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2012

festival stare glasbe early music festival


SEVIQC BREŽICE 2012

Festival stare glasbe

Early music festival

Republika Slovenija

Evropska Unija

République française

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Reino de España

Koninkrijk België Royaume de Belgique

Vlaanderen

Российская Федерация

Magyarország

rogram, ki se danes imenuje Seviqc Brežice in spada med najprepoznavnejše evropske festivale stare glasbe, smo pričeli poleti 1982 z namenom, da v Sloveniji razvijemo takrat povsem nepomembno sceno stare glasbe. V tem času smo pustili za slovensko in evropsko kulturo neizbrisljive sledi, prehojena pot je tudi zaradi vloženih naporov izjemna. Z najuglednejšimi svetovnimi umetniki, hitro rastočo domačo produkcijo, mladimi talenti ter uspešno opravljenimi projekti in s tistimi, ki so v polnem razcvetu, ima program identične vizije tistim pred tridesetimi leti. Cilji so isti, le nekoliko bolj zahtevni. Letos je pred Vami že enaintrideseta zaporedna sezona. Zahvaljujemo se vsem, ki Vam ni vseeno, kakšna je naša kultura in ste nam v vseh teh lepih časih stali ob strani in nas podpirali. Zahvaljujemo se Vam za vse podpore, ki nam jih boste nudili tudi v prihodnjih letih, delo še ni opravljeno, na tem področju smo lahko kot država mednarodno močno prepoznavni, vlagati v to dejavnost pomeni uveljavljati svojo identiteto in svoj ponos, kar se v vedno manjšem svetu uspešno vrača v naše skupno dobro. Krize pridejo in grejo, naša volja, ponos in uspešnost pa grejo naprej z ljubeznijo do lepega.

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Koninkrijk der Nederlanden

Republika Hrvatska

Repubblica Italiana

Republik Österreich

Rzeczpospolita Polska

he programme, known today as Seviqc Brežice, is one of the most recognizable European early music festivals. It began in 1982 with the goal of developing an early music scene, insignificant at the time in Slovenia. Since then it has left an indelible mark in the Slovenian and European cultures. It has been an incredible journey. Our vision has not changed over the past thirty years; the goals are the same, if only more ambitious. We collaborate with the most distinguished international artists and young talents, have a fast-growing number of home artists, successfully completed projects and others in full swing. This year marks the 31st consecutive season. We would like to thank all of you who care about culture and who have been at our side, supporting us and cheering us on. We also thank you for your future support. Our work is not finished yet, a lot still needs to be done. The early music scene is a field where Slovenia can achieve international recognisability, investing in it represents a way of asserting our national identity and pride in a world that is getting smaller by the minute. Crises come and go, but our will, pride and successfulness grow stronger in our love of everything beautiful.


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Brežice Grad Brežice, Viteška dvorana / Brežice Castle, Knights’ Hall Jesenice na Dolenjskem Cerkev sv. Marije Magdalene / Church of St. Mary Magdalene Pišece Grad Pišece / Pišece Castle

2 Občina Dolenjske Toplice

Dolenjske Toplice Hotel Kristal, Kristalna dvorana / Hotel Kristal, Crystal Hall Soteska Hudičev turn / Devil’s Tower

Občina Slovenska Bistrica

9 Občina Škofja Loka

Grad Grad Grad / Grad Castle

Zaplaz Cerkev Matere Božje / Church of the Mother of God font Palatia

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4 Občina Litija

OBÈINA LITIJA GRB - ZASTAVA

Velenje Grad Velenje / Velenje Castle

Litija Cerkev Sv. Nikolaja / St. Nikolas Church

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5 Mestna občina Ljubljana

Ljubljana Atrij ZRC / Atrium SRC Narodni muzej Slovenije, Atrij / National Museum of Slovenia, Atrium Slovenska filharmonija, Dvorana Marjana Kozine / Slovenian Philharmonic, Marjan Kozina Hall

Občina Velike Lašče

Mestna občina Ptuj

Občina Vojnik

Občina Rogaška Slatina

Lemberg Grad Lemberg / Lemberg Castle

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Rogaška Slatina Grand hotel Rogaška, Kristalna dvorana / Grand hotel Rogaška, Crystal Hall

Turjak Grad Turjak, Viteška dvorana / Turjak Castle, Knights’ Hall

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Ptuj Grad Ptuj, Slavnostna dvorana / Ptuj Castle, Festival Hall

Škofja Loka Sokolski dom, Kristalna dvorana / Crystal Hall

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3 Občina Grad

Slovenska Bistrica Grad Slovenska Bistrica / Slovenska Bistrica Castle

Občina Žalec

Novo Celje Dvorec Novo Celje / Novo Celje Mansion


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O ansamblu http://leclat.des.muses.free.fr/ L’Eclat des Muses – Cie Christine Bayle je družba, ki se ukvarja z baročnim plesom, je raziskovalna ekipa in šola. Ustvarja predstave, v katere vstopajo glede na projekt poleg plesa in »žive« glasbe tudi igra in gledališče ter besedila. Njeno raziskovanje se nanaša na povezanost in medsebojni vpliv baročnih umetnosti, na repertoarje, ki so izginili v zgodnjih in poznejših baročnih časih, ter na poglobitev teoretičnih in praktičnih znanj. Družba na različna občinstva prenaša praktična znanja, poučuje amaterje in od leta 1983 vzgaja za številne poklice. Ta sodobni ansambel za stari ples in glasbo se posveča sodobnemu ustvarjanju, pri čemer izhaja v svojih projektih iz danosti, povezanih s kraji, umetniki in teritoriji. Baročni ples je pravzaprav nova umetnost: študij baročnih spisov je v osemdesetih letih 20. stoletja pripeljal do odkritja plesov iz časa med 16. in 18. stoletjem ter do boljše glasbene razlage likov francoske suite. Odkrili pa smo tudi célo pozabljeno poglavje zgodovine umetnosti, ki nas je osupnilo s svojo skrito lepoto. L’Eclat des Muses se brez predsodkov o starem in novem zavzema za druge načine ustvarjanja na osnovi teh virov. Christine Bayle je od leta 1983 dalje želela nadaljevati z izkušnjo, ki jo je začela skupaj s koreologom Francinom Lancelotom ter čembalistom in teoretikom Antoinom Geoffroy-Dechaumom, in sicer z združevanjem glasbenikov in plesalcev v aktualno, multidisciplinarno prakso z namenom ustvarjanja: združevanje prakse z raziskovanjem plesnih slogov (ob proučevanju različnih obdobij, kot je Belle Dance) pomeni tudi sodelovanje zgodovinarjev, muzikologov in interpretov (glasbenikov in plesalcev) tako na pripravah kot tudi na odru. L’Eclat des Muses stremi k ustvarjalnemu koraku, ki si med raziskovanjem in realizacijo uprizoritev drzne naslednje: • Ustvarjanje vnaša ples v pluralni kontekst, ki obsega glasbo, poezijo, besedilo in gledališče. Za nas je že sámo raziskovanje lahko predmet umetniškega ustvarjanja; nasprotno pa se glede na navdih ustvarjanje osvobaja formalnih omejitev nekega obdobja. • Raziskovanje razkriva koreografije Belle Dance in novih repertoarjev, zahvaljujoč »virom« – zapisom plesnih mojstrov. Realizacija obstoječih koreografij Pécourja, Ballona, Feuilleta na glasbo Lullyja, Maraisa, Campra … podpira delo na glasbenih interpretaciji plesnih likov v njihovi neprestani izmenjavi. Iščemo »duha« te soigre. • Uprizarjanje baletov, komedij – baletov in tragedij – skupaj z besedili omogoča razumevanje dvornega baleta (ballet de Cour) in francoske opere. • Posredovanje poteka tako s pomočjo prenosa kulture kot tudi s poustvarjanjem občutkov tistega časa in živim prikazom kraja.

L’Eclat des Muses Ludvik XIII / Louis XIII (prir. / arr. Patrick Blanc) Le Ballet de la Merlaison Christine Bayle (koreografinja in režiserka / choreographer and director) Patrick Blanc (glasbeni direktor / musical director) Petek / Friday, 22.6.12, 20:30 Brežice, Grad Brežice / Brežice Castle (otvoritveni koncert / Opening concert) Sobota / Saturday, 23.6.12, 20:30 Škofja Loka, Sokolski dom Dvorne dame in gospodje prihajajo slavit Karneval: znani izvajalci in plesni mojstri radostno plešejo nenavaden »kraljevi balet«, na čelu katerega pleše sam kralj, in nastopajo v različnih vlogah. Moški v maskah igrajo ženske vloge. Spreminjajo se v smešne postave, prikazujejo zdaj lovce, zdaj njihov plen. Ves čas pa gre za glasbo in plese, ki jih je ustvaril kralj. Na osnovi muzikoloških in zgodovinskih raziskav je glasbenik in skladatelj Patrick Blanc obnovil in oživil partituro Ludvika XIII. z dokumentirano instrumentacijo in ornamentiko. Koreografinja in režiserka Christine Bayle je ustvarila scenarij in koreografijo, ki sega od prijetnega in vzvišenega do burleske. Ballet de la Merlaison je tako igriv in dvoumen kot proces zapeljevanja ter je prikrita metafora politične in vojaške strategije, ko se pripravlja vojni spopad s Španijo. Court Ladies and Cavaliers come to celebrate the Carnival: well-known performers and dance masters joyfully dance an unusual «king’s ballet» that the king himself leads, playing multiple roles. Disguised and masked, men play female roles. They change into humorous «characters»; now hunters, now preys, they perform on the music and the dances created by the king. Through musical and chronological research, musician and composer Patrick Blanc restored and brought to life Louis XIII’s score through documented instrumentation and ornamentation. Director and choreographer Christine Bayle invented the script and the choreographies – from the pleasing and the noble to the burlesque. The Ballet de la Merlaison is as playful and ambiguous as the powers of seduction, light metaphor of political and military strategies when the imminent war against Spain is being prepared.

Foto / photo: Didier Saulnier / L’Eclat des Muse

Občina Škofja Loka

Foto / photo: Didier Saulnier / L’Eclat des Muse

Ta opatija je najlepši kraj za prvo pokušino veličastnih strani partiture baročne glasbe; pobeg v poetični svet Kosolova… (Télérama - L’agenda des événements, september 2011) Oživitev te pozabljene predstave /…/ po več kot štirih stoletjih je fenomenalna. Tovrstni so danes redki. Po besedah Patricka Blanca ima to zgodovinsko obdobje veliko vrzel. Delo, ki na odru združuje devet plesalcev in dvanajst glasbenikov, predstavlja podvig, v katerega je bilo vloženega veliko truda. (Rosita Boisseau, Le Monde, 15.8.2011) Izvolite balet, za katerega obstaja dokaz, libreto, nekaj glasbenih odlomkov in kopija zbirke pesmi. Christine Bayle in njena družina, L’Eclat des Muses, so se resno lotili te osupljive obnove. »Trdo smo delali, da bi sestavili toliko elementov«. (Le Figaro Magazine, 3.9.2011)


About ensemble L’eclat des Muses – Cie Christine Bayle is a Baroque dance society, a research team and a school. It creates performances which, in line with the projects, incorporate texts in addition to dance, “live” music, acting and theatre. Its research focuses on the intertwinement and impact of the Baroque arts on the repertoires which disappeared in the early and later Baroque times, as well as on deepening of theoretical knowledge and practices. The society transmits practical knowledge to various audiences, teaches amateurs and has been offering training for different professions since 1983. The majority of the projects of this modern dance group and old music society, which are linked to places, artists and town halls, deal with modern art. Baroque is in fact a form of modern art: the study of Baroque texts in the 1980s led to the discovery of dances which existed in the period between the 16th and the 18th centuries and to more accurate musical interpretation of the French characters. An entire chapter of forgotten art history with its astonishing hidden beauties was discovered. Disregarding the prejudices about the old and the new, L’Eclat des Muses promotes alternative ways of artistic production – the creation of new from known, old sources. Ever since 1983, Christine Bayle has aspired to continue with the experience she initiated together with choreologist Francine Lancelot and harpsichord player and theoretician Antoine Geoffroy-Dechaum, which consisted of uniting musicians and dancers in an up-to-date, multidisciplinary creative practice. Uniting practice with the dance styles study (which researches different periods, such as the Belle Dance) requires constant cooperation of historians, musicologists and interprets (musicians and dancers) both during preparation phase and on stage. L’Eclat des Muses aims for production which in the spectre between research and realisation of spectacles allows the following: • Their production puts dance in the context of numerous styles, music, poetry, text and theatre. The study alone was the subject of artistic production which, following the inspiration, upgraded it to the level of physical creation, disregarding the formal restrictions of any given time period. • The study reveals choreographies from the Belle Dance and new repertoires thanks to the “sources” – the notes of dance masters. The realisation of the existing choreographies of Pécour, Ballon, Feuillet to the music of Lully, Marais, Campra, etc., creates a colourful musical and dance interpretation, thus offering the audiences new experience. • Performances of ballets, comedies – ballets and tragedies – together with the texts improves the understanding of the court ballet (ballet de cour) and the French opera. • The approximation is achieved by means of transfering the culture, recreation of the sentiments of the era and a lively depiction of places.

Foto / photo: Didier Saulnier / L’Eclat des Muse

Foto / photo: Didier Saulnier / L’Eclat des Muse

The abbey was the perfect venue for the first performance of this magnificent baroque musical score. The ballet offers an escape into the poetic world of blackbird hunting ... (Télérama - L’agenda des événements, September 2011) The revival of a forgotten show /.../ after four hundred years, the show is phenomenal which is rare these days. According to Patrick Blanc, the historical period is full of gaps. The staging of the show, combining nine dancers and twelve musicians, was a challenge and required a lot of hard work. (Rosita Boisseau, Le Monde, 15.8.2011) Here is a ballet based on proof, a libretto, some musical bits and a copy of the song collection. Christine Bayle and her family, L’Eclat des Muses, dedicated themselves to its reconstruction. “We worked hard to bring together this many elements”. (Le Figaro Magazine, 3.9.2011)

Foto / photo: Didier Saulnier / L’Eclat des Muse


musica cubicularis Giuseppe Tartini - Ogenj, fantazija, preprostost in učenost Fire, fantasy, simplicity and erudition Žiga Faganel (violina / violin) Domen Marinčič (violončelo / violoncello) Tomaž Sevšek (čembalo, klavikord / harpsichord, clavichord) Petek / Friday, 29.6.2012, 20:30 Jesenice na Dolenjskem, Cerkev sv. Marije Magdalene Church of St. Mary Magdalene Giuseppe Tartini (1692–1770) Sonata II Concerto IV Sonata XIII, Pastorale *** Sonata XVII Sonata [orig. brez naslova / no original title] Sonata Il trillo del Diavolo Violinski virtuoz Giuseppe Tartini (1692–1770) se je rodil v Piranu in večino življenja preživel v Padovi. Slovenski trio na zgodovinskih glasbilih je pripravil pisan spored skladb, v katerih je razviden vpliv Istre in Furlanije, pred nedavnim odkrito sonato za violončelo, čembalsko transkripcijo enega izmed violinskih koncertov in sloviti Vražji trilček. Nekatere skladbe bodo zazvenele na izvirni violini, ki je bila nekoč Tartinijeva last in jo danes hrani Pomorski muzej »Sergej Mašera« Piran. Violin virtuoso Giuseppe Tartini (1692 – 1770) was born in Piran and spent most of his life in Padua. The Slovenian trio on period instruments prepared a colourful selection of compositions with a marked influence of Istria and Friuli, including a newly discovered cello sonata, a harpsichord transcription of one of the violin concertos and the famous Devil’s Trill Sonata. Some works will be played on an original violin that once belonged to Tartini and is now kept by the Maritime Museum »Sergej Mašera« Piran.

O ansamblu Ansambel musica cubicularis je nastal leta 2004 kot trio ter se kmalu razvil v dinamičen sestav prilagodljive velikosti in zasedbe. Posveča se izvajanju stare glasbe na ustreznih zgodovinskih instrumentih in v svoje koncertne sporede pogosto vključuje manj znana in še neobjavljena dela. Ansambel je doslej sodeloval z domačimi in tujimi pevci, violinisti, flavtisti, lutnjisti, čembalisti, cinkisti, pozavnisti, igralci, plesalci in z jazzovskim saksofonistom Vaskom Atanasovskim. Gostoval je na številnih festivalih v Sloveniji, Italiji, Nemčiji in Španiji. Leta 2005 je za Radio Slovenija in Muzikološki inštitut ZRC SAZU posnel zgoščenko slovenske baročne glasbe, leta 2009 pa zgoščenko sonat Giuseppeja Tartinija z violinistom Žigo Faganelom. Letos je izšla zgoščenka s posnetki koncertov prve sezone cikla HARMONIA CONCERTANS – Stara glasba na Novem trgu. Navduševala nas je slogu primerna igra v čisti intonaciji, ki se je tako rekoč brez vibrata razlegala v mehkem zvenu baročnih violin. (Mihael Paš, 3. program ARS Radia Slovenija, 1. junij 2011) Svežina je bila glasbi zagotovljena, saj je izrazni premislek povezoval izvajalce. Musica cubicularis […] deluje z nedvomnim stilno-tehničnim, v tem primeru godalskim uvidom. (Jure Dobovišek, Delo, 11. avgust 2010) Z ansamblovo podjetnostjo, ki je raziskovalno muzikološko odlično podprta, so se stvari pri nas začele premikati. (Jure Dobovišek, Delo, 28. julij 2009)

Foto / photo: Jana Jocif


About ensemble The ensemble Musica Cubicularis came to be in 2004 as a trio and soon developed into a dynamic structure of adjustable size and cast. They dedicated themselves to performing old music on suitable historical instruments and they often add into their concert listings less known or even unpublished works. The ensemble has so far collaborated with domestic and foreign singers, violinists, flutists, lutenists, harpsichord players, cornettists, recorder players, sackbut players and the jazz saxophonist Vasko Atansovski. The Ensemble has given numerous concerts in Slovenia, Italy and Germany and Spain. In 2005 they recorded a CD of Slovenian baroque music for Radio Slovenia and the Institute of Musicology - ZRC SAZU and in 2009 a CD of sonatas by Giuseppe Tartini with the violinist Žiga Faganel. This year a CD with recordings of concerts of the first season of the cycle HARMONIA CONCERTANS – Old Music on a New Square. We were enchanted by the musicianship in a suitable style with pure intonation that flowed almost without vibrato in the soft voice of baroque violins. (Mihael Paš, 3rd Programme ARS Radio Slovenia, 1st of June 2011) Freshness was insured for the music as an expressive thoughtfulness connected the performers. Musica Cubicularis [...] works with an undoubtedly stylistictechnical, in this case, string comprehension. (Jure Dobovišek, Delo 11th of August 2010) With the enterprising drive of the ensemble that has excellent support through research musicology, things have started to move around here. (Jure Dobovišek, Delo, 28th of July 2009)

Foto / photo: Jana Jocif


Artefactum Tacuinum Sanitatis: srednjeveška glasba za dobro počutje / Medieval Music for a Good Living Francisco Orozco (glas, lutnje / voice, lutes) Alberto Barea (glas, šalmaj / voice, chirimía) José Manuel Vaquero (organeto, lajna / organetto, hurdy gurdy) Ignacio Gil (kljunasta flavta, šalmaj, dude / recorders, chirimia, bag pipe) Álvaro Garrido (tolkala / percussion)

Občina Dolenjske Toplice

Sobota / Saturday, 30.6.2012, 20:30 Dolenjske Toplice, Hotel Kristal, Kristalna dvorana Hotel Kristal, Crystal Hall Anonymous TOURDION Anonymous GHAETTA Alfonso X el Sabio NON SOFRE SANTA MARIA (Cantiga 159) Anonymous ENGLISH DANCE Anonymous SIC MEA FATA (CB 116) Anonymous BULLA FULMINANTE (CB 131) Alfonso X el Sabio A MADRE DE JESU CRISTO (Cantiga 172) Maffufi Mehena KABIL SONG Bernard de Ventadour CUANDO L´ERBA FRESC Anonymous A L´ENTRADA DEL TEMP CLAR Anonymous SALTARELLO I Anonymous STELLA NOVA

Skupina Artefactum se je pri ustvarjanju glasbenega programa oprla na znameniti srednjeveški rokopis Tacuinum Sanitatis. Rezultat je program, ki prikazuje zanimiv pogled na srednji vek kot čas sreče in veselega življenja. Rokopis je osnova programu, ki vključuje dela, ko so Carmina Burana, trubadurske pesmi, cantige in plesi, pesmi o vinu, ljubezni itd. Za glasbenike te skupine srednjeveška glasba ni črna in siva, temveč polna barv, sreče in veselja. Artefactum, basing themselves on the Tacuinum Sanitatis book, managed to create a musical programme that shows an interesting side of the medieval era, made of happiness and joyous living. Tacuinum Sanitatis represents the basis of their work, which includes musical pieces such as Carmina Burana, Trovadoros, Cantigas and dances, songs about wine, love etc. To these musicians, medieval music is not about black and grey, but rather about colours, happiness and enjoyment. O ansamblu www.artefactumusicantigua.com Skupina Artefactum se vse od svoje ustanovitve leta 1994 trudi ponovno odkriti in utrditi repertoar srednjeveške glasbe v Španiji. Kmalu so postali ena najpomembnejših glasbenih skupin na področju stare glasbe. Sloves jih je ponesel na festivale v Španiji in na tujem (Italija, Portugalska, Francija, Maroko, …). Člani skupine so izkušeni glasbeniki, ki imajo za seboj bogate delovne in življenjske izkušnje, ki so pri njihovem delu zelo pomembne. Nemogoče je namreč prenašati občutke, ki jih nismo nikdar občutili; čustev se ne moremo naučiti s pomočjo glasbenih not. Lahko bi rekli, da srednji vek pooseblja kontrast med samostansko preprostostjo in razbojništvom življenja v tavernah, med udobjem kraljevih dvorov in uboštvom romarjev na poti v Santiago. Čeprav je morda videti skoraj neverjetno, so vse te prvine skupaj z mnogimi drugimi prisotne v Artefactumu. V svojem bistvu so Cantige festival ritma, prodoren in razvedrilen »srednjeveški karneval«, vznemirljiva hrupnost lajne, viole, flavt, gotskih harf in organetov, večritmična zabava, igra nagajivih namigovanj in nebrzdanega navdušenja. (Juan Maria Rodriguez, dnevnik El Mundo) Ljubitelji stare glasbe niso nikdar podvomili v nastop skupine Artefactum. V zadnjih nekaj letih so postali razpoznavni in spoštovani. Zahvaljujoč nenavadnemu pristopu do stare glasbe so postali trubadurji moderne dobe. Njihova interpretacija srednjeveške glasbe je odprta, živahna in gibčna. Recitalov se lotevajo neposredno in spontano, kar očara skoraj vsakogar, ki jim prisluhne. Vtis naredi že samo število glasbil, ki jih na svojih nastopih uporabljajo, in je že to skoraj zadosten razlog za obisk njihovih koncertov. Vse to so pokazali na sredinem koncertu s svojim natančnim, barvitim, očarljivim in bohotnim nastopom. (Ismeal Gonzalez, Correo de Andalucia) Glasba je hipnotizirala in očarala občinstvo, ki je z bučnim ploskanjem izvajalce priklicala na oder za še eno dodatno točko. Skupini je uspelo združiti čudovito interpretacijo glasbe s prav toliko očarljivim občutkom za gledališče. (Andrés Moreno Mengíbar, ABC)

About ensemble Founded in 1994, Artefactum first intended to recover and spread the musical repertory of the Middle Ages all across Spain. Afterwards it became one of the most representative groups within the Spanish early music landcape. They take part in the best early music festivals throughout Spain and, consequently, receive invitations to festivals taking place abroad (Italy, Portugal, France, Morocco, ...). The members of Artefactum are experienced performers with musical careers as rich and complex as their experience of life itself, which is of fundamental importance to understanding the pieces they create. It is impossible to transmit feelings that have not been really experienced; emotions cannot be learnt from a musical score. The medieval era is perhaps the historic period with the most explicit contrast between monastic simplicity and the picaresque flavour of life in the taverns, between the comforts of the royal courts and the penuries of the pilgrims’ route to Santiago. Although it may seem hard to believe, all these elements and many more are present in Artefactum ... Indeed, Artefactum’s Cantigas are essentially a festival of rhythms, an incisive and exhilarating “medieval carnival”, an exciting riot of hurdy gurdy, viola, flutes, gothic harps and organettos, a poly-rhythmical fiesta, a game of mischievous insinuations and unbridled enthusiasm. (Juan Maria Rodriguez, Diario El Mundo) For lovers of early music Artefactum’s performance was never going to be in doubt since over the past few years the ensemble has won widespread recognition and respect for their unusual approach to becoming modern-day troubadours. Their open, agile and lively interpretation of medieval music, and the direct and spontaneous way in which they approach their recitals seem to captivate almost everyone who hears them. The range of instruments is impressive in itself and is almost reason enough to attend the concert, but the ensemble’s command of the repertoire is overwhelming and they demonstrated this to the full on Wednesday with their precise, colourful and fascinatingly exuberant performance. (Ismeal Gonzalez, Correo de Andalucia) A magical night of medieval music / … The ����������������������������������� music hypnotised and enchanted the audience and, following a standing ovation, the performers had no choice but to return to the stage for another encore. The group managed to combine the wonderful musical interpretation of the material with an equally compelling sense of theatre. (Andrés Moreno Mengíbar, ABC)


Zefiro Torna

WITH THE SUPPORT OF THE FLEMISH GOVERNMENT

O, Monde aveugle! Pesmi apokalipse / Songs for the Apocalypse Els Van Laethem (sopran, pozavna, tromba marina / soprano, trombone, marine trumpet) Jowan Merckx (kljunaste flavte, altovski krivi rog, krilovka, tolkala, vokal / recorders, alto crumhorn, flügelhorn, percussion, vocals) Philippe Laloy (sopranski saksofon, krivi rog, basovska flavta / soprano saxophone, crumhorn, bass flute) Gwen Cresens (bandoneon, harmonika / bandoneon, accordion) Vincent Noiret (kontrabas, vokal / double bass, vocals) Jurgen De bruyn (lutnje, vokal, umetniško vodstvo / lutes, vocals, artistic direction) Petek / Friday, 6.7.2012, 20:30 Pišece, Grad Pišece / Pišece Castle Sobota / Saturday, 7.7.2012, 20:30 Lemberg, Grad Lemberg / Lemberg Castle

Mestna občina Ljubljana

Nedelja / Sunday, 8.7.2012, 20:30 Ljubljana, Narodni muzej Slovenije, Atrij National Museum of Slovenia, Atrium Jacopo da Bologna (1340-1386) O cieco mondo Els Van Laethem (*1973) Di morte certo Na poezijo / on Poems of the Rime: Michelangelo Buonarroti (1475-1564) Els Van Laethem (*1973) La gola Tekst / Text: Canzonieri, Francesco Petrarca (1304-1374) Jacob Clemens non Papa (1510-1556) Blason du laid tetin (Blason grdega joška / Blason of the ugly tit) Contreblason po verzih / on verses by Clément Marot (1496-1544) Jowan Merckx (*1961) Jade Els Van Laethem (*1973) Huc Huc Priapusova pesem neznanega Rimskega avtorja / Priapus’ poem by an anonymous Roman author Gwen Cresens (*1975) Da’s sport

Cristòbal de Morales (ca. 1500-1553) Taedet animam meam Prir / Arr. Zefiro Torna Cypriano de Rore (ca. 1515-1565) Calami sono ferentes Tekst / text: Giovanni Battista Pigna (ca. 1530-1575), prir. / arr. Zefiro Torna Johannes Ciconia (ca. 1370-1412) Con lagreme bagnandome el viso Prir / Arr. Zefiro Torna Jowan Merckx (*1961) De bekendste vreemde / Perte totale Jowan Merckx (*1961) Digging evenings Georges Brassens (1921-1981) Le Blason Sodobnost lahko razumemo kot točko, kjer se stekajo in končujejo številni časovni cikli. Majevski, svetopisemski in alkimistični koledar označujejo leto 2012 za leto apokalipse in čas prerokb. Program O, Monde aveugle, ki nam ga bo predstavil belgijski vokalnoinštrumentalni sekstet Zefiro Torna, prikazuje človeka v njegovem slepem strahu pred neznanim, ko se srečuje z globokim občutkom moralne razburkanosti. Zver v človeku pokaže svoj obraz in na površje pride njegova uničevalna narava, vodi ga, kar je groteskno in izprijeno. Soočanje s samim seboj povzroči premik zavedanja, ta sprememba pa vodi v novo dobo, ki ponuja izhod v smeri novih energij. Our time can be considered as a converging and ending point of numerous time cycles. The Mayan calendar as well as the biblical and the alchemist’s one point 2012 out as the year of the Apocalypse and the time of prophecies. ‘O, Monde aveugle’, from the Belgian vocal-instrumental ensemble Zefiro Torna, depicts man in his blind fear of the unknown, confronted with a profound sense of moral turmoil. The beast in man is revealed and his destructive nature surfaces, he is lead by the uncanny comical and obscene. The confrontation with his self sets off a shift of consciousness, a transformation leading to a new age, with an exit towards new energies.

O ansamblu www.zefirotorna.be Flamski vokalno-instrumentalni ansambel Zefiro Torna oživlja evropsko kulturno dediščino srednjega veka, renesanse in baroka na prav poseben način. To se izraža v izboru avtentičnih glasbil ter v zgodovinskih tehnikah petja, igranja in improvizacije, ki temeljijo na raziskavah. Zefiro Torna se ne omejuje zgolj na zgodovinski pristop, ampak ga združuje s sodobnim umetniškim izražanjem. Poleg čistih glasbenih projektov skupina pripravlja tudi multidisciplinarne programe, ki vključujejo literaturo, likovno umetnost, ples ter etnično, sodobno in eksperimentalno glasbo. Zato medse vabijo številne priznane flamske in tuje umetnike. Izhajajoč iz različnih umetnostnih zvrsti snujejo projekte na osnovi različnih simboličnih ali alegoričnih tem, ki se nanašajo na Čas, Prostor in Človeka. Tako nastajajo očarujoče celostne umetnine (Gesamtkunstwerk), ki imajo globlji pomen in presegajo zgolj glasbeno. Tako njihove programe lahko beremo kot glasbene igre. Zaradi svojega pristopa je skupina Zefiro Torna postala mednarodno priznana ter je dobrodošla v slavnih koncertnih dvoranah ter na glasbenih in umetniških festivalih. Za svoja avtorska dela redno prejemajo nagrade in številna so že bila izdana pri založbah Et’Cetera in Homerecords. Zefiro Torna z lastnimi aranžmaji in skladbami vedno dodaja glasbi osebno barvo. Za skupino je znano, da se ne omejuje le na svet »stare glasbe«. To združevanje glasbenih ozadij in glasbil pripelje do tega, da je O, Monde aveugle prav tako doma v svetu klasične kot tudi v vodah ljudske in jazzovske glasbe. Zaradi srednjeveške atmosfere, vonja po Orientu, ljudske glasbe, šansona, proste improvizacije in nepričakovanih disonantnih akordov je O, Monde aveugle glasbeni program, ki sega preko kultur in stoletij, ne da bi izgubil spoštovanje do značilnosti posameznih prvin. Dokazuje, da izraz »crossover« ne pomeni nujno glasbenega posmehovanja. (Koen Van Meel, kwadratuur.be, februar 2012) Leta 2005 so prejeli belgijsko nagrado za najboljši klasični album leta. Skupina ni samo še eden od ansamblov za staro glasbo, ampak skupina ustvarjalnih umov, ki si drznejo pogledati dlje od stoletja stare glasbe ter jo interpretirati na popolnoma lasten način in z močnimi sodobnimi zvoki. Skupina Zefiro Torna naredi staro glasbo dostopno neizkušenemu občinstvu z resnično muzikalično spretnostjo, močnimi besedili ter energičnim in ustvarjalnim zvokom. (Michel Schroeder, Zeitung, december 2010)


Foto / photo: Lieven Dirckx

About ensemble The Flemish vocal-instrumental ensemble Zefiro Torna brings to life the European cultural heritage from the middle ages, renaissance and baroque in a unique way. This manifests itself in their choice for authentic instruments and historic sing, play and improvisation techniques that are all based on historical research (HIP). Zefiro Torna does not limit itself to a merely historical approach but combines it with current art expressions. Besides the purely musical productions, the ensemble also brings multidisciplinary programs that integrate literature, plastic arts, dance and ethnic, contemporary and experimental music. To this purpose, it invites numerous renowned Flemish and foreign artists. Starting out from different artistic disciplines, collaborations are set up around a variety of symbolic or allegorical themes referring to Time, Space and Man. This results in fascinating pieces of ‘Gesamtkunst’ that receive a deeper meaning and transcend the merely musical. As such, the programs can be read as musical plays. Through this approach, Zefiro Torna has gained international renown and by consequence, the ensemble is a welcomed guest in famous concert halls and on music and art festivals. Their own creations are regularly awarded prizes and many have already been released on the labels Et’Cetera and Homerecords. With their own arrangements and compositions, Zefiro Torna applies a personal colouring to the music. The ensemble doesn’t have the reputation to confine itself to the world of the ‘old music’. This combination of musical backgrounds and instruments lead to the fact that “O, Monde Aveugle” is just as easily at home in the world of classical music as it is in folk and jazz. Medieval atmospheres, oriental fragrances, folk, chanson, free improvisation and unexpected dissonant chords make “O Monde Aveugle” into a musical program transcending cultures and centuries without losing respect for the characteristics of the different elements. It proves that ‘crossover’ doesn’t always have to imply musical derision. (Koen Van Meel, kwadratuur.be, February 2012) In 2005 they won a Belgian price for best classical album of the year. The band is not just another early music consort, but a group of creative minds who dare to look further than the century old music, they give it a very own interpretation and a strong modern sounds. Zefiro Torna makes early music accessible for a inexperienced audience with real craftsmanship, strong songwriting and an energetic and creative sound. (Michel Schroeder, Zeitung, december 2010)


Académie baroque européen d’Ambronay Gioachino Rossini: La cambiale di matrimonio Predporočna pogodba (1810), Opera v enem dejanju, koncertna uprizoritev, libreto: Gaetano Rossi / The Marriage Contract, (1810) Opera in one act, semi-staged performance, with libretto by Gaetano Rossi Leonardo García Alarcón (glasbeno vodstvo / musical direction), Stephan Grögler (odrska postavitev / staging), Fanny: Elisandra Melian (sopran / soprano), Clarina: Alexandra Schoeny (sopran / soprano), Edoardo Milfort: Anthony Gregory (tenor), Tobia Mill: Job Tomé (bariton / baritone), Slook: Eugene Chan (bariton / baritone), Norton: Matthieu Heim (bariton / baritone), orkester Evropske baročne akademije iz Ambronaya / Ambronay European Baroque Academy orchestra

Mestna občina Ljubljana

Četrtek / Thursday, 19.7.2012, 20:30 Ljubljana, Slovenska filharmonija / Slovenian Philharmonic Po uspehu, ki ga je leta 2009 doživel projekt Soloist Academy, posvečen Mozartu, se devetnajsti projekt Evropske baročne akademije ponovno oddaljuje od baroka in se prvič srečuje z Gioachinom Rossinijem. Ta je skomponiral opero La cambiale di matrimonio (Predporočna pogodba) leta 1810, vendar duh baročne dobe živi dalje pod vodstvom Leonarda García Alarcóna, dirigenta v Centru kulturnega srečevanja v Ambronayu (Francija). Šest mladih pevcev je bilo izbranih v sodelovanju s festivalom v Aix-en-Provence. Following the huge success of the 2009 Soloist Academy, dedicated to Mozart, the 19th European Baroque Academy ventures once more away from baroque territory and into its first encounter with Gioachino Rossini. His early opera La cambiale di matrimonio (‘The Marriage Contract’) was composed in 1810, yet the spirit of the baroque era lives on under the direction of Leonardo García Alarcón, conductor in residence at the Ambronay Cultural Encounter Centre. The group of six young singers has been recruited in partnership with the Aix-en-Provence Festival.

Foto / photo: © CCR Ambronay –Bertrand Pichène

O ansamblu www.ambronay.org Od ustanovitve leta 1993 je Ambronay European Baroque Academy pomemben korak pri začetnem razvoju kariere mladih glasbenikov. Gre za projekt izobraževanja in poklicne uveljavitve in doslej so Akademijo vodili slavni dirigenti, kot so William Christie, Jordi Savall, Christophe Rousset in Hervé Niquet. Med nekdanje udeležence programa, ki imajo danes uspešne mednarodne kariere, spadajo Patricia Petibon, Stéphanie d’Oustrac, Ophélie Gaillard in Sophie Karthäuser. Letos je Ambronay Baroque Academy dobila naziv kulturnega ambasadorja Evropske unije. Finančna podpora, ki jo bo akademija prejemala v naslednjih treh letih, bo Centru kulturnega srečevanja pomagala pri delu z mladimi talenti prihodnjih generacij. Evropska baročna akademija iz Ambronayja (Académie baroque européenne d’Ambronay) je od svoje ustanovitve leta 1993 okrog tisoč bodočim glasbenikom in plesalcem omogočila sodelovanje pri nekaterih zahtevnih projektih, pri čemer so mlade spremljali véliki umetniki /…/. Akademija je tako prispevala k umetniškemu razvoju mladih in jim ponudila izhodišča za poklicno pot. (Philippe Houbert, clasiqueinfo.com, 21.10.2011) Imajo energijo, ki je ni mogoče najti v skupnosti, stari desetletje in več. So bolj voljni, želijo se učiti. To nam je v veselje! Šola je zanje dobra. Naučili se bodo mnogo stvari. (dir. Sigiswald Kuijken) …akademija Académie Baroque Européenne, ki je postala eden izmed arhitekturnih stebrov Ambronayja…Pomemben korak v razvoju mladih evropskih umetnikov ob začetku kariere. (Dominique Dubreuil, clasiquenews.com, 3.10.2011)

About ensemble Since its creation in 1993, the Ambronay European Baroque Academy has constituted an important step in the early career development of young artists. A training and professional insertion project, the Academy has been directed by such renowned conductors as William Christie, Jordi Savall, Christophe Rousset and Hervé Niquet. Amongst its former participants are many who have gone on to forge highly successful international careers, such as Patricia Petibon, Stéphanie d’Oustrac, Ophélie Gaillard and Sophie Karthäuser. The Ambronay Baroque Academy has this year been appointed a European Union Cultural Ambassador. The financial support which accompanies this distinction, and which is given for a period of three years, will allow the Cultural Encounter Centre to further develop its work with emerging young talent.


Foto / photo: © CCR Ambronay –Bertrand Pichène


Svetilen Pravoslavna glasba / Sacred Orthodox Music Dmitri Garkavi (tenor, duduk, gusli) Roman Shakhov (tenor, tamburin) Dmitri Lushnikov (bas, koliosnaya lira) Roman Kholodov (bariton, flavta, hatamba / baritone, flute, hatamba) Liubov Shagalova (alt / alto) Svetlana Sazhina (sopran / soprano)

Občina Litija

OBÈINA LITIJA GRB - ZASTAVA

Sobota / Saturday, 21.7.2012, 20:30 Litija, Cerkev sv. Nikolaja Church of St. Nicholas Anonymous Славен Господь! Slavite Gospoda! / Praise the Lord! Anonymous Притча Prilika / Parable Anonymous Дорога из Египетского плена Cesta iz egiptovskega ujetništva / The road from the Egyptian captivity Anonymous Заступнице усердная Sveta Mati, naše upanje / Holy Mother, our Hope Anonymous Песня про Лазаря Pesem o Lazarju / Song about Lazar Anonymous Голубиная книга Knjiga golobov / Dove’s book Anonymous Как во граде Иерусалиме V Jeruzalemu / In the Jerusalem Anonymous Вонми небо Uslišite me, nebesa / Hear me, Heaven *** Anonymous Божьи странники Pesem potujočih glasbenikov / The song of travelling musicians

Anonymous А душа белой лебедью Duša kot beli labod / The Soul Like a White Swan Anonymous Как Пётр я в море утопаю Kot Peter v morju / As Peter in the sea I am Anonymous Брошу я весь мир Zapustil bom ves svet / I’ll throw the whole world Anonymous Налетели гуси Gosji let / Geese flight Anonymous Земля Русская Sveta Rusija / Holy Russia Anonymous Благослови, Мати! Blagoslovi nas, Mati! / Bless us, Mother! Velik del programa zasedbe Svetilen se vrača v čas pravoslavne glasbe med 16. in 18. stoletjem. Vendar ne gre za liturgično glasbo. Glasba skupine Severin je glasba menihov v njihovih celicah ter pravoslavnih vernikov, ki so slavili pravoslavne praznike. V času Sovjetske zveze po oktobrski revoluciji leta 1917 se je ta vrsta glasbe izgubila, obudili so jo šele v zadnjih 20 letih in tako ponovno omogočili njeno petje. Zasedba Svetilen je dobila škofov blagoslov, da jo sme prepevati. Program sestavljajo nabožni cerkveni napevi, posvečeni Gospodu, Materi Božji, različnim svetnikom in pravoslavnim praznikom. So različni in izhajajo iz raznih dežel in pokrajin. Avtorji so neznani. Dmitri Garkavi je nekatere pesmi aranžiral v izvorni obliki starega ruskega petja, s t.i. belim ali odprtim zvokom, ter z značilnimi glasbili. Svetilen’s repertoire comprises a great amoung of sacred Orthodox music dating from 16th to 18th centuries. It is not liturgical music. This music has been sung by monks in the cells, Orthodox people at Orthodox holidays etc. In USSR after the revolution in 1917 that kind of music got lost and forgotten and only in the past 20 years it has been discovered again and people have obtained the possibility to sing it. Svetilen received the blessing from the Bishop to sing these songs. The programme consists of sacred spiritual chants dedicated to Our God, Holy Mother, different Saints and Orthodox holidays. They are of different character ������������������������������������������������������� and come from various countries and regions. The authors are not known. Dmitri Garkavi arranged some of the songs in the authentic manner of ancient Russian singing - the so-called open or white sound - and instruments.

O ansamblu http://ivfilarmonia.ru/?page_id=374 Glasbeno skupino Svetilen so ustanovili leta 1989, zato da bi ohranili staro rusko tradicijo cerkvenega in posvetnega petja. Obe vrsti petja sta zaznamovani s pomenom svete besede, kar dokazuje, da imata skupno izhodišče ter isto kulturno in glasbeno ozadje. Pesmi ponavadi izvajajo a capella, včasih pa jih spremljajo stara ruska glasbila (gusli, hurdi gurdi, duduk in hatamba), kar jim daje nenavaden zvok. Skupina ima dve značilnosti: prva je kvaliteta zvoka, ki ima poseben odprt etnografski značaj, značilen za izvajanje verske glasbe, druga pa zanimiv repertoar skupine, ki vključuje tako liturgično kot tudi moderno pravoslavno glasbo. Vodja skupine, Dmitri Garkavi, postavlja v ospredje kvaliteto zvoka. Po obsežnih raziskavah glasbene teorije je prišel do zaključka, da je ta stil prevladoval v stari Rusiji, ko ne menihi ne farani niso poznali zborovskih tradicij Zahoda. Pogosto se spomnim vašega obiska in koncerta na našem festivalu. Všeč nam je bila glasbena raznolikost, prefinjenost zvoka, posebej pa globoki in šolani glasovi pod vodstvom Dmitrija Garkavega. Nastop je bil izjemno prepričljiv, strokovno predstavljen in je pokazal zanimiv način izvajanja ruske narodne glasbe in živahnih duhovnih napevov. (Klaus Stemmler, menedžer festivala Festival Europaische Kirchenmusik, Nemčija) Sem koordinatorka javnih prireditev na centru American Folklife Center v washingtonski Kongresni knjižnici (Library of Congress). Center je imel čast predstaviti skupino Svetilen na njihovi prvi ameriški turneji. Nastopili so v sklopu projekta “Beyond Boarders” (Izven Meja), kjer so se s koncerti predstavile tuje glasbene skupine. Toplo jih priporočam vsem organizatorjem, ki želijo predstaviti najboljše talente, očarljivo glasbo in profesionalnost. Glasbeni material, ki ga skupina predstavlja ima veliko posebnost. Člani skupine ne poskušajo oživeti in ohraniti te glasbe samo zaradi globoke duhovne in profesionalne navezanosti, temveč želijo z izvajanjem izvirnih del Dmitrija Garkavega vliti novega življenja v tradicijo ruskega ljudskega petja ter ga ponesti v 21. stoletje. (Theadocia Austen, koordinatorka javnih prireditev, American Folklife Center, Library of Congress, Washington, ZDA)


About ensemble The ensemble of soul folk music Svetilen was founded in 1989 to provide for the old Russian tradition in singing. This tradition is reflected in two types of singing: church singing and secular singing. Both are marked by the meaning of the sacred word. This testifies to their common “starting point” and the same cultural and musical background. Musical compositions are usually performed a capella, but sometimes ancient Russian instruments (gusli, koliosnaya lira, duduk and hatamba) are used giving a special sound. The specific profile of the ensemble is based upon two characteristic features. First, the sound quality has a distinctive open ethnographical manner, used to perform sacred music. The leader of the ensemble D. Garkavi makes this strategy quite evident, following the results of musicological research. He considers this style dominating in old Russia, when neither monks nor congregation had any notion of Western academic choral traditions. Secondly, the repertoire of the group is quite interesting and includes liturgical and modern sacred Orthodox music. I often remember your visit and your excellent concert in our festival. We appreciated the variety of musical expression the ensemble’s very sophisticated sound and balance, as well as the profound and well educated voices and the musical settings of Dmitri Garkavi. It was a very convincing programme, professional presentation and it shows another interesting way of russian folk music and lively spiritual chants. (Klaus Stemmler, manager of Festival Europaische Kirchenmusik, Germany) I am Public Events Coordinator at the American Folklife Center (AFC) at the Library of Congress. The AFC had the opportunity and the honor to present Svetilen at the Library of Congress during Svetilen’s first tour to the United States as part of the “Beyond Boarders” concert series which features performing groups from abroad. I can whole heartedly recommend this group to any producer interested in presenting the best talent in performance, compelling music, and professionalism. Svetilen’s musical material differs from the usual fare in another important way. The members of the group are dedicated not only to recovering and preserving the music they perform because of deep spiritual and professional dedication, but they also work to breathe new life into the tradition and bring the practice of Russian folk spirituals into the twenty-first century by performing artistic director Garkavi’s original compositions. (Theadocia Austen, Public Events Coordinator, American Folklife Center, Library of Congress. Washington, USA)

Foto / photo: Elena Antipova


EUBO Baročni orkester Evropske unije European Union Baroque Orchestra Danse des Zéphirs Lars Ulrik Mortensen (dirigent / director), Zefira Valova (koncertna mojstrica / concertmaster) Violina / violin: Magdalena Cieślak, Dominika Fehér, Nadine Henrichs, Joanna Kaniewska, Jacek Kurzydło, Emma Lake, Claudia Norz, Zefira Valova, Lena Weckesser, viola: Ricardo Cuende Isuskiza, Annemarie Kosten-Dür Čelo / cello: Rahel Bader, Petr Hamouz, kontrabas / double bass: Zaynab Martin, Flavta / flutes: Anne Freitag, Annegret Polster, oboa / oboa: Julia Bauer, Robert Herden, fagot / bassoon: Karin Gemeinhardt, Kim Stockx

Mestna občina Ljubljana

Občina Slovenska Bistrica

Petek / Friday, 27.7.2012, 20:30 Ljubljana, Slovenska filharmonija / Slovenian Philharmonic Sobota / Saturday, 28.7.2012, 20:30 Slovenska Bistrica, Grad Slovenska Bistrica / Slovenska Bistrica Castle Jean-Féry Rebel (1666-1747) Les Elémens Marc Antoine Charpentier (1643-1704) Pour un reposoir H508 Jean-Féry Rebel (1666-1747) Les Caractères de la Danse *** Jean-Philippe RAMEAU (1683-1764) Suite Danse des Zéphirs

Foto / photo: Paul James

Uvodni del skladbe Les Elémens, Rebelovega najbolj znanega dela (1737), je najosupljivejši v vsej baročni glasbi. Sam skladatelj je zapisal, da je »uvod ... sam kaos, zmeda, ki je vladala med elementi pred trenutkom, ko so, sledeč nespremenljivim zakonom, zasedli mesta, ki so jim določena v naravnem redu.« Da bi to ponazorili, orkester istočasno zaigra vsako noto lestvice d-mola, ki se končno razveže v eno samo noto, ki predstavlja Zemljo. Plesi ponazarjajo posamezne elemente: Loure vodo in zemwljo, Ramage zrak in Chaconne ogenj. Les Caractères de la Danse je baletna suita, ki jo zaznamuje široka paleta različnih plesnih oblik – vsej skupaj jih je 11 – ki pogosto švignejo mimo v le nekaj trenutkih. Danse des Zéphirs vključuje nekatere izmed najodličnejših in najbolj slikovitih stavkov iz Rameauove opere Les Boréades. The opening of Les Elémens, Rebel’s best known work (1737) is the most startling in all baroque music. The composer said that ‘The intr7oduction … is Chaos itself, the confusion that reigned between the Elements before the instant when, obeying unchanging laws, they had taken the places assigned to them in the Natural order’. To illustrate this, the orchestra plays every note of the D minor scale simultaneously, eventually resolving to a single note representing Earth. The elements are represented in the dances: Water and Earth in the Loure; Air in the Ramage, and Fire in the Chaconne. Les Caractères de la Danse is a ballet suite remarkable for its survey of different dance forms – 11 in all – which flash past often in a matter of seconds. Danse des Zéphirs includes some of the finest and most colourful movements from Rameau’s opera Les Boréades.

O ansamblu www.eubo.org.uk Baročni orkester Evropske Unije je edinstven, saj EUBO svojo celotno zasedbo na novo izbere na vsakoletnih avdicijah. Koncerte EUBO zaradi začasnosti orkestrske zasedbe zaznamujeta živahnost in svežina ki se skupaj s tehnično dovršenostjo, ki jo premorejo najboljši mladi baročni glasbeniki Evrope, združita v nalezljiv, neskaljen občutek užitka in odkritja. Člani orkestra EUBO prihajajo iz vseh držav Evropske unije, da bi si pridobili izkušnje v šestih mesecih dela z nekaterimi izmed vodilnih svetovnih dirigentov; leta 2012 so to Lars Ulrik Mortensen, Margaret Faultless, Riccardo Minasi in Paul Agnew. Turneje jih popeljejo v vse kotičke Evrope – od slavnih velemestnih koncertnih dvoran do obmorskih poletnih festivalov, od samostanov, ki kraljujejo sredi jesenskih gozdov do zimskih slavij v veličastnih cerkvah. Kot protiutež obširnim turnejam ima EUBO rezidence v Echternachu v Luksemburgu, Amilly v Franciji, Kloster Michaelsteinu v Nemčiji, Paviji v Italiji in v Gentu v Belgiji, pri čemer je vsaka izmed njih center odličnosti baročne glasbe. Dejavnosti orkestra EUBO podpirajo Evropska komisija s štipendijo v okviru programa “Kulturni ambasadorji” in sponzorji: Microsoft Europe, The Early Music Shop, UBI Banca International in White & Case. Vihteč zastavo Evrope je “EUBO popoln simbol moči integracije, subtilen in hkrati močan inštrument harmonizacije med ljudmi in narodi”. (Predsednik José Manuel Barroso) Vsa tehnična dovršenost se je združila v nalezljiv, neskaljen občutek užitka in odkritja. Redkokdaj sem videl toliko nasmejane komunikacije in poslušanja med glasbeniki na koncertnem odru. (Hugh Shirley, The Daily Telegraph, december 2011) To je bil koncert za ušesa in oči! (Peter Wolf, Musical Pointers, december 2011) Izvedba Sinfonie Carla Philippa Emanuela [Bach] je s svojimi bliskovitimi skoki, hitrimi prehodi med posameznimi razpoloženji in naklonjenostjo navideznemu non-sequitur resnično šarmirala. (Michael Dervan, The Irish Times, avgust 2011)


Foto / photo: Paul James

About ensemble The European Union Baroque Orchestra is like no other orchestra: EUBO auditions and selects completely new personnel every year. EUBO’s ephemeral existence makes its concerts special: lively fresh performances enjoying all the technical accomplishment of the best young baroque musicians in Europe, allied to an infectious undimmed sense of discovery and enjoyment. Members of EUBO come from all over the EU to gain experience working together for six months with some of the world’s leading directors: in 2012 Lars Ulrik Mortensen, Margaret Faultless, Riccardo Minasi and Paul Agnew. The tours take them to all corners of Europe – from celebrated city concert halls, to seaside summer festivals, to monasteries nestling in autumnal forests, and to winter celebrations in beautiful churches. And at the centre of these great arcs of European travelling EUBO has established residencies: Echternach in Luxembourg, Amilly in France, Kloster Michaelstein in Germany, Pavia in Italy and Gent in Belgium, each of them a centre of excellence for baroque music. EUBO’s activities are supported with a grant from the European Commission’s programme “cultural ambassadors”, and aided by corporate partners: Microsoft Europe, The Early Music Shop, UBI Banca International and White & Case. Flying the flag for Europe, “EUBO is a perfect symbol of the power of integration, a subtle and potent instrument of harmonisation between people and nations”. (President José Manuel Barroso)

All the technical accomplishment in the world allied to an infectious, undimmed sense of enjoyment and discovery. Rarely have I seen so much smiling communication and listening between musicians on a concert stage. (Hugh Shirley, The Daily Telegraph, December 2011) This was a concert for ears and eyes! (Peter Wolf, Musical Pointers, December 2011) The Sinfonia by Carl Philipp Emanuel [Bach], with its flying leaps, rapid fluctuations of mood, and fondness for apparent non-sequiturs was delivered with real pzazz. (Michael Dervan, The Irish Times, August 2011)


Ensemble Marquise Charpentier: Les Quatre Saisons & Händel: Arcadian Duets Judit Blaskovics-Felszeghy (koloraturni sopran / coloratura soprano) László Blaskovics (moški sopran / male soprano) Katalin Kállay (kljunasta flavta / recorder) Ágnes Kállay (violončelo / cello) Márta Gál (čembalo / harpsichord) Dénes Kocsis (mojster ceremonial / master of ceremonies)

Občina Žalec

Občina Grad

Četrtek / Thursday, 2.8.2012, 20:30 Žalec, dvorec Novo Celje Novo Celje mansion

Mestna skupnost Žalec

Petek / Friday, 3.8.2012, 20:30 Grad, Grad Grad / Grad Castle Georg Friedrich Händel (1685–1759) Quel fior che all’alba ride (1710-1711) Marc-Antoine Charpentier (1645–1704) Quatuor anni tempestates Ver – part 1 / Ver – part 2 Arcangelo Corelli (1653 –1713) Follia 6 Marc- Antoine Charpentier (1645–1704) Quatuor anni tempestates Aestas / Aestas – Suite *** Marc- Antoine Charpentier (1645–1704) Quatuor anni tempestates Autumnus / Suite 2 François Couperin (1668 –1733) Les Vendangeuses (1713) Marc-Antoine Charpentier (1645–1704) Quatuor anni tempestates Hyems George Frideric Handel (1685–1759) No, di voi non vo’ fidarmi

Foto / photo: László Kraszna

Koncertni program je sestavljen iz izjemnih biserov baročne glasbe, in sicer Charpentierovih štirih motetov Štirje letni časi in Arkadijskih duetov Georga Friedricha Händla, ki predstavljajo čudovit izbor Händlovih italijanskih komornih duetov. Besedilo štirih motetov so odlomki iz svetopisemske Visoke pesmi, medtem ko besedila Arkadijskih duetov prikazujejo učinke ljubezni na človeško življenje in dušo. Na koncertu naš ceremonijer – igralec izvaja ta čutna svetopisemska besedila skupaj s pesnitvami iz 18. stoletja. Koncert obudi vzdušje 17. in 18. stoletja s pomočjo kostumov iz tega časa, odrskih pripomočkov, igre in pripovedi, ki dopolnijo glasbo in poskrbijo za to, da je uprizoritev nepozabno doživetje. The concert programme is built around rare gems of baroque music: MarcAntoine Charpentier’s four motets: the Four seasons and George Frideric Handel’s Arcadian Duets, which is a wonderful selection of Handel’s Italian chamber duets. The lyrics of the four motets are passages from the biblical Song of Songs, while the texts of the Arcadian duets portray the effects of love on the human life and soul. During the concert, our Master of Ceremonies– Actor performs these sensual and passionate biblical texts together with poems from the 18th century. The concert evokes the atmosphere of the 17th to18th centuries with period dress, scenic accessories, acting and narration to complement and dramatize the musical experience, making the performance unforgettable and extremely enjoyable.

O ansamblu www.marquise.hu Zasedba Marquise, ki sta jo leta 2004 ustanovila sopranista László Blaskovics in Judit Blaskovics-Felszeghy, izvaja koncerte stare glasbe na starinskih glasbilih v popolni baročni in rokokojski preobleki. Danes združuje več profesionalnih glasbenikov, ki v ospredje svojih nastopov postavljajo dela skladateljev iz različnih obdobij, od baroka pa vse do Mozarta. V času svojega delovanja so pripravili že vrsto spektakularnih in edinstvenih koncertov na različnih festivalih, v koncertnih dvoranah in gradovih na Madžarskem (Palača umetnosti, Budimski grad, Kraljeva palača Gödöllö, Stara glasbena akademija, Marmorna dvorana, grad Esterhazy v mestu Papa, palače Festetics, Palffy in Wenckheim, Kiscelllijev muzej, Festival Dolina umetnosti, Festival muzejev, festivali baroka in stare glasbe v Györu, Nyirbátorju, Kisvárdi, Gödöllu, festival Voda-glasba-cvetlice v gradu Esterhazy v mestu Tata), po Evropi (beneški karneval, koncerti komorne glasbe na Dunaju, Festival pomladi v Brockhallu v Angliji) in tudi v nekaterih najlepših angleških gradovih in podeželskih dvorcih (Boughton House, Kimbolton Castle, Staunton Harold, Fawsley Hall, Cranford Hall, Aynhoe Park, Sulgrave Manor, cerkev sv. Mihaela v Oxfordu). Na Madžarskem nastopajo kot stalni gostje Baročnega gledališča v kraljevi palači v Gödöllö. Prav čudoviti gradovi in palače, kjer ansambel najpogosteje nastopa, pripomorejo, da se gledalec vživi v očarljivo ozračje dobe, ko so nastali ti glasbeni biseri. Kako primerno vzdužje za Haydna in Mozarta! ... Nastop dveh izjemnih madžarskih sopranistov v kostumih, Judit Felszeghy in Lászla Blaskovicsa, ki sta s svojimi osupljivimi nošami iz 18. stoletja popolno oživila razkošni habsburški svet, v katerem je živel Mozart. Pa ni šlo samo za kostume. Njuna glasova, ki sta se lahkotno dvigala v višave prek zahtev kolorature in belkanta, moški in ženski sopran, ki sta se zlila v en sam glas, sta do potankosti zadela duh njegovega elegantnega sloga, tako mogočnega in hkrati blagozvenečega. Ni treba posebej poudariti, da sta bila deležna gromkega aplavza. (Fiori Musicali, Velika Britanija – spletne ocene) László ima izjemen sopran, ki obudi pristni zven baročne opere (Fiori Musicali, Velika Britanija – 2009) … medtem ko si je v Dixit Domius… Grace delila čast z madžarsko sopranistko Judit Felszeghy, ki jo je tako občuteno spremljala v duetih – De torrente je bil s svojo neverjetno mogočno disonanco resnično pretresljiv. (Fiori Musicali, Velika Britanija – spletne ocene)


Foto / photo: László Kraszna

About ensemble Ensemble Marquise presents early music concerts in full Baroque and Rococo costume on period instruments. The Ensemble was founded in 2004 by the couple of soprano singers, László Blaskovics and Judit Blaskovics-Felszeghy. Since that time we have been working and performing together with our professional musicians, so the ensemble is very much like a musical family. Our repertoire is very broad, from early Baroque composers right through to Mozart. Since 2004 we have put on more than 100 amazing and unique concerts; we have appeared in prestigious festivals, concert halls and castles in Hungary (Palace of Arts, Palace of Buda, Royal Palace of Gödöllö, Old Academy of Music, Marble Hall, Esterházy Castle in Pápa, Festetich, Pálffy and Wenckheim Palaces in Budapest, Kiscelli Museum, and many others,

Valley of Arts Festival, Festival of Museums in Budapest, Baroque and Early Music Festivals in Györ, Nyirbátor, Kisvárda, Gödöllö, Water-Music-Flower Festival in Esterházy Castle in Tata) and throughout Europe (e.g. Venice Carnival, chamber concerts in Vienna, Brockhall Spring Festival, UK) and also in some of England’s finest castles and country houses (Boughton House, Kimbolton Castle, Staunton Harold, Fawsley Hall, Cranford Hall, Aynhoe Park, Sulgrave Manor, Oxford-St.Michael’s church). In Hungary we are the regular ensemble of the Baroque Theatre in Royal Palace of Gödöllö. Most of our concerts took place in castles or palaces; these wonderful settings help recalling the enchanting atmosphere of the era in which those gems of music were composed.

What an atmospheric setting for Haydn and Mozart! ... the appearance of two splendidly be-costumed young Hungarian sopranos, Judit Felszeghy and László Blaskovics, who with their stunning 18th-century attire brought perfectly to life the opulent imperial Hapsburg world that Mozart inhabited. But it wasn’t just the costumes. Soaring effortlessly through the coloratura and bel canto demands of Mozart’s music, their voices seemed to capture exactly the spirit of his elegant writing, strong and powerful but infinitely euphonious, as the two soprano voices, man and woman, melted seamlessly together. Needless to say they drew huge applause from all present. (Fiori Musicali, UK – web reviews) Laszlo has an extraordinary soprano voice, evoking the authentic sound of baroque opera. (Fiori Musicali, UK – 2009) After Dixit Dominus about Judit singing with Grace Davidson (The Sixteen)


Severijn Zbirka Speelmuziek / The Speelmuziek Collection Povsem poseben koncertni program s pred kratkim odkrito plesno glasbo nizozemskih rokopisov / A special concert with beautiful recently discovered dance music from Dutch manuscripts Judith Steenbrink (violina / violin) Tineke Steenbrink (čembalo / harpsichord) Matthas Klenota (violina, viola / violin, viola) Judith Maria Blomsterberg (violončelo / cello) Daniele Caminiti (teorba / theorbo), Mirko Arnone (teorba / theorbo) Četrtek / Thursday, 9.8.2012, 20:30 Velenje, Grad Velenje / Velenje Castle Petek / Friday, 10.8.2012, 20:30, Zaplaz Cerkev Matere Božje / Church of the Mother of God font Palatia

Mestna občina Ljubljana

Sobota / Saturday, 11.8.2012, 20:30 Ljubljana, Atrij ZRC / ZRC Atrium Speelmuziek: Suite no. 1 Speelmuziek: Suite no. 2 Speelmuziek: Suite no. 3 *** Speelmuziek: Suite no. 4 Speelmuziek: Suite no. 5 Speelmuziek: Suite no. 6 Koncert, ki prikazuje violinistovo življenje v 18. stoletju na Nizozemskem. Slišali bomo glasbo, ki jo je violinist zapisal v svojo beležnico: sonate, ki jih je tako oboževal, da je v svoj glasbeni dnevnik zapisal posamezne stavke. Ansambel Severijn je odkril več baročnih dnevnikov, ki vsebujejo preko 1000 melodij in nam s tem dajejo oseben in čustven vpogled v najljubše pesmi nizozemskih violinistov v 18. stoletju. Radi so imeli Händla, občudovali so Locatellija in oboževali Tartinija. Neznana zbirka nam odkriva zlate sonate in biserčke majhnih melodij. Popoln repertoar za skupino Severijn in njihove prijatelje. A concert which shows a violinist’s life in the 18th century in the Netherlands. We hear which songs the violinist wrote down in his notebook. We hear the sonatas he loved so much that he wrote movements down in his musical diary. Severijn discovered several of these baroque diaries which contain over 1000 melodies: they give a personal and emotional view on the favorite songs of Dutch violinists in the 18th century. Yes, they loved Handel, of course, they admired Locatelli and worshipped Tartini. An unknown collection shows golden sonatas and little diamonds of small melodies. Perfect repertoire for Severijn and their friends.

O ansamblu www.severijnmusic.com Severijn sta ustanovili sestri Judith in Tineke Steenbrink leta 1998. Izvajalki kot gonilna sila ansambla raziskujeta komorni repertoar 17. in 18. stoletja za godala in spremljevalne inštrumente, pri tem pa jima pomagajo drugi vodilni mladi glasbeniki, prav tako navdušeni nad dinamičnim in živahnim načinom glasbenega ustvarjanja, ki je postalo zaščitni znak ansambla. Severijn vztrajno išče še neodkrite glasbene zaklade 17. in 18. stoletja. Ansambel je znan po svojih ustvarjalnih programih, v katerih baročna glasba preseže svoje klasične okvire. V letih 2011 in 2012 je ansambel Severijn sodeloval s skladateljem in jazzovskim trobentačem Diedrikom Rijpstrom (Nizozemska–New York), ki je za Severijn spisal več glasbenih del. Na avstrijskem glasbenem festivalu Trigonale 2011 je Severijn nastopil skupaj z bratoma Paolom in Andreo Pandolfom. Poleg glasbe 17. stoletja so igrali tudi lastne stvaritve. Judith in Tineke Steenbrink sta svojo zadnjo glasbeno zgoščenko izdali jeseni 2011 v kraju Sint-Oederode na Nizozemskem. Severijn izvaja tudi koncerte za otroke. »Wolkenladder« (Lestev do oblakov) je gledališki koncert za otroke, ki je bil prvič uprizorjen spomladi 2012 v koncertni dvorani Concertgebouw v Amsterdamu in je v medijih prejel mnogo pohval. Na povabilo različnih mednarodnih festivalov je ansambel Severijn požel velik uspeh na Norveškem, v Nemčiji, Franciji, Avstriji, Indoneziji, Sloveniji, na Hrvaškem, v Rusiji in Angliji. Na svoje koncerte večkrat povabijo tudi prijatelje, da se pridružijo programu. Slovenski koncerti so odličen primer takega ravnanja. Na violino, violo da gamba, čembalo in teorbo igrajo res nebeško glasbo. Še posebej Buxtehudejeve sonate so pravi balzam za dušo. (Trouw, Anita Twaalfhoven, 2012) Njihova fleksibilnost in ostre interakcije so občudovanja vredne. (Theaterkrant NL, Sara van der Kooi, 2012) Glasbenik mora biti pri interpretaciji zgodbe zvest tako sebi kot glasbilu, kar predstavlja svojevrsten izziv. Judith in Tineke Steenbrink imata tankočuten posluh za to, kar se lepo kaže v njunem intimnem koncertu, kjer se razkrijeta v vsej svoji ranljivosti in poštenosti, a hkrati kot izvrstni virtuozinji. (Eindhovens Dagblad, Marjolijn Sengers, 2011)

Foto / photo: Wouter Jansen

About ensemble Severijn was founded in 1998 by Judith and Tineke Steenbrink (sisters). With these two performers as the core of the group, Severijn explores 17th and 18th century chamber repertoire for strings and continuo, with the help of other leading young musicians who share a passion for a dynamic and lively style of music-making. This has become a hallmark of the ensemble. Severijn is always looking for undiscovered17th and 18th cent. Music treasures and the ensemble is known for its creative programs. In concerts where baroque music goes beyond their frontiers Severijn worked in 2011 and 2012 together with composer and Jazz trompet player Diedrik Rijpstra (Holland-New York) who wrote several pieces for Severijn. In ‘Trigonale’ (Austria 2011) Severijn met the brothers Paolo and Andrea Pandolfo in 17th c, music as well as in their own compositions. Judith and Tineke Steenbrink recorded their latest cd in SintOederode (Holland) which was released in the autumn of 2012. Severijn also performs for children. ‘Wolkenladder’ is a theaterconcert for children which had its premiere the spring of 2012 in the Concertgebouw (Amsterdam) and which was highly praised by the press. At the invitation of various international festivals, Severijn have performed with great success in Norway, Germany, France, Austria, Indonesia, Slovenia, Croatia, Russia and England. On several occasions they also invite their friends to join the program. The Slovenian concerts are a perfect example of this. On violin, viola da gamba, theorbe and harpsichord they indeed play heavenly music.Especially the Buxtehude sonatas are ointment for the soul (Trouw, Anita Twaalfhoven, 2012) Their flexibility and sharp interaction is admirable. (Theaterkrant NL, Sara van der Kooi) 2012) Challenge to the musicians is to keep the story close to themselves and the instrument. Judith and Tineke Steenbrink master this craft perfectly, resulting in an intimate concert in which the duo showed themselves with vulnarability, honesty and virtuosity. (Eindhovens Dagblad, Marjolijn Sengers, 2011)


Foto / photo: Wouter Jansen


Ensemble Symblema Le nuove musiche: objemanje Jadrana / Embracing the Adriatic Bojan Čičić (violina / violin) Nika Zlatarić (violončelo / cello) Pavao Mašić (čembalo / harpsichord)

Občina Dolenjske Toplice

Sobota / Saturday, 25.8.2012, 20:30 Soteska, Hudičev turn / Devil’s Tower Giovanni Paolo Cima (ca. 1570 – 1630) Sonata seconda a due

O ansamblu www.ensemblesymblema.com Glasbeno skupino Symblema so leta 2009 ustanovili Bojan Čičić, Nika Zlatarić in Pavao Mašić. Po začetnem glasbenem šolanju v Zagrebu so študij nadaljevali v tujini: v Parizu, Londonu, Lausanni, Freiburgu, Oberlinu in Haagu. Kot skupina in kot posamezniki so se posvetili glasbi baroka in obdobij pred barokom in po njem ter v svojo glasbo vključili zgodovinske tehnike, prepletene z osebno umetniško vizijo. Ime skupine, Symblema, prihaja od ene od mnogih retoričnih figur baročne glasbe: dva soglasna glasova ustvarjata vtis razglasja s tretjim glasom, glasba tako hkrati zveni razglašeno in prijetno. Leta 2010 so za svoj prvi nastop na 40. festivalu Baročni večeri v Varaždinu prejeli nagrado “Ivan Lukačić”. Leta 2011 so zastopali Hrvaško na festivalu REMA Showcase v Portu, njihov zagrebški koncert Passio-Resurrectio je bil predvajan v živo na hrvaškem državnem radiu.

Tomaso Cecchini (ca.1583 – 1644) Sonata Sesta, Quarta e Prima Dario Castello (zgodnje 17. stoletje / early 17th century) Sonata Ottava a due Vinco Jelic (1596 – ca.1636) Ricercar Tertio e Primo Giovanni Antonio Bertoli (1598 – ca.1645) Sonata Settima G. Antonio Pandolfi Mealli (ca.1630 – 1670) Sonata La Cesta *** Tomaso Cecchini (ca.1583 – 1644) Sonata Seconda, Quinte, Terza e Settima Girolamo Frescobaldi (1583 – 1643) Canzona Quarta Girolamo Frescobaldi (1583 – 1643) Canzona Settima detta La Superba Marco Uccellini (ca.1603 – 1680) Sonata La Luciminia contenta Alessandro Stradella (1639 – 1682) [Sinfonia seconda per violino, violoncello e basso] (ca.1670)

Skupina Symblema v svojem programu posega v Benetke in pokrajine Benečanov na drugi strani Jadrana. V začetku 17. stoletja so bile Benetke cvetoče, posvetno trgovsko središče, ki ni bilo niti povsem evropsko niti vzhodnjaško in v katerem se je kar trlo glasbenikov, ki so si prizadevali za slavo in bogastvo. Program, ki sega od veronskega skladatelja Cecchinija, ki je živel ob Jadranskem morju, do »nove glasbe« Castella in Stradelle, bo v užitek vsakomur, ki ga zanimajo revolucionarne ideje v glasbenem svetu 17. stoletja. Symblema turns to Venice and the lands of the Republic across the Adriatic with this performance. In early 17th century Venice was a burgeoning, secular centre of trade, neither wholly european nor wholly eastern, teeming with musicians grasping for fame and prosperity in what was a new, burgeoning centre of publishing. From the Veronese composer Cecchini living in the Adriatic to Le Nuove Musiche of Castello and Stradella, this programme will delight anyone with an interest in the revolutionary ideas of the 17th-century musical world.

Skozi virtuozen klepet se dokažejo vsak posebej in v prefinjeni komunikaciji. Vse to Symblemu uspe z vrhunskim triom. (Vecernji list, Zagreb, o CD-ju Conversation Galante) Pravi vzlet kot uvod v koncert Brandenburg 4; note so kot ognjemet pršile iz violine Bojana Čičića, kar je privabilo nasmeh na usta vseh prisotnih. (Heraldscotland, koncert na festivalu St. Magnus, Orkney, Škotska) S preigravanjem teh kadenc Bojan Čičić vzorno prikaže umetnost baročne violine in mimogrede razkaže še tonsko območje in moč svojega glasbila, ki ga je izdelal F. Ruggieri leta 1690. To je eden izmed najboljših baročnih violinskih koncertov in Čičić ter njegovi kolegi so ga suvereno predstavili s svojo nepozabno interpretacijo, ki že sama po sebi upravičuje udeležbo na koncertu. (Seen and Heard International, po izvedbi Vivaldijevega »Il Grosso Mogul« v Swanseaju, Wales s Florilegiumom)


About ensemble Ensemble Symblema was founded in 2009 by Bojan Čičić, Nika Zlatarić and Pavao Mašić. Having all received their initial musical training in Zagreb, each went on to pursue early music studies abroad: in Paris, London, Lausanne, Freiburg, Oberlin and The Hague. As an ensemble and as individuals they have dedicated themselves to the music of the baroque and surrounding periods, combining historically-informed techniques with a personalized artistic vision. The name of the ensemble, Symblema, comes from one of the many rhetorical figures of Baroque music: two voices that are consonant with each other act as dissonances against a third voice, endowing the music with more friction but at the same time with more sweetness. For their 2010 debut performance at the 40th Varaždin Baroque Evenings, Symblema received the “Ivan Lukačić” award. In 2011 they represented Croatia at the REMA Showcase in Porto, and their 2012 Zagreb concert Passio-Resurrectio was broadcast live on Croatian National Radio. Aairborne for the opening theme of Brandenburg 4, Bojan Cicic’s firework-like spray of notes from his violin met with smiles all round. (Heraldscotland, concert at St. Magnus Festival, Orkney, Scotland.) Bojan Čičić’s playing of these cadenzas was a consummate demonstration of the art of the baroque violin (and, incidentally, showed off the tonal range and power of his instrument, made by F. Ruggieri in 1690). This is one of the finest of all baroque violin concertos and Čičić and his colleagues did something very like full justice to it in their memorable interpretation, which would alone have justified attendance at the concert. (Seen and Heard International, after a performance of A. Vivaldi “Il Grosso Mogul” in Swansea, Wales with Florilegium)


Auser Musici Gli equivoci nel sembiante Prva opera Alessandra Scarlattija / Alessandro Scarlatti’s first opera Carlo Ipata (umetniško vodstvo / direction) Manuela Ranno (Lisetta) Francesca Lombardi Mazzulli (Clori) Matteo Mezzaro (Eurillo) Alberto Allegrezza (Armindo) Raul Orellana (violina / violin) Daniela Godio (violina / violin) Daniele del Lungo (viola) Sebastiano Severi (violončelo / violoncello) Francesco Tomei (kontrabas / double bass) Francesco Romano (teorba / theorbo) Daniele Boccaccio (čembalo / harpsichord) Sobota / Saturday, 1.9.2012, 20:30 Turjak, Grad Turjak / Turjak Castle Gli equivoci nel sembiante, Scarlattijeva prva opera, je komedija o zamenjanih identitetah in ljubezenskih zapletih v pastoralnem okolju. Bila je eno najbolj priljubljenih in najpogosteje predvajanih del v skladateljevi dolgoletni karieri. Scarlatti jo je napisal, ko je imel osemnajst let, osnova za njegovo delo pa je bil Contijev libreto. Opera je bila manjša produkcija (le štirje pevci) in je bila prvič uprizorjena v Rimu med karnevalom leta 1679. Gli equivoci nel sembiante, Scarlatti’s first opera, is a comedy of mistaken identities and amorous intrigues in the pastoral mode. It was one of the most popular and widely performed works of the composer’s long career. It was written by Scarlatti at the age of 18 on a libretto by Contini. The opera was a small-scale production (only four singers) which premiered in Rome during Carnival in 1679.

O ansamblu www.ausermusici.org Auser Musici je ansambel iz Pise, ki na zgodovinskih glasbilih interpretira staro glasbo iz Toskane. Skupino je leta 1997 ustanovil flavtist Carlo Ipata in nastopa po vsej Evropi (še posebno v Italiji) ter v ZDA. Na svojih koncertih ansambel igra vokalne in instrumentalne skladbe iz 17. in 18. stoletja, v svoj repertoar pa pogosto vključuje dela iz serije Tesori Musicali Toscani, zbirke stare glasbe, izdane v Pisi. Domača ������� koncertna dvorana skupine Auser Musici je v gledališču Teatro Verdi v Pisi, svoje ime pa je skupina dobila po starodavni reki z območja Pise. Auser Musici od leta 1998 nenehno izdajajo zgoščenke i in trenutno sodelujejo z založbo Hyperion Records. Leta 2010 so za svoj posnetek koncertov za flavto neapeljskih skladateljev prejeli nagrado Editor’s Choice pri reviji International Record Review. CD me je prijetno presenetil. Glasba je značilna za Boccherinija, očarljiva in s precej energije … Nastopi ��������������������������������������� skupine Auser Musici pa tečejo prekrasno. Izžarevajo ��������������������������������������� notranjo energijo in nasmeh. (Fanfare, ZDA) Izvedbe so čisti užitek. Ta skromna, a sončna in privlačna glasba je nedvomno dosegla svoj vrhunec z jasnim tonom in neizpodbitno virtuoznostjo Carla Ipata ter s svetlim, spretnim in prozornim igranjem glasbenikov skupine Auser Musici. (Gramophone)

Foto / photo: Fabio Muzziù

About ensemble Auser Musici is a period instrument ensemble centered in Pisa that specializes in early music repertory from the Tuscan region of Italy. The ensemble was founded in 1997 by the flautist Carlo Ipata and has performed throughout the continent of Europe, especially in Italy, as well as in the United States. Its concerts feature vocal and instrumental works composed in the seventeenth and eighteenth centuries, frequently including selections from the series Tesori Musicali Toscani, a collection of early music published in Pisa. The home concert venue of Auser Musici is located in the Teatro Verdi of Pisa. The ensemble is named for an ancient river of the Pisan region. Auser Musici has released recordings continuously since the year 1998, presently under exclusive contract with Hyperion Records. In 2010, its recording of flute concertos by Neapolitan composers was singled out by the International Record Review as an Editor’s Choice. The performances are a delight. What with Carlo Ipata’s liquid tone and secure virtuosity, and the brightness, nimbleness and transparency of the one-toa-part strings of Auser Musici (excellently captured by the recording), this unassuming but sunny and attractive music has surely achieved its finest hour (Gramophone)

Recitativi Marie Grazie Schiavo so polni značaja in s svojimi arijami je resnično gospa baročnega rubata. Zanasi ustvari soproga, s katerim sočustvujemo… Maria Cecchi Fedi je kot vedno čudovito izrazna in povsem naravna v vlogi Amicizie. Izjemni kontratenorist Martin Oro je odličen v žgečkljivi vlogi gospe Avarizie… Francesco Ghelardini oživi manjšo vlogo Dvorjana s svojo lepo barvo glasu. (Opera News, USA)

Maria Grazia Schiavo produces characterful recitatives and shows herself mistress of Baroque rubato in her arias. Zanasi creates a sympathetic and beleaguered husband… Maria Cecchi Fedi is, as ever, wonderfully expressive and natural in the role of Friendship. The excellent countertenor Martin Oro makes a meal of his juicy part as old lady Avarice… Francesco Ghelardini, enlivens the small part of Courtier with his beautiful timbre (Opera News, USA)

Gre za muziciranje s toliko nalezljive sreče, da bo zgoščenka zagotovo v prihodnje stalna spremljevalka. (International Record Review)

Here is music-making of such infectious happiness that this disc is destined to be a constant companion for the foreseeable future (International Record Review


Foto / photo: Michele Crosera


Musica Locopolitana & Project Purpur European Sound Interchange Zaključni koncert festivala historične glasbe in plesa Final concert of historical music and dance festival

Občina Škofja Loka

Nedelja / Sunday, 2.9.2012, 20:30 Škofja Loka, Škofjeloški grad, kapela / Škofja Loka Castle, Chapel Iz razredov / from classes with: Mateja Bajt (SI): kljunasta flavta, komorna igra / recorder, chamber music, Antoinette Lohmann (NL): baročna violina / baroque violin, Tanja Skok (SI): ples / dance, Stefano Bet (IT): renesančne prečne flavte in traverso / renaissance flutes and traverso Musica Locopolitana postaja osrednji dogodek, po katerih je Škofja Loka v zadnjem času vse bolj prepoznavna, saj so vanj vpete številne dejavnosti. Le-te potekajo v okviru programa za historično glasbo in ples pri Javnem skladu RS za kulturne dejavnosti. Samo mesto jim pri tem, s številnimi ohranjenimi avtentičnimi ambienti, ponuja idealen delovni okvir. Festival je namenjen ustvarjalnemu druženju mladih iz Slovenije (letos pa tudi iz drugih delov Evrope), ki pri svojem rednem glasbenem izobraževanju posebno pozornost posvečajo zgodnji glasbi. Pri tem so jim v pomoč vrhunski domači in tuji strokovnjaki. The Musica Locopolitana is turning into a main event filled with several activities, which are taking place within the early music and dance programme under the Republic of Slovenia Public Fund for Cultural Activities (JSKD) and are the reason why Škofja Loka is becoming more and more recognizable. The town itself facilitates these efforts by offering an ideal framework with several preserved authentic ambiences. The festival is meant for creative socializing of young people from Slovenia (this year also from other parts of Europe), who, in their regular music education, pay special attention to early music. In this, they are assisted by Slovenian and foreign top experts.


Orchester Purpur Joseph Haydn Armida (opera, Hob. XXXVIII:12) Armida: Charlotte Dellion (sopran / soprano), Zelmira: Pauline Texier (sopran / soprano), Rinaldo: Martin Piskorski (tenor), Ubaldo: David Tricou (tenor), Clotarco: Konstantinos Klironomos (tenor), Idreno: Marcell Attila Krokovay (bariton / baritone), Orchester Purpur, vodja predstave / stage director: Gerald Stollwitzer, dirigent / conductor: Michael Fendre, korepetitorka / répétiteur: Aurelie Tremblay Sobota / Saturday, 8.9.2012, 20:30 Rogaška Slatina, Grand hotel Rogaška Kristalna dvorana / Crystal Hall Opero Armida, eno najbolj znanih oper Josepha Haydna, običajno opisujejo kot eno izmed njegovih najboljših. V okviru projekta »Purpur European Sound Interchange« jo predstavljajo mednarodni orkester Purpur, ki mu dirigira Michael Fendre, in mladi nadarjeni pevci iz vse Evrope. Projekt je nastal v sodelovanju ad libitum, Festivala Sviqc Brežice in Festivala Kvarner. The opera Armida, one of Joseph Haydn’s most famous operas, is generally described as one of his best. In the context of the EU-funded project „Purpur European Sound Interchange“ it is presented by the international Purpur Orchestra, conducted by Michael Fendre, and young highly talented singers from all over Europe. The project is a cooperation of ad libitum, Festival Seviqc Brežice and Festival Kvarner.


IZOBRAŽEVANJE / EDUCATIONAL PROGRAMME

Musica Locopolitana & Project Purpur European Sound Interchange Festival historične glasbe in plesa / Historical music and dance festival

Občina Škofja Loka

30.8.2012-2.9.2012 Škofja Loka Mateja Bajt (SI): kljunasta flavta, komorna igra / recorder, chamber music Antoinette Lohmann (NL): baročna violina / baroque violin Tanja Skok (SI): ples / dance Stefano Bet (IT): renesančne prečne flavte in traverso / renaissance flutes and traverso Tineke Steenbring (NL): asistentka na čembalu / harpsichord assistance Musica Locopolitana je namenjena flavtistom, kljunastim flavtistom,violinistom in plesalcem. Na delavnicah bo možno individualno delo s posameznimi mentorji, največ pozornosti pa bomo posvetili komorni igri. S kratkimi opoldanskimi koncerti želimo naše delovno vzdušje razširiti tudi na trge in ulice Škofje Loke in ga predstaviti njenim prebivalcem in obiskovalcem. Večerne koncerte bodo oblikovali udeleženci skupaj z mentorji. Vabljeni študenti, dijaki in vsi, ki bi radi uživali v skupnem muziciranju tovrstne glasbe in jo izkusili tudi v plesnem gibu. Prijave do zasedenosti mest oziroma najkasneje do 1.8. 2012. Več informacij: www.seviqc-brezice.si Musica Locopolitana is intended for flutists, recorder players, violinists and dancers. There will be a possibility of individual work with mentors at the workshops, but the major part of our attention will be given to chamber music. With short noon concerts, we would like to expand our working atmosphere to the squares and streets of Škofja Loka and present it to its residents and visitors. The evening concerts will be made by the participants together with their mentors. Students and everyone who would like to enjoy the collaborative making of this kind of music and also experience music in the form of dance – you are invited to come. Applications will be accepted until all the places are taken or until August 1st 2012 at the latest. Additional information: www.seviqc-brezice.si


IZOBRAŽEVANJE / EDUCATIONAL PROGRAMME

Chopinov zlati prstan 2012 Chopin Golden Ring 2012 Mednarodno tekmovanje s Chopinovimi klavirskimi deli v kategoriji historični klavir / International competition with Chopin piano pieces in the category of historical piano Torek / Tuesday, 30.10.2012 Ptuj, Grad Ptuj, Slavnostna dvorana / Ptuj Castle, Festival Hall Mednarodna žirija / International jury: prof. Erik Šuler (Kočevje, predsednik / President), prof. Sonja Pahor (Lucca), prof. Karol Radziwonowicz (Warszawa) Prijavnice tekmovalcev morajo prispeti v pisarno tekmovanja najkasneje v petek, 14. septembra 2012. Dodatne informacije: http://www.chopin-goldenring.si Contestant’s applications have to reach the competition office no later than by Friday 14th September 2012. Additional information: www.chopin-goldenring.si


Partnerske organizacije / Partnership Ad Libitum Konzertwerkstatt GmbH (Villach, AT) Adami (Paris, FR) Akustika Centa ozvočenje in osvetlitev Anton Centa s.p. Alink-Argerich Foundation (Den Haag, NL) Allegoria vzw (Mechelen, BE) Ambasada Rzeczypospolitej Polskiej (Ljubljana, SI) AP Weber d.o.o. (Sevnica, SI) Associazione AuserMusici (Pisa, IT) Brinox inženiring d.o.o. (Medvode, SI) Centre Culturel de Rencontre d’Ambronay (Ambronay, FR) Centre National de la danse (Pantin, FR) Daj - dam gostinsko podjetje d.d. (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) L’Eclat des Muses (Paris, FR) Education Audiovisual & Culture Executive Agency (Brussels, BE) Eurograf, podjetje za grafično dejavnost, poslovne storitve, trgovino, proizvodnjo in gradbeništvo d.o.o. (Velenje, SI) European Union Baroque Orchestra (Oxford, GB) Eventim SI d.o.o. (Ljubljana, SI) Festival Baroque de Pontoise (Pontoise, FR) Festival Ljubljana (Ljubljana, SI) Festival Opera Barga (Barga, IT) Festival Velenje (Velenje, SI) Fondation Royaumont (Viarmes, FR) Fondazione Cassa di Risparmio di Pisa (Pisa, IT) Francoski inštitut Charles Nodier (Ljubljana, SI) GEN energija d.o.o. (Krško, SI) Glasbena šola Brežice (Brežice, 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) 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) Jezikomat, jezikovna šola, Mojca Premrl s.p. (Vipava, SI) Kino Sora d.o.o. (Škofja Loka, SI) Krka, d.d., Novo mesto (Novo mesto, SI) Kulturno umetniško društvo Popotovanje Frana Levstika Čatež (Čatež, SI) Loški muzej Škofja Loka (Škofja Loka, SI) Lotrič laboratorij za meroslovje d.o.o. (Selca, SI) Mestna občina Ljubljana (Ljubljana, SI) Mestna občina Velenje (Velenje, SI) Mestna skupnost Žalec (Žalec, SI) Ministère de la culture et de la communication (Paris, FR) Ministrstvo za izobraževanje, znanost, kulturo in šport (Ljubljana, SI) Molipači, Rudolf Berkovič (Bizeljsko, SI) Narodni muzej Slovenije (Ljubljana, SI) Nova Ljubljanska banka d.d., Ljubljana (Ljubljana, SI) Občina Brežice (Brežice, SI) Občina Dolenjske Toplice (Dolenjske Toplice, SI) Občina Grad (Grad, SI) Občina Litija (Litija, SI) Občina Slovenska Bistrica (Slovenska Bistrica, SI) Občina Škofja Loka (Škofja Loka, SI) Občina Trebnje (Trebnje, SI) Občina Velike Lašče (Velike Lašče, SI) Občina Žalec (Žalec, SI) Pokrajinski muzej Ptuj - Ormož (Ptuj, SI) Posavski muzej Brežice (Brežice, SI) Radio Sora, podjetje za informiranje, d.o.o. (Škofja Loka, SI) Radiotelevizija Slovenija javni zavod, Ljubljana (Ljubljana, SI) Rakar - gostilna in prenočišča Boštjan Rakar s.p. (Trebnje, SI)

Razvojna agencija Sora d.o.o. (Škofja Loka, SI) Reco Music Management (Helmond, NL) Representation of the Flemish Government (Wien, AT) Réseau Européen de Musique Ancienne (Versailles, FR) Riko, d.o.o. (Ljubljana, SI) Ruski center znanosti in kulture (Ljubljana, SI) Sigma, družba za finančne in računovodske storitve ter davčno svetovanje, d.o.o. (Škofja Loka, SI) Skica (Wien, AT) Slikopleskarstvo Ferlan Tomaž s.p. (Gorenja vas, SI) Slovenska filharmonija (Ljubljana, SI) Slovenska škofovska konferenca (Ljubljana, SI) Slovenska turistična organizacija (Ljubljana, SI) Slovenske železnice d.o.o. (Ljubljana, SI) Snaga javno podjetje d.o.o. (Ljubljana, SI) Stad Mechelen (Mechelen, BE) Terme Krka, zdraviliške, turistične in gostinske storitve, d.o.o., Novo mesto (Novo mesto, SI) Terme SPA Rogaška d.d. (Rogaška Slatina, SI) The Early Music Shop (Saltaire, GB) Trgograd d.o.o., Litija (Litija, SI) Turistično društvo Jesenice na Dolenjskem (Jesenice na Dolenjskem, SI) Turistično društvo Nova Cerkev (Nova Cerkev, SI) Ustanova Chopinov zlati prstan (Radovljica, SI) Veleposlaništvo Kraljevine Nizozemske (Ljubljana, SI) Veleposlaništvo Španije v Sloveniji (Ljubljana, SI) Zavod za kulturo Slovenska Bistrica (Slovenska Bistrica, SI) ZKŠT Zavod za kulturo, šport in turizem Žalec (Žalec, SI) Znanstvenoraziskovalni center slovenske akademije znanosti in umetnosti (Ljubljana, SI) Župnija Čatež-Zaplaz (Velika Loka, SI) Župnija Litija (Litija, SI) Župnija Velika Dolina (Jesenice na Dolenjskem, SI)


Deklaracija javnega interesa / Declaration of public interest Iz sredstev davkoplačevalcev sofinancirajo festival Seviqc Brežice 2012 / The Seviqc Brežice Festival 2012 is co-financed from taxpayer funds by: Education Audiovisual & Culture Executive Agency (Brussels, BE), Francoski inštitut Charles Nodier (Ljubljana, SI), Institut français (Paris, FR), Italijanski inštitut za kulturo v Sloveniji (Ljubljana, SI), Mestna občina Ljubljana (Ljubljana, SI), Mestna občina Velenje (Velenje, SI), Mestna skupnost Žalec (Žalec, SI), Ministère de la culture et de la communication (Paris, FR), Ministrstvo za izobraževanje, znanost, kulturo in šport (Ljubljana, SI), Občina Brežice (Brežice, SI), Občina Dolenjske Toplice (Dolenjske Toplice, SI), Občina Grad (Grad, SI), Občina Slovenska Bistrica (Slovenska Bistrica, SI), Občina Škofja Loka (Škofja Loka, SI), Občina Žalec (Žalec, SI), Representation of the Flemish Government (Wien, AT), Slovenska turistična organizacija (Ljubljana, SI), Stad Mechelen (Mechelen, BE), Veleposlaništvo Kraljevine Nizozemske (Ljubljana, SI) in / and Veleposlaništvo Španije v Sloveniji (Ljubljana, SI), festival Seviqc Brežice 2012 smo pripravili s koproducenti programa / the Seviqc Brežice Festival was prepared with coproducers of the programme: Ad Libitum Konzertwerkstatt GmbH (Villach, AT), Associazione AuserMusici (Pisa, IT), Centre Culturel de Rencontre d’Ambronay (Ambronay, FR), Centre National de la danse (Pantin, FR), L’Eclat des Muses (Paris, FR), European Union Baroque Orchestra (Oxford, GB), Festival Baroque de Pontoise (Pontoise, FR), Fondation Royaumont (Viarmes, FR) in / and Ustanova Chopinov zlati prstan (Radovljica, SI).

Seviqc Brežice Program 2012 Urednika / Editors: Žan Cimerman, Neža Zagoričnik Oblikovanje / Design: David Hosta Prevodi / Translations: Jezikomat, Mojca Premrl, s.p., Arhiv Ars Ramovš Jezikovni pregled / Language editing: Vera Lamut, Ars Ramovš Tisk / Printing: Eurograf d.o.o. Izdal / Published by: Zavod Ars Ramovš, Ljubljana, junij 2012


REPUBLIKA SLOVENIJA MINISTRSTVO ZA IZOBRAŽEVANJE, ZNANOST, KULTURO IN ŠPORT

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E S S E N T I A L C I TY G U I D E S

PRODAJA VSTOPNIC

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PRODAJA VSTOPNIC

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PRODAJA VSTOPNIC

Ars Ramovš, Zavod za umetnost, marketing, promocijo in investiranje / Institute for Art, Marketing, Promotion, and Investment Slovenska cesta 1, SI-1000 Ljubljana, Slovenija, T: (+386 1) 242 08 12, (+386 51) 30 30 40, F: (+386 1) 242 08 15, E: info@k-ramovs.si www.seviqc-brezice.si www.eventim.si

PRODAJA VSTOPNIC

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PRODAJA VSTOPNIC

www.eventim.si

PRODAJA VSTOPNIC

www.eventim.si

PRODAJA VSTOPNIC

Seviqc Brežice 2012  

Festivalski katalog / festival catalogue

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