvaškem, ker so bili tam dani najboljši pogoji za obdobja, ko ima orkester vaje. V prihodnosti bo Orkester Purpur nastopal po vsej Evropi, začenši z jugovzhodno Evropo v kontekstu projekta “GLAGOLICA – A European Musical Language”. Od 1. maja 2013 je orkester del še enega projekta Evropske unije z imenom “Purpur – A European Opera Sound”, ki ga lahko vidimo kot nadaljevanje prejšnjega projekta PurPur. Zaradi velikega uspeha produkcije Armide sta v središču novega projekta še dve Haydnovi operi: ORLANDO PALADINO, „dramma eroicomico“ v treh dejanjih (Hob. XXVIII:11) in L‘ANIMA DEL FILOSOFO, OSSIA ORFEO ED EURIDICE, „dramma per musica“ v petih dejanjih (Hob. XXVIII:13). Z opero Orlando paladino bomo septembra 2013 nastopili v Brežicah, Beljaku in Opatiji.

About ensemble www.purpur.eu The Orchestra Purpur, founded in 2011 in the context of the EU-funded „Project PurPur – European Sound Interchange“, brings together young highly talented musicians from all over Europe. What is very decisive for the composition and, subsequently, for the unique orchestra sound and the playing culture of this new orchestra is the nearness to many members of the Vienna and the Berlin Philharmonic Orchestras. In many cases, these are also directly responsible for the selection of the young musicians. The orchestra’s cast consists of 66 musicians, who are permanent fixtures. The Orchestra Purpur is, because of the exceptional and flexible program, its internationality and the particular, unique musical language, developing its status in the orchestral landscape. The Orchestra Purpur also maintains a very close relationship with our partner organizations, which recommend us and send their „best“ to us. Some of them are the Music Academy „Hanns Eisler“ Berlin, Conservatoire national supérieur de musique et de danse de Paris – CNSMDP, Royal Academy of Music London, Zagreb Music Academy, Ljubljana Music Academy, Music University Vienna. The exchange of knowledge and culture, required to obtain an even better musical understanding through the expansion of horizons, is always a top priority for us. It is a form of a new, intellectual musical mobility! During the last year, the Orchestra Purpur gained precious experience by playing concerts together with world famous musicians like the Croatian Pianist Martina Filjak, „The Clarinotts“ and other soloists of the Berlin and Vienna Philharmonics. Another highlight in 2012 was the production of J. Haydn’s “Armida” opera, performed scenically at Festival Kvarner and concertante at Festival Seviqc Brežice, Slovenia. Until now, the Orchestra Purpur appeared especially at Festival Kvarner in Opatija (Croatia), as the festival is able to provide the ideal infrastructure for the orchestra’s rehearsal periods. In the future, the Orchestra Purpur is going to perform at venues all over Europe, starting with the South-East-European region in the context of the “GLAGOLICA – A European Musical Language” project. Since 1 May 2013 the Orchestra Purpur is part of another EU project called “Purpur – A European Opera Sound”, which can be seen as a follow-up of the previous Project PurPur. Due to the great success of the “Armida” production, two more of Haydn’s operas are in the centre of the new project: ORLANDO PALADINO, a „dramma eroicomico“ in three acts (Hob. XXVIII:11) and L‘ANIMA DEL FILOSOFO, OSSIA ORFEO ED EURIDICE, a „dramma per musica“ in five acts (Hob. XXVIII:13). The Orlando paladino opera will be performed in Brežice, Villach and Opatija in September 2013.

Le Tendre Amour Sobota / Saturday, 7. 9. 2013, 20:30 Turjak, Grad Turjak, Viteška dvorana / Turjak Castle, Knights‘ Hall Antonio de Literes (ca. 1713) Los Elementos komorna opera / chamber opera Luanda Siqueira da Silva (sopran – Zrak / soprano – Air) Lidia Vinyes Curtis (sopran – Zemlja / soprano – Earth) Sara Rosique (sopran – Voda in Jutranja zarja / soprano Water and Aurora) Marina Pardo (sopran – Ogenj / soprano – Fire) Donato di Gioia (bariton – Čas / baritone – Time) Adriana Alcaide (violina / violin) María Gomis (violina / violin) Katy Elkin (oboa, režija / oboe, co-director) Lixsania Fernández (viola da gamba / bass viol) Rafael Bonavita (teorba, kitara / theorbo, guitar) Adrián Van der Spoel (kitara / guitar) Esteban Mazer (čembalo, režija / harpsichord, co-director) Sergey Saprychev (tolkala / percussion) Adrián Schvarzstein (igra, odrska postavitev / actor, staging)

Prizorišče ni nič posebnega, nikakor pa tega ne moremo reči za goste! Štirje vpadljivi soprani, vsi oblečeni v tipične kostume za flamenko iz 50-ih let prejšnjega stoletja, gredo zvečer ven. Vsak pooseblja enega od elementov – Vodo, Zrak, Zemljo in Ogenj. Njihov mali ženski večer pa zmoti bariton, ki igra vlogo Časa in jih ves večer poskuša osvojiti, a je pri tem neuspešen. Točaj, ki je vedno zaposlen z urejanjem točilnega pulta, čiščenjem, pospravljanjem stolov in strežbo pijače, si vseeno vzame čas za ubogega baritona in mu postreže z moškim nasvetom, vendar zaman. Jezik je zelo baročen in poln okrasja, a se v vsem tem elegantnem besedilu skriva tudi zgodba: vsak od štirih elementov v svojih dveh arijah pripoveduje o čakanje na Jutranjo zarjo sredi temne noči. V villancicu ‚¡Ay amor!‘ (‚Ah, ljubezen!‘) se Jutranja zarja pojavi, za njo pa Čas naznani začetek novega dne. Štirje elementi se prikažejo še enkrat, potem pa zaželena Jutranja zarja zaključi krog dvanajstih arij z villancicom ‚Dormida fatiga‘ (‚Speča utrujenost‘). Ko se opera razvija, lahko zelo jasno vidimo, da ima dva dela: v prvem delu se predstavijo elementi in njihov gnev ob hrepenečem čakanju na prihod svetlobe in dneva, v drugem delu pa je že moč čutiti slutnjo, da prihaja Čas, na katerega čakajo. Zaključni villancico opere daje vsakemu elementu – tudi Času – možnost, da svojo vlogo komentira. Ob zori skupaj pojejo o tem, kako ‚svetloba prihajajoče zarje pomeni praznovanje dneva‘, in delo se konča z ognjevitim, ritmičnim zaključkom. O ansamblu www.letendreamour.com Ideja za ime skupine Le Tendre Amour izhaja iz prevladujoče teme obdobja Ludvika XIV. Gre za energično skupino glasbenikov, ki jih je združila skupna zavezanost izvajanju glasbe poznega 17. in 18. stoletja na način, ki bo navdušil tudi današnje občinstvo. Ansambel, ki ga vodita Katy Elkin in Esteban Mazer, ima sedež v Barceloni, čeprav njegovi člani prihajajo iz različnih delov sveta. Že od vsega začetka ustvarjajo predvsem neobičajne programe, pri čemer vedno želijo ugajati občinstvu vseh starosti. V zadnjih letih se je njihovo umetniško zanimanje usmerilo v komorno opero, a še vedno nastopajo z različnimi programi v svojem prvotnem formatu sedmih glasbenikov. Njihovo raziskovalno delo na področju židovske baročne glasbe jim je prineslo nagrado za najboljšo interpretacijo na baročnem festivalu v Varaždinu (Hrvaška) leta 2008, na podlagi tega pa je nastala tudi njihova prva izvedba komorne opere, Esther skladatelja C. G. Lidartija. Njen uspeh v Parizu je vodil do produkcije intermedia Le Devin du Village J. J. Rousseauja na festivalu Styriarte leta 2009. Njihova najnovejša operna produkcija je bila Pergolesijeva La Serva Padrona v Barceloni. Vse te produkcije so še vedno del njihovih turnej in so nastale v sodelovanju z igralcem Adriánom Schvarzsteinom. V bližnji prihodnosti načrtujejo izvedbe del La Foire (2012) in Don Quixote (2013). Ansambel je snemal za znano založbo K617, trenutno pa ima pogodbo z Brilliant Classics.

The setting is commonplace, but the customers certainly are not! Four eccentric sopranos, all dressed up in typical flamenco costumes from the 1950s, are out for the evening and personify the elements Water, Air, Earth, and Fire both in character and dress. Their little feminine soiree is interrupted by a baritone – playing the part of Time – who tries unsuccessfully to win them over all evening. The barman – always busy arranging the bar, cleaning up, setting the chairs, and serving drinks – also finds the time to give the poor baritone some manly advice, but to no avail. The language used is very Baroque and exceedingly florid, but there is a plot amongst all the elegant lyrics: each one of the four Elements narrates, by means of their respective arias, the waiting for Aurora in the middle of the dark Night. In the villancico ‘¡Ay amor!’ (‘Ah, Love!’), Aurora appears, followed by Time announcing the new daybreak. The four elements appear again before the desired Aurora closes the cycle of the twelve arias with the villancico ‘Dormida fatiga’ (‘Sleeping fatigue’). As the opera progresses, two very well defined parts can be observed: one of them with the presentation of the Elements and the discharge of their wrath, yearning for the arrival of the Light and Day; another one which starts predicting the time longed for. The closing villancico of the opera allows each of the Elements – including Time – to comment on their role. As dawn finally breaks, they sing together how ‘the light of the nascent dawn celebrates the day, ‘ and the work comes to a fiery, rhythmic close.

About ensemble www.letendreamour.com Taking its name from a prevalent theme of the age of Louis XIV, Le Tendre Amour is an energetic group of musicians who have been drawn together by their common dedication to performing music of the late seventeenth and eighteenth centuries in a way that is inspiring to the audiences of today. The ensemble, directed and organized by Katy Elkin and Esteban Mazer, is based in Barcelona, though its members are originally from many corners of the world. Since their beginning, the emphasis has been in creating unusual programs, always with the aim of pleasing audiences of all ages. Over the past few years, their artistic interest has turned towards the field of chamber opera, although they continue performing various repertoires in their original format of seven musicians. Research in the field of Jewish baroque music led to the prize of best interpretation in the Varazdin Baroque festival 2008 (Croatia) and subsequently to their first chamber opera production, Esther by C. G. Lidarti. Its success in Paris led to a production of the intermedio Le Devin du Village by J. J. Rousseau at the Styriarte festival in 2009. Their latest opera production was of Pergolesi´s La Serva Padrona in Barcelona. All these productions continue to tour and were collaborations with the actor Adrián Schvarzstein. Upcoming productions include La Foire in 2012 and Don Quixote in 2013. The ensemble has recorded for the illustrious label K617 and currently is under contract for Brilliant Classics.

Partnerske organizacije / Partnership 3DH, arhitekturno projektiranje, David Hosta s.p. (Ljubljana, SI) Ad Libitum Konzertwerkstatt gGmbH (Villach, AT) Agencija Nymbus (Beograd, RS) AP Weber d.o.o. (Sevnica, SI) Arts and Artists Management Budapest (Budapest, HU) Associazione Epicantica (Trieste, IT) Associazione Orchestra Sinfonica „Guido d‘Arezzo“ (Arezzo, IT) Atribut storitveno in trgovsko podjetje d.o.o. (Ljubljana, SI) DPG Miha Cvek s.p. (Ljubljana, SI) Društvo za ohranjanje naravne in kulturne dediščine Grad Pišece (Pišece, SI) E3 Razvojno svetovanje, Franci Zidar s.p. (Celje, SI) Embaixada do Brasil em Liubliana (Ljubljana, SI) Eurograf, podjetje za grafično dejavnost, poslovne storitve, trgovino, proizvodnjo in gradbeništvo d.o.o. (Velenje, SI) Eventim SI d.o.o. (Ljubljana, SI) Festival Kvarner (Opatija, HR) Festival Ljubljana (Ljubljana, SI) Francoski inštitut Charles Nodier (Ljubljana, SI) Glasbena šola Škofja Loka (Škofja Loka, SI) Gostilna Javornik Goran Pevec s.p. (Šentrupert, SI) Illyria Arts Management (Split, HR) Ines Tours turistična agencija, d.o.o., Ljubljana (Ljubljana, SI) Institut Français (Paris, FR) Instituto Cervantes (Ljubljana, SI) Iqbator poslovno svetovanje in marketing d.o.o. (Ljubljana, SI) Italijanski inštitut za kulturo v Sloveniji (Ljubljana, SI) Javna agencija Republike Slovenije za spodbujanje podjetništva, inovativnosti, razvoja, investicij in turizma (Ljubljana, SI) Javni sklad RS za kulturne dejavnosti (Ljubljana, SI) Javni zavod krajinski park Goričko (Grad, SI) Javni zavod za kulturo in turizem Občine Velike Lašče - Trubarjevi kraji (Velike Lašče, SI)

Javni zavod za kulturo Litija (Litija, SI) Kabi d.o.o. (Ljubljana, SI) Kino Sora d.o.o. (Škofja Loka, SI) Koncertni ured Varaždin (Varaždin, HR) Krka, d.d., Novo mesto (Novo mesto, SI) Kulturni centar Banski dvor (Banja Luka, BA) Kulturno društvo Smila Grosuplje (Grosuplje, SI) Loški muzej Škofja Loka (Škofja Loka, SI) Mestna občina Ljubljana (Ljubljana, SI) Ministrstvo za kulturo (Ljubljana, SI) Mladinska knjiga založba d.d. (Ljubljana, SI) Narodni muzej Slovenije (Ljubljana, SI) New European Opera (Paris, FR) Občina Brežice (Brežice, SI) Občina Dolenjske Toplice (Dolenjske Toplice, SI) Občina Grad (Grad, SI) Občina Litija (Litija, SI) Občina Rogaška Slatina (Rogaška Slatina, SI) Občina Slovenska Bistrica (Slovenska Bistrica, SI) Občina Škofja Loka (Škofja Loka, SI) Občina Vojnik (Vojnik, SI) Posavski muzej Brežice (Brežice, SI) Radiotelevizija Slovenija javni zavod, Ljubljana (Ljubljana, SI) Rakar – gostilna in prenočišča Boštjan Rakar s.p. (Trebnje, SI) RASR, razvojna agencija savinjske regije, d.o.o. (Celje, SI) Razvojna agencija Sora d.o.o. (Škofja Loka, SI) Reco Music Management (Helmond, NL) Regionalna razvojna agencija Posavje (Krško, SI) Renaissance Festival of Rethymno (Rethymno, GR) Réseau Européen de Musique Ancienne (Versailles, FR) Societatea Musica Antica (Timisoara, RO) Stichting Maastricht Culturele Hoofdstad van Europa 2018 (Maastricht, NL) SŽ - potniški promet, d.o.o. (Ljubljana, SI) Terme Čatež d.d. (Čatež ob Savi, SI) Terme SPA Rogaška d.d. (Rogaška Slatina, SI)

Seviqc Brežice 2013 Izdal / Published by: Ars Ramovš zavod za umetnost, marketing, promocijo in investiranje, Ljubljana Urednik / Editor: Žan Cimerman Oblikovanje / Design: David Hosta Prevodi / Translations: Lea Gunc, Ars Ramovš Jezikovni pregled / Language editing: Vera Lamut, Ars Ramovš Fotografije / Photographies: Arhiv / Archive Ars Ramovš Tisk / Printing: Eurograf d.o.o

Trgograd d.o.o., Litija (Litija, SI) Udruženje „Musica ad Hominem“ (Sarajevo, BA) U-SOPHIA (Tel Aviv, IL) Veleposlaništvo Francoske republike (Ljubljana, SI) Veleposlaništvo Republike Avstrije (Ljubljana, SI) Veleposlaništvo Španije v Sloveniji (Ljubljana, SI) Zavod za kulturo Slovenska Bistrica (Slovenska Bistrica, SI) Zidar Klemenčič Nina - Odvetnica (Ljubljana, SI) ZKŠT Zavod za kulturo, šport in turizem Žalec (Žalec, SI) Zveza kulturnih društev Grosuplje (Grosuplje, SI) Župnija Litija (Litija, SI)

Deklaracija javnega interesa / Decleration of public interest Iz sredstev davkoplačevalcev sofinancirajo festival Seviqc Brežice 2013 / The Seviqc Brežice Festival 2013 is co-finananced from taxpayer funds by: Francoski inštitut Charles Nodier (Ljubljana, SI), Institut Français (Paris, FR), Italijanski inštitut za kulturo v Sloveniji (Ljubljana, SI), Mestna občina Ljubljana (Ljubljana, SI), Ministrstvo za kulturo (Ljubljana, SI), Občina Brežice (Brežice, SI), Občina Dolenjske Toplice (Dolenjske Toplice, SI), Občina Grad (Grad, SI), Občina Rogaška Slatina (Rogaška Slatina, SI), Občina Slovenska Bistrica (Slovenska Bistrica, SI), Občina Škofja Loka (Škofja Loka, SI), Občina Vojnik (Vojnik, SI), Veleposlaništvo Republike Avstrije (Ljubljana, SI) in / and Veleposlaništvo Španije v Sloveniji (Ljubljana, SI). Festival Seviqc Brežice 2013 smo pripravili s koproducenti programa / The Seviqc Brežice Festival 2013 was prepared with co-producers of the programme: Ad Libitum Konzertwerkstatt gGmbH (Villach, AT), Associazione Orchestra Sinfonica „Guido d‘Arezzo“ (Arezzo, IT), Festival Kvarner (Opatija, HR), Javni sklad RS za kulturne dejavnosti (Ljubljana, SI) / OI Škofja Loka in / and New European Opera (Paris, FR).

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