here the program booklet 2016

Transcription

IT
Sotto la guida del nostro presidente Paul Dujardin, Direttore visionario del Palais des Beaux-Arts
di Bruxelles e grazie agli sforzi generosi della nostra piccola squadra di volontari, L’Accademia
delle crete senesi può oggi dare il via alla sua sedicesima edizione. In un momento in cui in
Europa imperversano gravi tagli al bilancio per la cultura, possiamo fregiarci di non dipendere
in alcun modo dalle sovvenzioni pubbliche. Siamo ancora qui grazie al sostegno finanziario del
nostro pubblico, tra i quali vorrei ringraziare i numerosi sponsorizzatori che ci onorano della
loro costante fedeltà. Come ogni anno, è con la ferrea volontà di non cedere alle sirene della
facilità, bensì di proporvi nelle migliori condizioni “cinque secoli di musica contemporanea” che
prepariamo la nostra programmazione.
EN
Under the leadership of our president Paul Dujardin, the visionary director of the Palace of
Fine Arts in Brussels, and thanks to the generous efforts of our band of volunteers, today the
Accademia delle Crete Senesi can open its 16th edition. At a time when Europe is plagued by
severe budget cuts to the cultural sector, we can boast of not being dependent on any public
subsidies. Thanks to the financial support of our audiences, we are still here. I would like to
give thanks here to the many of our sponsors among you for whose unfailing loyalty we are so
grateful. As it is every year, this year’s programme is inspired by the unshakeable desire not to
yield to the sirens of simplicity, but to present to you – in the best of settings – ‘five centuries of
contemporary music’.
Vorrei dare il benvenuto ad alcuni nuovi artisti tra quelli invitati. Da alcuni lustri, Reinbert
de Leeuw è una figura di spicco nella vita culturale dei Paesi Bassi. E’ un interprete senza
pari e la sua lettura della musica di Sofia Gubaidulina, Claude Vivier e Steve Reich fa storia.
Con il Collegium Vocale Gent, ha appena inciso un disco consacrato a Janacek, acclamato
dalla stampa di tutto il mondo. Vera Behts, “grande dame” del violino, è da sempre la
sua complice ispirata. Per quanto riguarda il liuto, il suo repertorio è vasto e profondo.
E’ poco conosciuto e spesso mal difeso, ma sotto le dita di Thomas Dunford assume tutta la
sua toccante portata.
I would like to welcome several new artists – and of considerable stature – among those
here. Reinbert de Leeuw has been a figurehead in the Netherlands’ cultural scene for ages.
A peerless interpreter, his readings of the music of Sofia Gubaidulina, Claude Vivier and Steve
Reich are points of reference. With Collegium Vocale Gent, he has just released a CD dedicated
to Janacek, acclaimed by the press around the world. Vera Beths, grande dame of the violin,
has been his inspired accomplice ‘since forever’. The lute has a vast and profound world. Its
immense repertoire is not well known, and often neglected, but its scope and emotional power
are revealed when it is in the hands of Thomas Dunford.
Sarete senz’altro felici del ritorno tra noi di Alain Planès, questo grande pianista il cui universo
musicale ci ha così spesso ammaliato. La Filarmonica di Anversa, rappresentata qui da alcuni dei
suoi solisti più eminenti, vive quest’anno una svolta nella sua storia. In novembre verrà inaugurata
in grande stile la sua nuova sala con 2000 posti e nessuno dubita che segnerà la vita culturale
europea. Con i suoi concerti e qualche disco notato da tutta la stampa internazionale, il partito
Edding è tra i primi quartetti del momento. Infine, il Collegium Vocale Gent inizia quest’anno,
assieme a voi, il periplo intorno all’incantevole universo di Claudio Monteverdi, che sfocerà in
alcune registrazioni discografiche.
You will doubtless be happy to welcome back Alain Planès, the
great pianist whose musical universe has so often enchanted
us. Antwerp’s Royal Flemish Philharmonic, represented here
by a few of its eminent soloists, is seeing a turning point in its
history. Its new 2000-seat hall will have its festive inauguration
in November; this hall is certain to be a fixture on the European
cultural scene. The Edding Quartet’s concerts and internationally
celebrated CDs have allowed them to take their place among
the best quartets of today. Collegium Vocale Gent will take
you on its journey through the spellbinding universe of Claudio
Monteverdi, which will result in several CD recordings.
Vi auguro momenti di vera felicità musicale.
Philippe Herreweghe
I wish you many moments of musical happiness.
Philippe Herreweghe
© Michiel Hendryckx
Onder leiding van onze voorzitter Paul Dujardin, algemeen directeur van Bozar Brussel, en
dankzij de vele inspanningen van onze vrijwilligers, kan de 16de editie van Accademia delle
Crete Senesi vandaag doorgaan. In tijden waar in Europa gesnoeid wordt in de budgetten voor
cultuur, proberen wij niet afhankelijk te zijn van overheidssubsidies. Wij bestaan enkel dankzij de
financiële steun van ons publiek. Ik zou dan ook graag onze vele sponsors willen bedanken die
ons onvoorwaardelijk hun steun toevertrouwen. Zoals elk jaar, inspireert ons programma zich op
de sterke wil die niet stopt aan de grenzen van het gemak, maar die ernaar streeft om u in de
beste omstandigheden “vijf eeuwen hedendaagse muziek” voor te stellen.
FR
Sous la houlette de notre président Paul Dujardin, directeur visionnaire du Palais des Beaux-Arts
à Bruxelles, et grâce aux efforts généreux de notre belle équipe de bénévoles, l’Accademia delle
Crete Senesi peut aujourd’hui entamer sa 16ième édition. En un temps où sévissent en Europe
de sévères coupes budgétaires en matière culturelle, nous sommes toujours là grâce au soutien
financier de nos auditeurs, parmi lesquels je voudrais remercier ici les nombreux sponsors qui
nous gratifient de leur fidélité sans faille.
Comme chaque année, notre programmation s’inspire de la volonté farouche de ne pas céder
aux sirènes de la facilité, mais de vous proposer dans les meilleures conditions “cinq siècles de
musique contemporaine”.
Ik zou graag enkele nieuwe gezichten onder de aanwezige artiesten willen begroeten, en niet de
minsten. Al jaren lang is Reinbert de Leeuw een van de vooraanstaande figuren van het culturele
leven in Nederland. Hij is een vertolker zonder weerga en zijn interpretatie van de muziek van
Sofia Gubaidulina, Claude Vivier en Steve Reich zijn van bijzondere betekenis. Met Collegium
Vocale Gent, heeft hij net een plaat uitgebracht die gewijd is aan Janacek. Deze werd bejubeld
door de internationale pers. Vera Beths, grote dame van de viool, is altijd al zijn muzikale partner
bij uitstek geweest. Het domein van de luit is veelzijdig en diepzinnig. Zijn immense repertoire is
weinig gekend en vaak weinig verdedigd, maar onder de vingers van Thomas Dunford, neemt
het een heel ontroerende omvang.
Je voudrais saluer quelques nouveaux venus parmi les artistes invités, et non des moindres.
Depuis des lustres, Reinbert de Leeuw est une figure de proue de la vie culturelle des Pays-Bas.
C’est un interprète hors pair et sa lecture de la musique de Sofia Gubaidulina, Claude Vivier et
Steve Reich fait date. Avec Collegium Vocale Gent, il vient d’enregistrer un disque consacré
à Janacek, acclamé par la presse du monde entier. Vera Beths, grande dame du violon est
depuis toujours sa complice inspirée. Le domaine du luth, quant à lui, est vaste et profond. Son
répertoire immense est peu connu et souvent mal défendu, mais sous les doigts de Thomas
Dunford, il prend toute son ampleur émouvante.
U zal zonder twijfel gelukkig zijn over de terugkeer van Alain Planès, deze grote pianist wiens
muzikale universum ons al heel vaak wist te betoveren. De Filharmonie van Antwerpen, hier
vertegenwoordigd door enkele van hun uitstekende solisten, staat dit jaar op een keerpunt in haar
geschiedenis. In november wordt namelijk de nieuwe zaal met 2000 plaatsen feestelijk ingewijd
en er is geen twijfel mogelijk dat dit een zaal zal zijn die symbool staat voor het Europese culturele
leven. Door hun concerten en enkele opnames opgemerkt door de internationale pers, neemt
het Edding Kwartet vandaag zijn plaats in tussen de meest vooraanstaande strijkkwartetten.
Het Collegium Vocale Gent opent dit jaar ten slotte samen met u zijn ontdekkingsreis in het
betoverende universum van Claudio Monteverdi, die zal resulteren in meerdere opnames.
Vous serez sans nul doute heureux du retour parmi nous d’Alain Planès, ce grand pianiste
dont l’univers musical nous a si souvent envoûtés. La Philharmonie d’Anvers, représentée ici
par quelques uns de ses éminents solistes, vit cette année un tournant dans son histoire. En
novembre, sa nouvelle salle de 2000 sièges sera inaugurée en grande pompe et nul ne doute
que ce sera un lieu qui marquera la vie culturelle européenne. Au fil de ses concerts et de
quelques disques remarqués par l’ensemble de la presse internationale, le quatuor Edding prend
aujourd’hui sa place parmi les premiers quatuors du moment. Le Collegium Vocale Gent, enfin
entame cette année avec vous son périple dans l’univers ensorcelant de Claudio Monteverdi, qui
débouchera sur plusieurs enregistrements discographiques.
Ik wens u veel momenten van puur muzikaal geluk toe.
Je vous souhaite des moments de vrai bonheur musical.
Philippe Herreweghe
© Ageet Zweistra
NL
Philippe Herreweghe
© Michiel Hendryckx
Programma Estate 2016
Domenica
ore 20
Sant’Anna in Camprena
(Pienza)
Collegium Vocale Gent
Vera Beths & Reinbert de Leeuw
ore 12
San Francesco
(Asciano)
Solisti della Filarmonica reale
fiamminga / deFilharmonie:
Nele Delafonteyne, Lisanne
Soeterbroek, & Aleksandar Madžar
12
ore 20
San Francesco
(Asciano)
Alain Planès
14
ore 12
Santo Stefano
(Castelmuzio)
Dorothee Mields, Thomas Hobbs
& Thomas Dunford
16
ore 20
San Francesco
(Asciano)
Quartetto Edding
22
San Francesco
(Asciano)
Masterclass Dietrich Henschel
& Aymeric Catalano
31.07
Lunedì
01.08
Martedì
02.08
Mercoledì
ore 20
03.08
8
Barbara Kabatková,
Helena Kornfeld Zemanová
& Pablo Kornfeld
26
Solisti della Filarmonica reale
fiamminga / deFilharmonie:
Nele Delafonteyne, Lisanne Soeterbroek,
Raphael Bell & Aleksandar Madžar
Giovedì
ore 20
San Francesco
(Asciano)
Dietrich Henschel
& Juan Pérez Floristán
28
ore 12
Santo Stefano
(Castelmuzio)
Quartetto Edding
38
ore 20
Sant’Anna in Camprena
(Pienza)
& Philippe Herreweghe
40
04.08
accademia
delle
crete senesi
direzione artistica
Philippe Herreweghe
Venerdì
05.08
Domenica 31.07
Sant’Anna in Camprena, Pienza
It is significant that when Franz Liszt drew up his will in 1860, he lamented the fact that
he had missed his true calling, ‘the passion and ecstasy of the Cross’, starting from
when he was 17, since his father had not allowed him to go to seminary. Nonetheless,
his life up until then can hardly be described as on the path of pious contemplation. As
a wunderkind and flamboyant piano virtuoso, he had met with both hysterical success
and stinging criticism throughout Europe between 1838 and 1847.
Cena: “Sant’Anna in Camprena” – Pienza
Domenica 31.07 ore 20
“In omaggio a un grande
appasionato della musica.”
Chiesa: Sant’Anna in Camprena — Pienza
© Michiel Hendryckx 2015
Franz Liszt (1811-1886):
La lugubra gondola (S134)
Magdalena Podkościelna*, Elisabeth Rapp*,
Die Zelle in Nonnenwerth (S382)
Margreet Rietveld, Dominique Verkinderen soprano
La Notte (S377a)
Daniel Elgersma, Sofia Gvirts,
± 30 min.
interval
Cécile Pilorger*, Bart Uvyn alto
Malcolm Bennett, Adriaan De Koster,
Benjamin Glaubitz, Vincent Lesage* tenor
Franz Liszt
Sebastian Myrus*, Robert van der Vinne baritone
Via Crucis (S.53)
Matthias Lutze*, Bart Vandewege bass
± 40 min.
Vera Beths violin
Reinbert de Leeuw piano & direction
* soloists
8
In 1848 he became Kapellmeister in Weimar, where he could finally concentrate on
composing in between his many obligations as an opera conductor (44 productions in
thirteen years!). Yet even though he was at his peak, the radical harmonic language of
his piano works and symphonic poems was not appreciated. Moreover, his personal
life had an unhoped-for setback, when the Vatican refused to allow him to marry his
lover, Carolyne Sayn-Wittgenstein.
The works on the programme of this concert date from the final period in Liszt’s career
(1860 - 1886). Scarred by one personal crisis after another, he had been ordained as
a priest and was leading a peripatetic existence, drifting between Weimar, Rome and
Budapest. His music took on an unfinished, experimental character and, stripped of
all sensation, it became increasingly dark, lonesome and personal. As Liszt sighed in
1880 to his first biographer, Lina Ramann, ‘I carry a deep sadness in my heart, that
now and then must break out in sound.’
This undertone of sadness and death is very strong in the three arrangements for
violin and piano. The lugubrious spectacle of a load of coffins being transported over
the canals of Venice inspired Liszt to write La lugubre gondola, originally a lilting
barcarolle in 6/8 time which he turned to 4/4. The elegiac Die Zelle in Nonnenwerth,
a look back at the rare moments of happiness that Liszt had with his first wife and three
children on the Rhine, exudes wistfulness and melancholy. The core of La Notte lies
in Il Penseroso, a piano piece written out of admiration for the eponymous sculpture
by Michelangelo.
Via Crucis for mixed choir, soloists and organ or piano from 1878-79 is an oratorio
dedicated to the fourteen Stations of the Cross. The work occupies a special place in
Liszt’s oeuvre, with the great sense of calm that it projects and the way it seeks out
the boundaries of then-conventional tonality. Starting with the introduction Vexilla regis
and passing the fourteen stations, it combines unison singing, Lutheran hymns and
Bach-inspired chorales sung by the choir with vocal and piano solos.
ACCADEMIA DELLE CRETE SENESI
PROGRAMMA ESTATE 2016
9
Domenica 31.07
VIA CRUCIS
Vexilla Regis prodeunt,
Fulget crucis mysterium,
Qua vita mortem pertulit,
Et morte vitam protulit.
Impleti sunt quae concinit
David fideli carmine,
Dicendo nationibus:
Regnavit a ligno Deus.
Amen.
O crux ave, spes unica,
hoc passionis tempore
Piis adauge gratiam,
Reisque dele crimina.
Amen.
STATION I
Jesus wird zum Tode verdammt
Innocens ego sum a sanguine justis hujus.
STATION II Jesus trägt sein Kreuz
Stabat Mater dolorosa
juxta crucem lacrymosa,
dum pendebat filius.
STATION IV
Jesus begegnet seiner heiligen Mutter
STATION V
Simon von Kyrene hilft Jesus das
Kreuz tragen
O Haupt voll Blut und Wunden,
Voll Schmerz und voller Hohn,
O Haupt, zum Spott gebunden
Mit einer Dornenkron!
O Haupt, sonst schön gezieret
Mit höchster Ehr’ und Zier,
Jetzt aber höchst schimpfieret;
Gegrüßet sei’st du mir!
STATION VII
Jesus fällt zum zweiten Mal
Nolite flere super me,
sed super vos ipsas flete et super
filios vestros.
STATION IX
Jesus fällt zum dritten Mal
Jesus cadit.
wird ins Grab getragen.
STATION XIII.
Jesus wird vom Kreuz genommen
STATION XIV
Jesus wird ins Grab gelegt
Ave crux, spes unica,
mundi salus et gloria,
Auge piis justitiam
Reisque dona veniam!
Amen. Ave crux.
STATION X
Jesus wird entkleidet
STATION XI
Jesus wird ans Kreuz geschlagen
Crucifige!
STATION XII.
Jesus stirbt am Kreuze
Eli, Eli, lamma Sabacthani.
In manus tuas commendo spiritum meum.
Consummatum est.
Jesus cadit.
Jesus cadit.
10
STATION VIII.
Die Frauen von Jerusalem
STATION VI
Sancta Veronica
Ave, ave crux.
STATION III
Jesus fällt zum ersten Mal
Domenica 31.07
O Traurigkeit, o Herzeleid,
Ist das nicht zu beklagen?
Gott des Vaters einigs Kind
11
I
m Fr
ei
en,Sz
.81
Lunedì 01.08
Like many composers before and after him, Beethoven also began his career
as a keyboard virtuoso. As an eleven-year-old, he had already mastered Bach’s
Wohltemperierte Klavier, and starting in the mid-1790s he was making a name for
himself as a pianist in Viennese salons and later on concert stages. At the same
time, he was diligently studying counterpoint and was beginning to compose. His
development as a composer can be read in the 32 sonatas for piano (or fortepiano) he
wrote between 1795 and 1822. Beethoven’s revolutionary achievements in the genre –
whether in form, pianism or dramatic depth – would influence the entire piano literature
of the nineteenth (and part of the twentieth) century.
Cena: pro-loco, piazza del Grano – Asciano
Lunedì 01.08 ore 20
Chiesa: San Francesco - Asciano
San Francesco, Asciano
Questo concerto è dedicato
al commune di Asciano
“In omaggio a Paolo.”
Ludwig Van Beethoven (1770-1827)
Sonate no. 26 “Les adieux”, Op. 81a
Sonate no.8 “Sonata Pathétique”, Op. 13
The earlier of the two sonatas in this recital, the Piano sonata no. 8 Op. 13 in C Minor,
dates from 1798 and is still classical in nature. It has the nickname Grande Sonate
Pathétique because of its sombre and tragic sound world, something that it has in
common with Mozart’s Sonata K.457, which is also in c minor. The Piano sonata
no. 13 Op. 26 in D Major is known as ‘Les Adieux’, a programmatic reference to
the departure of Beethoven’s patron Archduke Rudolph from Vienna when Napoleon
attacked the city in 1809. In spite of, or perhaps precisely because of the demands
it puts on the performer, it signalled an important success for Beethoven as both a
pianist and composer.
± 40 min.
Aside from a sonata from 1903 that he dismissed as imitation Beethoven, Stravinsky
wrote just one solo piece for the instrument, the Sonata pour piano from 1924,
dedicated to Winaretta Singer, Princesse de Polignac. The first and third movements
of this short neoclassical work are similar to each other in their direct compositional
style, sonata form and the tempo indications. The second movement, Adagietto, is
richer and resembles Beethoven’s romantic style more.
interval
Igor Stravinsky (1882-1971)
Sonate pour piano (1924) Dmitri Shostakovich (1906-1975)
In its quest for a musical language based on greater continuity, the Second Piano
Sonata Op. 61 by Shostakovich also owes much to the sonatas of Beethoven and
Schubert. Shostakovich completed this half-hour work in 1943 at the height of the
Great Patriotic War between the Soviet Union and Nazi Germany, and dedicated it to
the memory of his piano teacher Leonid Nikolayv. The three movements – Allegretto,
Largo and Moderato – in a way reflect the most important aspects of his entire oeuvre:
the intense drama, plaintive lyricism and deep tragedy that are also found in his 15
symphonies and string quartets.
Sonate no.2, Op. 61 (1943)
I Allegretto
II Largo
III Moderato
± 35 min.
Alain Planès piano
14
15
Martedì 02.08
Santo Stefano, Castelmuzio
Along with Henry Purcell (1659-1695), John Dowland (1563-1623) is without a
doubt one of the most important composers of English song. As a lute virtuoso he
travelled to France, Germany and Italy and had quite a few attractive offers to work
at European royal houses, including that of King Christian IV of Denmark, where he
served from 1598 to 1606. Yet despite his enormous fame, he never succeeded in
securing a post in his native country at the court of Queen Elizabeth I. Regular contact
with his homeland as well as various publications did ensure, however, that he had a
considerable influence on English music. By synthesising elements from broadside
ballads, dance music, consort songs and madrigals, Dowland created a completely
new genre – the lute song.
Martedì 02/08 ore 12
Chiesa: Santo Stefano — Castelmuzio
John Dowland (1563-1626)
Præludium (instr.)
Come again
Weepe ye no more sad fountains
Fortune (instr.)
Can she excuse
The king of Denmarke, his galliard (instr.)
A dream (instr.)
I saw my lady weepe
Go cristall teares
Flow my teares
Lachrimæ (instr.)
Semper Dowland, semper Dolens (instr.)
In Darkness let me Dwell
Sorrow stay
Clear or Cloudy
Mellancoly galliard (instr.)
Frog galliard (instr.)
Now, o now I needs must part
His first volume of strophic songs, The First Booke of Songs and Ayres from 1597, was
especially successful, harking back as it does to the French song collections known as
Livres d’airs, that Dowland had come to know in Paris while in the service of Sir Henry
Cobham, the English ambassador. This collection contains the song Can she excuse
my wrongs. Originally intended for four voices and lute accompaniment, it is a fine
example of the way in which Dowland manages to seamlessly weave dance rhythms
with the metre and rhyme scheme of the poetry.
Dance forms like the pavane (Lachrimae), galliard or allemande (The King of Denmark’s
Galliard, the Frog Galliard or the Mellancoly Galliard), moreover, make up the majority
of Dowland’s solo lute music. His most popular piece is incontestably the pavane
Lachrimae or ‘tears’ (with its characteristic falling lamento motive), no longer functional
dance music, but almost abstract instrumental music. Dowland published Flow my
tears, the vocal arrangement of this little gem of melancholy, in 1600 in The second
Booke of Songs or Ayres. It is preceded in the same volume by another typical example
of Elizabethan melancholy, I saw my Lady Weepe in which the three main themes
of Dowland’s songs flow together: love (with all its delightful and not-so-delightful
consequences), courtly life and lastly, the melancholy that Dowland – although he is
said to have been extremely cheerful by nature – had elevated to his personal motto in
the pavane Semper Dowland, semper dolens.
Dorothee Mields soprano
Thomas Hobbs tenor
Thomas Dunford lute
16
17
Martedì 02.08
Come again
Come again
Sweet love doth now invite,
Thy graces that refrain,
To do me due delight,
To see, to hear, to touch, to kiss, to die,
With thee again in sweetest sympathy.
Come again
That I may cease to mourn,
Through thy unkind disdain:
For now left and forlorn,
I sit, I sigh, I weep, I faint, I die,
In deadly pain and endless misery.
All the day
That sun that lends me shine
By frowns doth cause me pine
And feeds me with delay:
Her smiles, my springs that make my joys
to grow,
Her frowns, the winters of my woe.
All the night
My sleep is full of dreams,
My eyes are full of streams,
My heart takes no delight
To see the fruits and joys that some do
find,
And mark the storms to me assigned,
Out, alas,
My faith is ever true,
Yet will she never rue,
Nor yield me any grace;
Her eyes of fire, her heart of flint is made,
Whom tears nor truth may once invade.
Gentle Love,
18
Draw forth thy wounding dart,
Thou canst not pierce her heart,
For I that to approve,
By sighs and tears more hot than are
thy shafts,
Did tempt, while she for mighty triumph
laughs.
I saw my lady weepe
I saw my lady weepe,
And Sorrow proud to be advanced so,
In those fair eyes where all perfections
keep,
Her face was full of woe;
But such a woe (believe me) as wins
more hearts,
Than Mirth can do with her enticing parts.
Sorrow was there made fair,
And Passion wise, tears a delightful thing,
Silence beyond all speech a wisdom rare,
She made her sighs to sing,
And all things with so sweet a sadness
move,
As made my heart at once both grieve
and love.
O fairer than aught else,
The world can show, leave off in time to
grieve,
Enough, enough, your joyful looks excels,
Tears kills the heart.
O strive not to be excellent in woe,
Which only breeds your beauty’s
overthrow.
Martedì 02.08
Flow my teares
Flow, my tears, fall from your springs!
Exiled for ever, let me mourn;
Where night’s black bird her sad infamy
sings,
There let me live forlorn.
Down vain lights, shine you no more!
No nights are dark enough for those
That in despair their lost fortunes deplore.
Light doth but shame disclose.
Never may my woes be relieved,
Since pity is fled;
And tears and sighs and groans my
weary days
Of all joys have deprived.
From the highest spire of contentment
My fortune is thrown;
And fear and grief and pain for my deserts
Are my hopes, since hope is gone.
Hark! you shadows that in darkness dwell,
Learn to contemn light
Happy, happy they that in hell
Feel not the world’s despite.
No hope, no help there doth remain,
But down, down, down, down I fall,
Down and arise I never shall.
Weepe ye no more sad fountains
Weepe ye no more, sad fountains;
What need you flow so fast?
Look how the snowy mountains
Heaven’s sun doth gently waste!
But my sun’s heavenly eyes
View not your weeping,
That now lies sleeping,
Softly now, softly lies
Sleeping.
Sleep is a reconciling,
A rest that peace begets;
Doth not the sun rise smiling
When fair at e’en he sets?
Rest you, then, rest, sad eyes!
Melt not in weeping,
While she lies sleeping,
Softly now, softly lies
Sleeping.
Can she excuse
Sorrow stay
Sorrow stay, lend true repentant tears,
To a woeful wretched wight,
Hence, despair with thy tormenting fears:
O do not my poor heart affright.
Pity, help now or never,
Mark me not to endless pain,
Alas I am condemned ever,
Can she excuse my wrongs with Virtue’s
cloak?
Shall I call her good when she proves
unkind?
Are those clear fires which vanish into
smoke?
Must I praise the leaves where no fruit I
find?
19
Martedì 02.08
No, no; where shadows do for bodies
stand,
That may’st be abus’d if thy sight be dim.
Cold love is like to words written on sand,
Or to bubbles which on the water swim.
Wilt thou be thus abused still,
Seeing that she will right thee never?
If thou canst not o’ercome her will,
Thy love will be thus fruitless ever.
Haste, restless sighs, and let your burning
breath
Dissolve the ice of her indurate heart,
Whose frozen rigour, like forgetful Death,
Feels never any touch of my desert,
Yet sighs and tears to her I sacrifice
Both from a spotless heart and patient
eyes.
Was I so base, that I might not aspire
Unto those high joys which she holds from
me?
As they are high, so high is my desire,
If she this deny, what can granted be?
If she will yield to that which reason is,
It is reason’s will that love should be just.
In darkness let me dwell
Dear, make me happy still by granting this,
Or cut off delays if that I die must.
Better a thousand times to die
Than for to love thus still tormented:
Dear, but remember it was I
Who for thy sake did die contented.
Go cristall teares
Go crystal tears, like to the morning
showers,
And sweetly weep into thy lady’s breast.
And as the dews revive the drooping
flow’rs.
So let your drops of pity be address’d
To quicken up the thoughts of my desert,
Which sleeps too sound whilst I from her
depart.
20
In darkness let me dwell, the ground shall
sorrow be,
The roof despair to bar all cheerful light
from me,
The walls of marble black that moistened
still shall weep,
My music hellish jarring sounds to banish
friendly sleep:
Thus wedded to my woes, and bedded in
my tomb
O let me dying live till death doth come.
My dainties grief shall be, and tears my
poisoned wine,
My sighs the air through which my panting
heart shall pine,
My robes my mind shall suit exceeding
blackest night,
My study shall be tragic thoughts sad
fancy to delight,
Pale ghosts and frightful shades shall my
acquaintance be:
O thus, my hapless joy, I haste to thee.
Martedì 02.08
Clear or cloudy
Clear or cloudy, sweet as April show’ring,
Smooth or frowning, so is her face to me.
Pleas’d or smiling, like mild May all flow’ring,
When skies blue silk, and meadows
carpets be,
Her speeches notes of that nightbird that
singeth,
Who thought all sweet, yet jarring notes
out ringeth.
Her grace like June, when earth and trees
be trimmed
In best attire of complete beauty’s height.
Her love again like Summer’s days bedimmed
With little clouds of doubtful constant faith.
Her trust, her doubt, like rain and heat in skies
Gently thund’ring, she lightning to mine eyes.
Sweet summer Spring, that breathed life
and growing
In weeds as into healing herbs and flow’rs,
And sees of service divers sorts in sowing,
Some haply seeming, and some being, yours,
Rain on your herbs and flow’rs that truly serve,
And let your weeds lack dew, and duly starve.
Now, o now I needs must part
Now, oh now I needs must part,
Parting though I absent mourn.
Absence can no joy impart:
Joy once fled cannot return.
While I live I needs must love,
Love lives not when Hope is gone.
Now at last Despair doth prove,
Love divided loveth none.
Sad despair doth drive me hence;
This despair unkindness sends.
If that parting be offence,
It is she which then offends.
Dear when I from thee am gone,
Gone are all my joys at once,
I lov’d thee and thee alone,
In whose love I joyed once.
And although your sight I leave,
Sight wherein my joys do lie,
Till that death doth sense bereave,
Never shall affection die.
Dear, if I do not return,
Love and I shall die together.
For my absence never mourn
Whom you might have joyed ever;
Part we must though now I die,
Die I do to part with you.
Him despair doth cause to lie
Who both liv’d and dieth true.
21
Martedì 02.08
Cena: La Mencia – Asciano
Martedì 02.08 ore 20
Ludwig van Beethoven (1770-1827)
Anonym (Codex Rossi 215): Lucente stella
String Quartet No.7 op. 59/1
Anonym: Lamento di Tristano - La Rotta
“Razumovsky Quartett”
Francesco Landini (ca.1325 - 1397):
I Allegro
Questa fanciull’ Amor
II Allegretto vivace e sempre scherzando
Francesco Landini: Che cosa è quest’ Amor
III Adagio molto e mesto - attacca
Anonym: Istanpitta Belicha
IV Thème Russe: Allegro
Francesco Landini: D’Amor mi biasmo
± 35 min.
Anonym: (Codex Rossi 215):
Lavandose le mane
Edding Quartet
Francesco Landini: L’antica fiamma
Baptiste lopez violin
Anonym: Saltarello
Caroline Bayet violin
Francesco Landini: Gram piant’ agli ochi
Pablo de Pedro alto
Francesco Landini: Amor c’al tuo sugetto
Ageet Zweistra cello
Francesco Landini: Giovine vagha, i’ non senti
interval
Barbora Kabátková soprano & gothic harp
Le Faccie dell’Amore
Helena Kornfeld Zemanová fiddle
Love and melancholy in the music
Pablo Kornfeld échiquier & positive organ
of Italian Trecento
22
In 1806, Beethoven was commissioned by the Russian ambassador in Vienna, Count
Andreas Razumovsky, to write a set of three string quartets (Op. 59). Along with his
quartets Op. 74 and Op. 95, they belong to his middle period in which he was deviating
more and more from the conventional form, length and emotional range of the genre.
As he did with his symphonies, Beethoven was also very consciously making his
mark on the evolution of chamber music: this was no longer salon music for amateurs
from the noble classes, but music that posed unprecedented challenges, even for
professional musicians. So much so that when the violinist Schuppanzigh played the
Quartet Op. 59 in F major, the ‘Eroica of the string quartets’, for the first time, the
other members of his quartet thought that Beethoven had played a joke on them! The
music was so innovative and complex that it would be years before its excellence and
depth would become clear. Even the relationship in tempo between the exposition and
development in the first movement (Allegro) is significant for this evolution. Beethoven
reserves the traditional slow movement (here a sombre Adagio molto e mesto) not
for the second but the third movement, preceded by the Allegretto vivace e sempre
scherzando. The dancelike theme from a Russian folk song energetically starts off the
fourth movement (Allegro Thème Russe) and after a rondo in sonata form, it closes
with a stormy fugato.
Interval
Few periods in European art history have seen as high a degree of refinement as the
Italian Trecento. The beginning of the Renaissance manifested itself not only in the
paintings of the Sienese School and the literature of Dante, Petrarch and Boccaccio,
but saw its musical expression in the ars nova, the new polyphony of the fourteenth
century. A strong emphasis on worldly love lyrics, coupled to philosophical debates
about the concept of ‘love’, an increasing rhythmic complexity and experiments with
tonality created a beneficent new wind.
One of the most important representatives of this style was the blind Florentine
composer, organist, singer and poet Francesco Landini (ca.1325-1397). The vast
majority of his surviving compositions are two- and three-voice ballate (such as the
breathtaking Che cosa è quest’ Amor and Giovane vagha, i’ non senti). This musical
and poetic form (similar to the French virelai) had a typical AbbaA structure, with the
first and last verses having the same text. Contemporaries praised Landini’s ability to
move listeners and claimed that ‘the sweetness of his melodies made people’s hearts
jump out of their breasts’.
23
Martedì 02.08
Martedì 02.08
Anonym (Codex Rossi 215):
Lucente stella
Francesco Landini:
Che cosa è quest’ Amor
Anonym (Codex Rossi 215):
Lavandose le mane
Lucente stella ch’el mio cor desfai,
con novo guardo che move d’amore,
abbi pietà de quel che per ti more.
I ati toi dolce prometon salute
a chi se spechia nello to bel viso.
E bei ochi toi ladri e il vago riso
furan mia vita per lor vertute,
Merzè mostrando de le mie ferute.
ma poi pur provo che lo to valore
cum crudeltate strugge lo mio core.
Lucente stella…
Che cosa è quest’ Amor che’l ciel produce
per far più manifesta la tuo luce?
Ell’ è tanto veççosa onesta e vagha,
Leggiadr’e gratios’ adorn’e bella
Che a chi la guarda, subito’l cor pilglia
Chon gli ochi bei che lucon più che stella
E a cuj lice star fiso a vederla
Tutta gioya e virtu in se conduce.
Che cosa è quest’ Amor che’l ciel produce
per far più manifesta la tuo luce?
Lavandose le mane e ‘l volto bello.
dicenta e diflibata
vidi mia donna in un bianco guarnello.
Allora dissi: - Ben se’ tu trovata! Non me respose a quello;
coperse gli piedi, ch’era descalzata.
De leto era levata, relucente:
pareva ‘l sole che leva a l’oriente.
Francesco Landini:
D’Amor mi biasmo
L’antica fiamma, e’l dolce disio
Ognor s’accresce, donna, nel cor mio.
Quanto mie vita più verso lo stremo
Trapass’e fuggie, allora più s’accende.
Ond’io per doglia sospirando temo
Dell’amorosa fiamma che m’offende.
Vegendo, ch’a mie prieghi non discende
L’angelica figura e’l viso pio.
L’antica fiamma, e’l dolce disio
Ognor s’accresce, donna, nel cor mio.
Francesco Landini (1325? - 1397):
Questa fanciull’ Amor
R. Questa fanciull’ Amor
fallami pia
che mi ha ferito il cor
nella tua via.
Tu m’ha, fanciulla, si’ d’amor percosso
che solo in te pensando trovo posa
el cor di me da me tu m’ha rimosso
con gli occhi belli e la faccia gioiosa
pero’ ch’al servo tuo deh sie piatosa
merce’ ti chiegho alla gran pena mia.
D’ Amor mi biasmo chi ch’esse ne lodi
E parmi aver ragion in molti modi
Per lu privato son di libertate.
Onde ch’in su albitre di me si ride
Ricevo scherno per mie fedeltate
Come infelice il quale una conquide.
E non mi vale sospir, pianti ne stride.
Chechi d’aver merçe per piata m’odi.
D’ Amor mi biasmo chi ch’esse ne lodi
E parmi aver ragion in molti modi
Francesco Landini:
Gram piant’ agli ochi
Gran piant’ agli ochi, greve dogli al core
abbondan senpre l’anima, si more.
Per quest’amar’ et aspra dipartita chiamo
la mort’ e non mi vuol udire.
Contra mia volglia dura questa vita, che
mille morti mi convien sentire.
Ma bench’ i’ viva, ma’ non vo’ seguire se
Se non soccorri alle dogliose pene
il cor mi verra’ meno che tu m’a tolto,
che la mia vita non sente ma’ bene
se non mirando ‘l tuo vezzoso volto.
Da poi fanciulla che d’amor m’a involto
priego ch’alquanto a me beningnia sia.
24
Francesco Landini:
L’antica fiamma
non vo’, chiara stella et dolce amore.
Gran piant’ agli ochi, greve dogli al core
abbondan senpre l’anima, si more.
Francesco Landini:
Amor c’al tuo sugetto
Amor c’al tuo sugetto omai da’lena
Sotto tuo giogo vivo san ça pena
Et cosi vo’contento senpre stare
Po che m’a fatto serv’a questa dea
C’a nulla cosa si può aguagliare
Tal la produsse chi tutto potea
Per chè tutta virtù in lei si crea.
O felice cui leghi a tal catena!
Amor c’al tuo sugetto omai da’lena
Sotto tuo giogo vivo san ça pena.
Francesco Landini:
Giovine vagha, i’ non senti
Giovine vagha, i’non senti giammay
Amorosa virtute, Ma tu, somma salute,
Nel cor di me, tuo servo, messa l’ay.
Quando negli ochi tuo’ primeramente
Si speci arono miey.
Vi vidi dentro amor’e puramente
In ver di lui mi fey.
Et non pensando al poter degli dei
Mi stava pargoletto.
Poi cercandomi el petto
Lo stral dorato dentro vi trovay.
Giovine vagha, i’non senti giammay
Amorosa virtute, Ma tu, somma salute,
Nel cor di me, tuo servo, messa l’ay.
25
Mercoledì 03.08
Cena: “La Torre” – Monte Oliveto Maggiore – Asciano
Mercoledì 03.08 ore 20
Questo concerto è patrocinato da
“In -omaggio
a Paolo.”
Studio Legale
Advokatenkantoor
Bureau d’avocats Janson Baugniet
Masterclass Dietrich Henschel
Olivier Messiaen
Robert Schumann (1810-1856)
Quatuor pour la fin du temps
Selected songs from
I Liturgie de cristal
Liederkreis op. 24
II Vocalise pour l’ange qui annonce
Frauenliebe- und Leben op. 42
la fin du temps
Spanisches Liederspiel op. 74
III Abîme des oiseaux
± 55 min.
IV Intermède
V Louange à l’éternité de Jésus
Leigh Michelow soprano
VI Danse de la fureur, pour les
Julia Stein mezzosoprano
sept trompettes
Nick Pritchard tenor
VII Fouillis d’arcs-en-ciel pour
Nikolaus Fluck bas
l’ange qui annonce la fin du temps
Aymeric Catalano piano
VIII Louange à l’immortalité de Jésus
Dietrich Henschel coaching
± 45 min.
interval
Soloists of the Royal
Flemish Philharmonic
Nele Delafonteyne clarinet
Lisanne Soeterbroek violin
Raphael Bell cello
Jan Michiels piano
26
Of the more than 250 songs composed by Robert Schumann, most are undoubtedly
among the very best of the repertoire. For this reason alone, they are perfectly placed
in this final event of baritone Dietrich Henschel’s masterclass. Schumann’s Lieder not
only bear witness to his musical inventiveness as a pianist and a composer, but also
provide powerful evidence of his great love for and interest in literature. One of the first
poets he had an affinity for was Heinrich Heine. Heine’s 1827 collection of poems,
Das Buch der Lieder forms the basis of Schumann’s first song cycle, the Liederkreis
op. 24. Like the more well-known Frauenliebe und Leben op. 42 and Dichterliebe
op. 48, this cycle also dates from 1840, a year known as Schumann’s Liederjahr. In
that halcyon year – when he was newly married to Clara Wieck – he devoted himself
almost exclusively and with unprecedented energy and creativity to the art-song genre.
The Spanisches Liederspiel op. 74 from 1849 is something else entirely. Schumann
rearranged popular poetry translated by Emanuel Geibel, and created a new genre, a
combination of Liederkreis and Singspiel, including various characters (interpreted by
several solo voices, in duet or as a chorus), and a dramatic sojourn.
interval
‘There will be no more delay! When the time has come for the seventh angel to blow
the trumpet, then God’s mysterious promise will be fulfilled’. Olivier Messiaen wrote
these mystical words from the Book of Revelations on the title page of his most famous
and moving composition: the Quatuor pour la fin du temps. The unimaginably beautiful
notes of this quartet not only resonate with the imploring message of the angel of
the Apocalypse, they are also inextricably linked with the circumstances in which this
revolutionary music was created.
In September 1939, when World War II broke out, Messiaen was in the French Alps
working on his organ cycle, Les corps glorieux. This deeply religious composer was
called up for military service, but a few months later, he became a prisoner of war and
was transported to camp Stalag VIII A in East Germany, along with thousands of other
soldiers. A music-loving camp guard ensured that Messiaen had writing materials and
music paper at his disposal. He composed a playful trio for cello, clarinet and violin for
a few musical fellow prisoners, called the Intermède. He then added seven additional,
more profound movements, in which the piano plays a role. He dedicated the entire
score to the angel from the book of Revelations, who had appeared to him in a dream.
Messiaen’s Quatuor had its premiere on an ice-cold winter night in 1941, in front of an
audience of approximately four hundred prisoners of war and German officers. After
the war, the composer reminisced: ‘My music had never before been listened to with
so much attention and understanding’. The notes of Messiaen’s other-worldly score
still exert an undiminished impact on the listener, from the opening movement’s song
of the nightingale, right until the ecstatic violin solo in the closing movement.
27
Giovedì 03.08
During the first half of the 19th century, Franz Schubert and Robert Schumann were
responsible for placing the genre of the Lied or art song definitively on the map.
Together, they not only assembled an enormous collection of pieces for piano and
voice, their influence on the further development of the genre could be felt well into
the 20th century. Schubert’s contribution was to give the piano part, like the voice,
its own role; in this way, the accompaniment and the melody became well-balanced
partners within a richly-shaded musical tale. Schumann, on the other hand, was
responsible for an intensified poetic expression. He invoked this by using not just the
piano’s increasingly independent preludes and postludes, but also the high quality of
the poetry itself. A good Lied starts from a good poem.
Cena: pro-loco, Corso Giacomo Matteotti – Asciano
Giovedì 04.08 ore 20
Questo concerto è patrocinato
“Inda
omaggio
Paolo.”
Khaled aOusseimi
Late romantic songs from France
and Germany
Alban Berg (1885-1935)
Vier Gesänge op. 2
Aus: Dem Schmerz sein Recht – Schlafend
trägt man mich in mein Heimatland –
Nun ich der Riesen Stärksten überwand –
Warm die Lüfte
Darius Milhaud (1892-1974):
Poèmes Juifs (selected songs)
Chant de la Pitié – Chant d’Amour –
Chant de Forgeron – Lamentation
Henri Duparc (1848-1933)
La Vague et la cloche - Phidylé - Le Manoir
de Rosemonde - Soupir
Richard Strauss (1864-1949):
Fünf Lieder op. 15
Madrigal – Winternacht – Lob des Leidens –
Aus den Liedern der Trauer - Heimkehr
Anton Webern (1883-1945)
Fünf George-Lieder op. 4
Eingang – Noch zwingt mich Treue –
Ja, Heil und Dank – So ich traurig bin –
Ihr tratet zu dem Herde
interval
Maurice Ravel (1875-1937)
Histoires Naturelles
Le Paon – Le Grillon – Le Cygne –
Le Martin-pêcheur – La Pintade
Dietrich Henschel baritone
Juan Pérez Floristán piano
28
Under the influence of Romanticism, the quality and quantity of poetry in Germany
(and later in France) really flourished. At the end of the 19th and beginning of the 20th
century, newer, freer and more intensely personal forms of poetry emerged, inspiring
the creation of music with a lyrical exuberance and an unimaginable expressiveness.
Rhythmic patterns, accents, variations in tempo and pitch levels in the text – both in
German poems, and to a greater extent in French – subtly enhanced the music, or
contrasted strongly with it.
The music in this Franco-German recital presents a sampling of various styles which
existed concurrently between the middle of the 19th century and the First World War.
The romantic and progressive tonal language of Richard Wagner – as found in his
opera Tristan und Isolde – had many followers in both Germany and France, as can be
heard in the mélodies of Henri Duparc or the Fünf Lieder op. 15 by the young Richard
Strauss.
Only a few decades later, Arnold Schoenberg and his pupils Alban Berg and Anton
Webern began to break down the boundaries of functional harmony (the same
boundaries that Wagner had called into question). Both Berg’s Vier Lieder op. 2, with
which this recital opens, and Webern’s Fünf George Lieder op. 4 (based on texts by
the Symbolist Stefan George, strongly influenced by Mallarmé), are composed using
free atonality.
Equally refined and sensual are the three mélodies from French impressionist Claude
Debussy, in which he blends the text and music to create a colourful (and at times
humorous) mood. A rawer form of humour emerges from Maurice Ravel’s Histoires
Naturelles, a cycle written in 1906, and based on texts by Jules Renard. The unrefined
folksy nature of these songs created a lot of controversy during their first performance.
29
Giovedì 03.08
Alban Berg
Vier Gesänge op. 2
Aus: “Dem Schmerz sein Recht”
(Friedrich Hebbel)
Schlafen, Schlafen, nichts als Schlafen!
Kein Erwachen, keinen Traum!
Jener Wehen, die mich trafen,
Leisestes Erinneren kaum, dass ich,
Wenn des lebens Fülle nieder klingt in
meine Ruh’,
Nur noch tiefer mich verhülle,
Fester zu die Augen tu!
Drei Lieder aus “Der Glühende”
I
Schlafend trägt man mich in mein
Heimatland
Ferne komm’ ich her,
Über Gipfel, über Schlünde,
Über ein dunkles Meer in mein Heimatland.
II
Nun ich der Riesen Stärksten überwand,
Mich aus dem dunkelsten Land heimfand
An einer weissen Märchenhand,
Hallen schwer die Glocken;
Und ich wanke durch die Gassen
schlafbefangen.
III
Warm die Lüfte,
Es spriesst Gras auf sonnigen Wiesen,
Horch! Horch es flötet die Nachtigall.
Ich will singen:
Droben hoch im düstern Bergforst,
Es schmilzt und glitzert kalter Schnee,
30
Ein Mädchen in grauem Kleide lehnt an
feuchten Eichstamm,
Krank sind ihre zarten Wangen,
Die Grauen Augen fiebern durch
Düsterriesenstämme.
“Er kommt noch nicht. Er lässt mich
warten.”
Stirb!
Der Eine stirbt, daneben der Andre lebt:
Das macht die Welt so tiefschön.
Henri Duparc
La vague et la cloche
(François Coppée)
Un fois, terrassé par un puissant breuvage,
J’ai rêvé que parmi les vagues et le bruit
De la mer je voguais sans fanal dans la nuit,
Morne rameur, n’ayant plus l’espoir du
rivage.
L’Océan me crachait ses baves sur le front
Et le vent me glaçait d’horreur jusqu’aux
entrailles;
Les lames s’écroulaient ainsi que des
murailles
Avec ce rythme lent qu’un silence
interrompt.
Puis, tout changea. La mer et sa noire
mêlée
Sombrèrent. Sous mes pieds s’effondra le
plancher
De la barque... Et j’étais seul dans un vieux
clocher,
Chevauchant avec rage une cloche
ébranlée.
Giovedì 03.08
J’étreignais la criarde opiniâtrement,
Convulsif et fermant dans l’effort mes
paupières,
Le grondement faisait trembler les vieilles
pierres,
Tant j’activais sans fin le lourd
balancement.
Pourquoi n’as-tu pas dit, o rêve! où Dieu
nous mène?
Pourquoi n’as-tu pas dit s’ils ne finiraient
pas
L’inutile travaile et l’éternel fracas
Dont est fait la vie, hélas! la vie humaine?
Phidylé
(Charles Leconte de Lisle)
L’herbe est molle au sommeil sous les frais
peupliers,
Aux pentes des sources moussues,
Qui dans les prés en fleur germant par
mille issues,
Se perdent sous les noirs halliers.
Repose, ô Phidylé! Midi sur les feuillages
Rayonne et t’invite au sommeil.
Par le trèfle et le thym, seules, en plein
soleil,
Chantent les abeilles volages.
Un chaud parfum circule au détour des
sentiers,
La rouge fleur des blés s’incline,
Et les oiseaux, rasant de l’aile la colline,
Cherchent l’ombre des églantiers.
Les taillis sont muets; le daim, par les
clairières,
Devant les meutes aux abois
Ne bondit plus; Diane, assise au fond
des bois,
Polit ses flèches meurtrières.
Dors en paix, belle enfant aux rires
ingénus,
Aux nymphes agrestes pareille!
De ta bouche au miel pur j’écarterai
l’abeille,
Je garantirai tes pieds nus.
Laisse sur ton épaule et ses formes
divines,
Comme un or fluide et léger,
Sous mon souffle amoureux courir
et voltiger
L’épaisseur de tes tresses fines!
Sans troubler ton repos, sur ton front
transparent,
Libre des souples bandelettes,
J’unirai l’hyacinthe aux pâles violettes,
Et la rose au myrte odorant.
Belle comme Érycine aux jardins de Sicile,
Et plus chère à mon coeur jaloux,
Repose! Et j’emplirai du souffle le plus
doux
La flûte à mes lèvres docile.
Je charmerai les bois, ô blanche Phidylé,
De ta louange familière;
Et les nymphes, au seuil de leurs grottes
de lierre,
31
Giovedì 03.08
En pâliront, le coeur troublé.
Mais, quand l’Astre, incliné sur sa courbe
éclatante,
Verra ses ardeurs s’apaiser,
Que ton plus beau sourire et ton meilleur
baiser
Me récompensent de l’attente!
La Manoir de Rosemonde
(Robert de Bonnières)
De sa dent soudaine et vorace,
Comme un chien, l’amour m’a mordu.
En suivant mon sang répandu,
Va, tu pourras suivre ma trace.
Prends un cheval de bonne race,
Pars, et suis un chemin ardu,
Fondrière ou sentier perdu,
Si la course ne te harasse!
En passant par où j’ai passé,
Tu verras que seul et blessé,
J’ai parcouru ce triste monde,
Et qu’ainsi je m’en fus mourir
Bien loin, bien loin, sans découvrir
Le bleu manoir de Rosemonde.
Soupir
(René Sully-Prudhomme)
Ne jamais la voir ni l’entendre,
Ne jamais tout haut la nommer,
Mais, fidèle, toujours l’attendre,
Toujours l’aimer!
32
Ouvrir les bras, et, las d’attendre,
Sur la néant les refermer!
Mais encor, toujours les lui tendre
Toujours l’aimer.
Ah! ne pouvoir que les lui tendre
Et dans les pleurs se consumer,
Mais ces pleurs toujours les répandre,
Toujours l’aimer...
Ne jamais la voir ni l’entendre,
Ne jamais tout haut la nommer,
Mais d’un amour toujours plus tendre
Toujours l’aimer. Toujours!
Anton Webern
Fünf George-Lieder op. 4
(Stefan George)
I Eingang
Welt der Gestalten lang Lebewohl!...
öffne dich Wald voll schlohweißer Stämme!
Oben im Blau nur tragen die Kämme
Laubwerk und Früchte: gold Karneol.
Mitten beginnt beim marmornen Male
langsame Quelle blumige Spiele,
rinnt aus der Wölbung sachte
als fiele Korn um Korn auf silberne Schale
Schauernde Kühle schließt einen Ring,
Dämmer der Frühe wölkt in den Kronen,
ahnendes Schweigen bannt die hier
wohnen...
Traumfittich rausche! Traumharfe kling!
Giovedì 03.08
II
Noch zwingt mich treue über dir zu
wachen
Und deines duldens schönheit dass ich
weile,
Mein heilig streben ist mich traurig machen
Damit ich wahrer deine trauer teile.
Nie wird ein warmer anruf mich empfangen
Bis in die späten stunden unsres bundes
Muss ich erkennen mit ergebnem bangen
Das herbe schicksal winterlichen fundes.
III
Ja Heil und Dank dir die den Segen
brachte!
Du schläfertest das immer laute Pochen
Mit der Erwartung deiner -- Teure -- sachte
In diesen glanzerfüllten Sterbewochen.
Du kamest und wir halten uns
umschlungen,
ich werde sanfte Worte für dich lernen
und ganz als glichest du der Einen Fernen
dich loben auf den Sonnenwanderungen.
IV
So ich traurig bin
Weiß ich nur ein Ding:
Ich denke mich bei dir
Und singe dir ein Lied.
Fast vernehme ich dann
Deiner Stimme Klang.
Ferne singt sie nach
Und minder wird mein Gram.
V
Ihr tratet zu dem herde
wo alle glut verstarb,
licht war nur an der erde
vom monde leichenfarb.
Ihr tauchet in die aschen
die bleichen finger ein
mit suchen tasten haschen
wird es noch einmal schein!
Seht was mit trostgeberde
der mond euch rät:
tretet weg vom herde,
es ist worden spät.
Darius Milhaud
Poèmes Juifs
(selected folksongs)
Chant de la pitié
Dans les champs de Bethléem, une pierre
se dresse solitaire, antique tombe.
Mais dès que minuit sonne, on voit
une Beauté quitter sa demeure souterraine
pour venir sur la terre.
Là voilà qui chemine silencieuse
vers le Jourdain. Là voilà qui
silencieusement
contemple les ondes sacrées.
Une larme tombe alors de son oeil pur
dans les ondes paisibles du fleuve.
Et doucement les larmes s’écoulent
l’une après l’autre, tombent dans le
Jourdain,
33
Giovedì 03.08
emportées entrainées
par le mystère des eaux.
Chant d’amour
En même temps que tous les bourgeons
la Rose de mon coeur se réveille, elle aussi,
aux chants des étoiles matinales et
nocturnes,
la Rose de mon coeur s’épanche, elle
aussi.
Lorsque le rossignol fit entendre sa voix,
Mon coeur se fondit en larmes;
Lorsque la nature s’endormit autour de
moi,
mes rêves se réveillèrent.
Devant le trône de sa gloire
ils se tiennent en rond.
C’est là qu’ils préparent
des étoffes lumineuses pour le Messie.
Tout ce qui est sublime,
Tout ce qui est majestueux,
Tout ce qui est beau,
Tout ce qui est noble,
Tout ce qui est bon et pur.
Et ceci, ils le prennent avec tout
ce qui est clarté et Lumière.
Et les anges, les sept chérubins,
élèvent leurs voix d’abandonnés,
voix de sanglots et de plaintes.
Et jusqu’à ce jour
elle n’est pas encore achevée l’âme du
Messie.
Des myriades d’étoiles sont là haut au ciel,
unique est l’Étoile qui éclaire mes ténèbres.
Chant de forgeron
Près du Joudain il y a une maison de
forgeron,
Un forgeron alerte comme un cavalier
y fait sa besogne.
Et en soufflant il y attise la flame,
souffle, souffle, cela entretient
la flamme, le feu éternel qui brûle dessous.
Que fais-tu là ô forgeron?
Je suis en train de préparer
le fer pour le cheval du Messie.
Richard Strauss
Fünf Lieder op. 15
I Madrigal (Michelangelo Buonarotti)
Lamentation
Porgo umilmente all’aspro giogo il collo
il volto lieto a la fortuna ria,
e alla donna mia
nemica il cor di fede e foco pieno;
né dal martir mi crollo,
anz’ogni or temo non venga meno.
Ché se ‘l volto sereno
cibo e vita mi fa d’un gran martire,
qual crudel doglia mi può far morire?
Au ciel sept chérubins
silencieux comme les rêves font la
besogne.
II Winternacht
(Adolf Friedrich, Graf von Schack)
Mit Regen und Sturmgebrause
34
Giovedì 03.08
Sei mir willkommen, Dezembermond,
Und führ mich den Weg zum traulichen
Hause,
Wo meine geliebte Herrin wohnt.
Mir schweift der Blick hinüber
In Weiten, dämmerfern;
Vom Himmel blinkt ein trüber,
Einsamer Stern.
Nie hab’ ich die Blüte des Maien,
Den blauenden Himmel, den
blitzenden Tau
So fröhlich gegrüßt wie heute dein
Schneien,
Dein Nebelgebräu und Wolkengrau.
Ein Mädchen, bleich von Wangen,
Winkt mir von drüben zu:
“Ich bin vorangegangen,
Was zögerst du?”
Denn durch das Flockengetriebe,
Schöner, als je der Lenz gelacht,
Leuchtet und blüht der Frühling der Liebe
Mir heimlich nun in der Winternacht.
III Lob des Leidens
O, schmäht des Lebens Leiden nicht!
Seht ihr die Blätter, wenn sie sterben,
Sich in des Herbstes goldenem Licht
Nicht reicher, als im Frühling färben?
Was gleicht der Blüte des Vergehens
Im Hauche des Oktoberwehens?
V
Leiser schwanken die Äste,
Der Kahn fliegt uferwärts,
Heim kehrt die Taube zum Neste,
Zu dir kehrt heim mein Herz.
Genug am schimmernden Tage,
Wenn rings das Leben lärmt,
Mit irrem Flügelschlage
Ist es ins Weite geschwärmt.
Doch nun die Sonne geschieden,
Und Stille sich senkt auf den Hain,
Fühlt es: bei dir ist der Frieden,
Die Ruhe bei dir allein.
Krystallner als die klarste Flut
Erglänzt des Auges Tränenquelle,
Tief dunkler flammt die Abendglut,
Als hoch am Tag die Sonnenhelle,
Und keiner küßt so heissen Kuß,
Als wer für ewig scheiden muß.
Maurice Ravel
Histoires Naturelles
IV Aus den Liedern der Trauer
Von dunklem Schleier umsponnen
Ist mir das Tageslicht;
Wohl steigen neue Sonnen, -Ich seh’ sie nicht.
Il va sûrement se marier aujourd’hui.
Ce devait être pour hier.
En habit de gala, il était prêt.
Il n’attendait que sa fiancée.
Elle n’est pas venue.
Le Paon
35
Giovedì 03.08
Elle ne peut tarder.
Glorieux, il se promène
avec une allure de prince indien
et porte sur lui les riches présents d’usage.
L’amour avive l’éclat de ses couleurs
et son aigrette tremble comme une lyre.
La fiancée n’arrive pas.
Il monte au haut du toit
et regarde du côté du soleil.
Il jette son cri diabolique:
Léon ! Léon !
C’est ainsi qu’il appelle sa fiancée.
Il ne voit rien venir et personne ne répond.
Les volailles habituées
ne lèvent même point la tête.
Elles sont lasses de l’admirer.
Il redescend dans la cour,
si sûr d’être beau
qu’il est incapable de rancune.
Son mariage sera pour demain.
Et, ne sachant que faire
du reste de la journée,
il se dirige vers le perron.
Il gravit les marches,
comme des marches de temple,
d’un pas officiel.
Il relève sa robe
à queue toute lourde des yeux
qui n’ont pu se détacher d’elle.
Il répète encore une fois la cérémonie.
Le Grillon
C’est l’heure où, las d’errer,
l’insecte nègre revient de promenade
et répare avec soin le désordre de son
domaine.
36
D’abord il ratisse ses étroites allées de sable.
Il fait du bran de scie qu’il écarte
au seuil de sa retraite.
Il lime la racine de cette grande herbe
propre à le harceler.
Il se repose.
Puis il remonte sa minuscule montre.
A-t-il fini ? Est-elle cassée ?
Il se repose encore un peu.
Il rentre chez lui et ferme sa porte.
Longtemps il tourne sa clé
dans la serrure délicate.
Et il écoute:
Point d’alarme dehors.
Mais il ne se trouve pas en sûreté.
Et comme par une chaînette
dont la poulie grince,
il descend jusqu’au fond de la terre.
On n’entend plus rien.
Dans la campagne muette,
les peupliers se dressent comme des
doigts en l’air et désignent la lune.
Le Cygne
Il glisse sur le bassin, comme un traîneau
blanc,
de nuage en nuage. Car il n’a faim que des
nuages floconneux
qu’il voit naître, bouger, et se perdre dans
l’eau.
C’est l’un d’eux qu’il désire. Il le vise du bec,
et il plonge tout à coup son col vêtu de
neige.
Puis, tel un bras de femme sort d’une
manche, il retire.
Il n’a rien.
Giovedì 03.08
Il regarde: les nuages effarouchés ont
disparu.
Il ne reste qu’un instant désabusé,
car les nuages tardent peu à revenir, et,
là-bas, où meurent les ondulations de
l’eau,
en voici un qui se reforme.
Doucement, sur son léger coussin de
plumes,
le cygne rame et s’approche...
Il s’épuise à pêcher de vains reflets,
et peut-être qu’il mourra, victime de cette
illusion,
avant d’attraper un seul morceau de
nuage.
Mais qu’est-ce que je dis ?
Chaque fois qu’il plonge, il fouille du bec
la vase nourrissante et ramène un ver.
Il engraisse comme une oie.
Le Martin-pêcheur
Ça n’a pas mordu, ce soir,
mais je rapporte une rare émotion.
Comme je tenais ma perche de ligne
tendue,
un martin-pêcheur est venu s’y poser.
Nous n’avons pas d’oiseau plus éclatant.
Il semblait une grosse fleur bleue
au bout d’une longue tige.
La perche pliait sous le poids.
Je ne respirais plus, tout fier d’être pris
pour un arbre par un martin-pêcheur.
Et je suis sûr qu’il ne s’est pas envolé de
peur,
mais qu’il a cru qu’il ne faisait que passer
d’une branche à une autre.
La Pintade
C’est la bossue de ma cour.
Elle ne rêve que plaies à cause de sa
bosse.
Les poules ne lui disent rien:
Brusquement, elle se précipite et les
harcèle.
Puis elle baisse sa tête, penche le corps,
et, de toute la vitesse de ses pattes
maigres,
elle court frapper, de son bec dur,
juste au centre de la roue d’une dinde.
Cette poseuse l’agaçait.
Ainsi, la tête bleuie, ses barbillons à vif,
cocardière, elle rage du matin au soir.
Elle se bat sans motif,
peut-être parce qu’elle s’imagine
toujours qu’on se moque de sa taille,
de son crâne chauve et de sa queue
basse.
Et elle ne cesse de jeter un cri discordant
qui perce l’aire comme un pointe.
Parfois elle quitte la cour et disparaît.
Elle laisse aux volailles pacifiques
un moment de répit.
Mais elle revient plus turbulente et plus
criarde.
Et, frénétique, elle se vautre par terre.
Qu’a-t’elle donc ?
La sournoise fait une farce.
Elle est allée pondre son oeuf à la
campagne.
Je peux le chercher si ça m’amuse.
Et elle se roule dans la poussière comme
une bossue.
37
Mercoledì 29/07
Venerdì 04/08 ore 12
Chiesa: Santo Stefano — Castelmuzio
W.A. Mozart (1756-1791)
During his brief lifespan, Wolfgang Amadeus Mozart composed 23 string quartets
and divertimentos for 2 violins, viola and cello. These works range from his carefree,
youthful early pieces to his Prussian Quartets from 1790. The six Haydn Quartets,
written between 1782 and 1785 and dedicated to Joseph Haydn, are considered to
be the epitome of the classical string quartet literature. They were created in Vienna,
where Mozart had settled permanently in 1781. In these works, Mozart uses a four-part
basic structure similar to Haydn’s recently published Opus 33 quartets, consisting of
an Allegro in sonata form as the opening movement; a slow and emotionally charged
second movement (either an Adagio or Andante); a playful Menuetto alternating
with a Trio; and another Allegro in sonata form (or a rondo with variations) as the
closing movement. The String Quartet no. 19 in C, KV. 465, the last of the series,
has a similar structure, although it starts with a mysterious Adagio. These twentytwo opening measures temporarily distort the tonal balance with their adventurous
voice crossings and dissonances, giving the quartet its nickname, the ‘Dissonance
Quartet’. For many listeners at that time, this ‘barbarian’ modernity was a step too
far, although history would later prove them wrong.
In spite of his enormous talent, Johannes Brahms was very wary when it came to
publishing his compositions, and this especially applies to his first two string quartets
op. 51 from 1873, and the First Symphony op. 68 from 1876. It seems as if Beethoven’s
influence, and Brahms’s own critical state of mind, had left him paralysed. However, his
writing of the Third String Quartet in B-flat op. 67, his last work for that genre, stands
in stark contrast, and was completed in less than a year. The work was premiered on
30 October 1876 in Berlin, and dedicated to Theodor Wilhelm Engelmann, a friend who
was a professor and amateur cellist from Utrecht; Brahms had been his houseguest in
1875. The clear and sunny mood of this quartet complements the two earlier quartets
from 1873, of which the first has a dramatic character, and the second a more lyrical
nature. Brahms opens the four-movement work with a lively and amusing Vivace in
6/8 time. An Andante in F serves as the slow movement. The third movement, with
the tempo marking Agitato (Allegro non troppo), functions as a scherzo. The icing on
the cake of this quartet, which seems to have been written effortlessly, is the Poco
Allegretto, with its superb theme and nine variations.
String Quartet K. 465
“Dissonanzenquartett”
I Adagio-Allegro
II Andante cantabile
III Menuetto-Allegro
IV Allegro molto
± 55 min.
J. Brahms (1833-1897)
String Quartet No.3 op. 67
“Dissonanzenquartett”
I. Vivace
II. Andante
Edding Quartet
III. Agitato (Allegretto non troppo) –
Baptiste Lopez violin
Trio – Coda
Caroline Bayet violin
IV. Poco Allegretto con Variazioni
Pablo de Pedro alto
± 30 min.
38
Venerdì 04.08
39
Venerdì 04.08
If there is one single composer who personifies the transition from the Renaissance
to the Baroque, then it’s Claudio Monteverdi, born in 1567 in Cremona. He lived in
Mantua and Venice during his long career as a violinist, singer, maestro di capella
and composer. Each of the three musical genres in which he was active – religious
music, opera and madrigals – balanced on the razor-thin divide between tradition and
revolutionary innovation.
Cena: Sant’Anna in Camprena – Pienza
Venerdì 05.08 ore 20
Questo concerto è patrocinato
“Ineomaggio
Paolo.”
da André
CharlotteaQuerton
Chiesa: Sant’Anna in Camprena — Pienza
Claudio Monteverdi (1567-1643):
Selva morale e spirituale
Philippe Herreweghe
Dixit Dominus Primo
Salve regina
Dorothee Mields, Barbora Kabatková soprano
Beatus vir Secondo
Marnix De Cat, Alex Potter countertenor
Laudate pueri Primo
Thomas Hobbs, Reinoud Van Mechelen tenor
Gloria
Peter Kooij, Wolf Matthias Friedrich bass
Iste confessor
Dixit Dominus Secondo
Baptiste Lopez, Caroline Bayet violin
Confitebor Secondo
Bork-Frithjof Smith, Núria Sanromà Gabàs cornet
Laudate Dominum Primo
Adam Woolf, Christine Brand, Fabio Costa,
Magnificat Primo
Charlotte Van Passen sackbut
± 75 min.
Thomas Dunford luto
Laurenzo Feder organ
40
On the one hand, there were the polyphonic ideals of the sixteenth century, bound to
strict rules of counterpoint, controlled dissonance and an equal balance of voices. In
that world, which Monteverdi described as the prima prattica in his 1605 Fifth Madrigal
Book, music dominates the text. On the other hand, there was the seconda prattica, an
irreversible evolution towards a freer application of harmonic rules, and an increasing
hierarchy between the various musical voices, leading inevitably to the monodic style
and the introduction of the basso continuo. In this new order, it was not the music that
took the lead, but the overpoweringly expressive interpretation of the text.
In Monteverdi’s Venetian collection of church music from 1610, he couples the old style
of the Missa illo the tempore with the innovative Vespro della Beata Vergine, showing
that the two worlds don’t cancel each other out; in fact, the opposite proved true. The
aesthetic tension between the two styles, or the combination of them, provided a new
source of inexhaustible artistic richness.
In 1641, the 74-year-old Monteverdi’s last work – in some ways his musical testament
– was published by the Venetian Bartolomeo Magni, under the title Selva morale
e spirituali. With its 37 richly varied compositions – in the preface, the composer
speaks of a ‘moral and spiritual forest in which all sorts of creatures appear’ – this
comprehensive compendium of religious music ranges from spiritual madrigals and
virtuoso solo motets to concertante psalm settings and mass movements written in
strict polyphony.
A rich assortment of vesper psalms (109, 110, 111, 112 and 116) will be presented
on this programme. Monteverdi provided two or three different versions of each one,
with or without obbligato instrumental parts for strings, cornets or trombones. The
number of the vocal parts ranges from three (Confitebor tibi Domino) to five (Laudate
Dominum, Beatus vir, Laudate pueri) and even to eight in both versions of Dixit
Dominus.
41
Venerdì 04.08
The seven-part Gloria is a classic example of the stile concertato (the agitated style),
with ever-changing combinations of voices and instruments, virtuosic solo interjections,
and declamatory passages. An ingenious architectural structure and regularly returning
ritornellos (instrumental interludes) provide unity in this expansive work. The festive
pedal point of this concert is the Magnificat primo, a hymn for double choir, which is
just as majestic as its seven-part twin from the 1610 Vespers.
Dixit Dominus Primo
Psalmus 109
Dixit Dominus Domino meo:
sede a dextris meis
donec ponam inimicos tuos
scabellum pedum tuorum.
Virgam virtutis tuae
emittet Dominus ex Sion
dominare in medio inimicorum tuorum
Tecum principium in die virtutis tuae
in splendoribus sanctorum
ex utero ante luciferum genui te.
Iuravit Dominus et non paenitebit eum:
tu es sacerdos in aeternum
secundum ordinem Melchisedech
Dominus a dextris tuis,
confregit in die irae suae reges.
Iudicabit in nationibus, implebit ruinas
conquassabit capita in terra multorum.
De torrente in via bibet
propterea exaltabit caput.
Gloria Patri et Filio, et Spiritui sancto
Sicut erat in principio et nunc et semper
Et in saecula saeculorum. Amen
42
Salve regina
Salve, regina, mater misericordiae,
vita, dulcedo, et spes nostra, salve.
Ad te clamamus, exsules filii Evae.
Ad te suspiramus,
gementes et flentes in hac lacrimarum valle.
Eia, ergo, advocata nostra,
illos tuos misericordes oculos ad nos
converte;
et Iesum, benedictum fructum ventris tui,
nobis post hoc exilium ostende.
O clemens, o pia, o dulcis virgo Maria.
Beatus vir Secondo
Psalmus 111
Beatus vir, qui timet Dominum,
in mandatis ejus volet nimis.
Potens in terra erit semen ejus,
generatio rectorum benedicetur.
Gloria et divitiae in domo ejus,
et iustitia ejus manet in saeculum saeculi.
Exortum est in tenebris lumen rectis,
misericors et miserator et iustus.
Iucundus homo, qui miseretur et
commodat,
disponet res suas in judicio,
Venerdì 04.08
quia in aeternum non commovebitur.
In memoria aeterna erit iustus,
ab auditione mala non timebit.
Paratum cor ejus, sperare in Domino,
confirmatum est cor eius, non
commovebitur,
donec despiciat inimicos suos.
Dispersit dedit pauperibus;
justitia ejus manet in saeculum saeculi,
cornu ejus exaltabitur in gloria.
Peccator videbit et irascetur,
dentibus suis fremet et tabescet.
Desiderium peccatorum peribit.
Laudate pueri Primo
Psalm 112
Laudate, pueri Dominum,
laudate nomen Domini.
Sit nomen Domini benedictum,
ex hoc nunc et usque in saeculum:
a solis ortu usque ad occasum,
laudabile nomen Domini.
Excelsus super omnes gentes,
Dominus super caelos gloria eius.
Quis sicut Dominus, Deus noster,
qui in altis habitat
et humilia respicit
in caelo et in terra?
Suscitans a terra inopem,
et de stercore erigens pauperem,
ut conlocet eum cum principibus,
cum principibus populi sui;
qui habitare facit sterilem,
in domo matrem filiorum laetantem.
Gloria
Gloria in excelsis Deo
et in terra pax hominibus bonæ voluntátis.
Laudamus te,
benedícimus te,
adoramus te,
glorificamus te,
gratias agimus tibi propter magnam
gloriam tuam,
Domine Deus, Rex cælestis,
Deus Pater omnípotens.
Domine Fili unigenite, Iesu Christe,
Domine Deus, Agnus Dei, Fílius Patris,
qui tollis peccata mundi, miserere nobis;
qui tollis peccata mundi, súscipe
deprecationem nostram.
Qui sedes ad dexteram Patris, miserére
nobis.
Quoniam tu solus Sanctus, tu solus
Dominus, tu solus Altissimus,
Iesu Christe, cum Sancto Spiritu: in gloria
Dei Patris. Amen
Iste confessor
Himnus comune Confessorum
Iste confessor Domini sacratus
Festa plebs cuius celebrat per orbem,
43
Venerdì 04.08
Hodie letus meruit secreta,
Scandere caeli.
Dixit Dominus Secondo
Psalmus 109
Ad sacrum cuius tumulum frequenter,
Membra languentem modo sanitati,
Quo libet morbo fuerint gravata,
Restituuntur.
Dixit Dominus Domino meo:
sede a dextris meis
donec ponam inimicos tuos
scabellum pedum tuorum.
Virgam virtutis tuae
emittet Dominus ex Sion
dominare in medio inimicorum tuorum
Tecum principium in die virtutis tuae
in splendoribus sanctorum
ex utero ante luciferum genui te.
Iuravit Dominus et non paenitebit eum:
tu es sacerdos in aeternum
secundum ordinem Melchisedech
Dominus a dextris tuis,
confregit in die irae suae reges.
Iudicabit in nationibus, implebit ruinas
conquassabit capita in terra multorum.
De torrente in via bibet
propterea exaltabit caput.
Sit salus illi decus atque virtus,
Qui supra cœli residens cacumen,
Totius mundi machinam gubernat,
Trinus et unus.
Amen
Confitebor Secondo
Psalmus 110
Confitebor tibi, Domine, in toto corde meo,
in consilio justorum, et congregatione.
Magna opera Domini: exquisita in omnes
voluntates ejus.
Confessio et magnificentia opus ejus,
et justitia ejus manet in saeculum saeculi.
44
Venerdì 04.08
Memoriam fecit mirabilium suorum,
misericors et miserator Dominus.
Escam dedit timentibus se; memor erit in
saeculum testamenti sui.
Virtutem operum suorum annuntiabit
populo suo,
ut det illis haereditatem gentium.
Opera manuum ejus veritas et judicium.
Fidelia omnia mandata ejus,
confirmata in saeculum saeculi, facta in
veritate et aequitate.
Redemptionem misit populo suo; mandavit
in aeternum testamentum suum.
Sanctum et terribile nomen ejus.
Initium sapientiae timor Domini; intellectus
bonus omnibus
facientibus eum: laudatio ejus manet in
saeculum saeculi.
Laudate Dominum Primo
Psalmus 116
Laudate Dominum omnes gentes
Laudate eum, omnes populi
Quoniam confirmata est
Super nos misericordia eius,
Et veritas Domini manet in aeternum.
Magnificat Primo
Magnificat anima mea Dominum,
et exsultavit spiritus meus in Deo salutari
meo,
quia respexit humilitatem ancillae suae.
Ecce enim ex hoc beatam me dicent
omnes generationes,
quia fecit mihi magna,
qui potens est,
et sanctum nomen eius,
et misericordia eius in progenies et
progenies
timentibus eum.
Fecit potentiam in brachio suo,
dispersit superbos mente cordis sui;
deposuit potentes de sede
et exaltavit humiles;
esurientes implevit bonis
et divites dimisit inanes.
Suscepit Israel puerum suum,
recordatus misericordiae,
sicut locutus est ad patres nostros,
Abraham et semini eius in saecula
Gloria Patri, et Filio, et Spiritui Sancto,
Sicut erat in principio, et nunc, et semper,
et in Saecula saeculorum. Amen
Gloria Patri et Filio et Spiritui Sancto.
Sicut erat in principio, et nunc, et semper.
Et in saecula saeculorum.
Amen.
45
BIOGRAFY - BIOGRAFIA – BIOGRAPHIE – BIOGRAFIE
VERA BETHS – violin
Vera Beths (born 1946) belongs to the generation of important post-war Dutch violinists. In
1969 she won the well-known Oscar Back Violin Competition in her home country. When
still quite young, she performed as a soloist under great conductors including Bernard
Haitink, Kirill Kondrashin and Lorin Maazel. In the 1980s, she founded the Ensemble
Archibudelli with her husband, cellist Anner Bylsma, and violist Jürgen Kussmaul, with
the aim of performing early music authentically, playing on early instruments or historical
copies. However, Vera Beths has also been devoting herself to the modern repertoire with
great enthusiasm from an early age. Composers such as Philip Glass, Louis Andriessen
and Peter Darling wrote specially for her. She and Reinbert de Leeuw are a celebrated
violin-piano duo. Vera Beths plays a Stradivarius from 1727.
COLLEGIUM VOCALE GENT
In 2010, Collegium Vocale Gent celebrated its founding by Philippe Herreweghe 40
years previously. The ensemble was one of the first to use new ideas about baroque
performance practice in vocal music. Their authentic, text-oriented and rhetorical approach
gave the them the transparent sound with which it would acquire world fame. In recent
years, Collegium Vocale Gent has grown organically into a flexible ensemble whose wide
repertoire encompasses a range of stylistic periods, from the Renaissance and Baroque
eras (in particular J.S. Bach’s vocal works) to the Classical, Romantic and contemporary
masterpieces. Collegium Vocale Gent enjoys the financial support of the Flemish Community,
the Province of East Flanders and the city of Ghent.
[www.collegiumvocalegent.com]
RAPHAEL BELL – cello
Raphael Bell is leader of the cello section of the Royal Flemish Philharmonic. He studied
at the Juilliard School in New York with Harvey Shapiro. He is artistic director of the
Charlottesville Chamber Music Festival in his native city Virginia. He has performed in
prestigious venues such as Wigmore Hall, Queen Elizabeth Hall, the Salle Gaveau in Paris,
the Philharmonie in Berlin, Philharmonie Cologne, Suntory Hall (Tokyo), Alice Tully Hall
and Carnegie Hall. He was also invited at festivals such as the Wiener Festwochen, the
Ravinia Festival, the Verbier Festival among others. He plays regularly with the Orchestre
Revolutionaire et Romantique, the Mahler Chamber Orchestra, the Chamber Orchestra of
Europe. In France, he was artist in residence at La Loingtaine.
[www.royalflemishphilharmonic.be]
REINBERT DE LEEUW – piano/conductor
Reinbert de Leeuw (1938) is widely known as pianist, conductor and composer. He
studied piano and music theory at the Amsterdam Conservatory and later composition
with Kees van Baaren at the Royal Conservatory in The Hague. He is regarded as a great
champion of contemporary music. As the founder of the Schoenberg Ensemble (presently
Asko|Schoenberg) he has contributed significantly to the thriving ensemble culture in
the Netherlands. Besides his own ensemble, he has conducted prominent symphony
orchestras, such as the Royal Concertgebouw Orchestra and the Rotterdam Philharmonic
Orchestra. As a pianist, De Leeuw became very well known for his idiosyncratic interpretation
of Erik Satie’s piano works. After years of silence, De Leeuw has been active as a composer
again with a large orchestral work, Der Nächtliche Wanderer, written for his 75th birthday.
AYMERIC CATALANO – piano
The Italian-French pianist Aymeric Catalano began his musical studies at the age of six.
After completing his studies in Italy, he continued his training at the Royal Conservatory
in Brussels. In demand as a soloist and chamber musician, he also performs as an
accompanist. Aymeric is currently active as an accompanist at the International Opera
Academy in Ghent, Belgium.
THOMAS DUNFORD – lute
Born in Paris (1988), Thomas Dunford discovered the lute at the age of nine, thanks to
Claire Antonini. He completed his studies in 2006 at the Conservatoire Supérieur de Paris
and was awarded his Bachelors' degree in 2009 at the Schola Cantorum in Basel where he
studied with Hopkingson Smith. Thomas is regularly in demand, playing a variety of early
plucked-string instruments with the ensembles Les Arts Florissants, Les Ambassadeurs,
La Capella Mediterranea, Capricio Stravangante, Collegium Vocale Gent, Le Concert Spirituel
and others.
46
47
EDDING QUARTET
Formed in 2007, ‘the Eddings’ quickly became one of the references for the interpretation
of Classical and Romantic repertoire for string quartet, offering a fine and intelligent reading
of these often-heard works. Their use of historical instruments, and particularly the use of
gut strings, gives them a warm and captivating sound that has enthralled audiences. In
addition to the quartet repertoire, the Eddings have heavily invested in larger formations
of chamber music. They play regularly as a quintet, but more importantly, together with
clarinettist Nicola Boud, bassoonist Julien Debordes, French horn player Nicolas Chedmail,
and double bassist Damien Guffroy, they formed the Northernlight ensemble, which
explores works from the Classical and Romantic repertoire for strings and winds.
[www.edding-quartet.com]
PHILIPPE HERREWEGHE – conductor
Philippe Herreweghe was born in Ghent, where he studied at the university while training as
a pianist with Marcel Gazelle. In 1970 he founded Collegium Vocale Gent, and in 1977 the
Parisian ensemble La Chapelle Royale. From 1982 to 2002 he was artistic director of the
Académies Musicales de Saintes. During this period he created the Ensemble Vocal Européen
and the Orchestre des Champs-Élysées. With the support of the cultural programme of the
European Union, Philippe Herreweghe and Collegium Vocale Gent have been working on
the formation of a large symphonic chorus on a pan-European scale since 2011. Constantly
seeking new musical challenges, Philippe Herreweghe has also been active for some years
in the core symphonic repertoire. He has been principal conductor of the Royal Flemish
Philharmonic (deFilharmonie) since 1997, and active as a guest conductor with orchestras
such as the Royal Concertgebouw Orchestra or the Staatskapelle Dresden. Over the years,
he has amassed an extensive discography of more than a hundred recordings. In 2010 he
founded his own label (PHI) in order to build a rich and varied catalogue in complete artistic
freedom. Since then, more than 20 recordings of music from Gesualdo to Stravinsky have
become available. Philippe Herreweghe has received numerous European awards for his
consistent artistic imagination and commitment.
[www.collegiumvocale.com]
[www.orchestredeschampselysees.com]
DIETRICH HENSCHEL – baritone
The baritone Dietrich Henschel is a singer whose repertoire extends from the beginning of
baroque opera to modern-day avant-garde. After his debut at the Münchener Biennale,
invitations followed from the major opera houses in Europe. In addition to his opera work, a
wide range of recordings testifies to Dietrich Henschel’s success as a Lied interpreter and an
oratorio singer. Henschel’s collaboration with conductors such as Gardiner, Harnoncourt,
Herreweghe and Colin Davis is documented on CD and DVD. In an attempt to visualise
the literary and emotional content of the lieder he sings, Henschel has been exploring the
intersection between art music, theatre, and the visual media. His most recent project
‘WUNDERHORN’ (2015) is a feature film for the live performance of Mahler’s Lieder aus
des Knaben Wunderhorn.
[www.dietrichhenschel.de]
48
THOMAS HOBBS – tenor
Thomas Hobbs is in demand with many leading baroque and early-music ensembles,
appearing throughout Europe and the US as a soloist in key works from the 16th, 17th
and 18th centuries. Hobbs works frequently with, among others, Philippe Herreweghe and
his acclaimed ensemble Collegium Vocale Gent and Raphaël Pichon and his Ensemble
Pygmalion. Born in Exeter, Thomas Hobbs studied at the Royal College of Music and
at the Royal Academy of Music. Current and future engagements include further tours
with Collegium Vocale; Damon in Acis and Galatea with Dunedin Consort, Bach cantatas
with De Nederlandse Bachvereniging and Ensemble Pygmalion, Bach’s Christmas Oratorio
with the Tonkünstler-Orchester Niederösterreich, Tonhalle Orchester Zürich and Le Concert
Lorrain.
[www.intermusica.co.uk]
49
BIOGRAFIA – BIOGRAPHIE – BIOGRAFIE
BARBORA KABATKOVA – soprano
Barbora Kabátková is among the most sought-after Czech singers in the field of early and
contemporary music. Trained as a pianist and singer, she studied choral conducting and
church music at the Faculty of Education of the Charles University and musicology at the
same school’s Faculty of Arts. Since 2009 she has taught Gregorian chant at the Faculty of
Education of the Charles University. She is intensively involved in the performance of early
solo vocal music, and plays the Gothic harp and the psaltery. Barbora performs with such
ensembles as Collegium 1704, Collegium Marianum, Musica Florea, Collegium Vocale
Gent, Doulce Mémoire, Cappella Mariana. She is the artistic director of the female vocal
group Tiburtina Ensemble. Barbora has sung at leading Czech and European festivals.
[www.tiburtina-ensemble.com]
DOROTHEE MIELDS – soprano
With her flawless technique and the ethereal clarity of her voice, Dorothee Mields is one
of the leading interpreters of 17th- and 18th-century music and is beloved by audiences
and critics alike for her unique timbre and moving interpretations. She performs with
Collegium Vocale Gent, Freiburg Baroque Orchestra, Tafelmusik Toronto, Netherlands
Bach Society, RIAS Kammerchor, Orchestra of the Eighteenth Century, L’Orfeo Baroque
Orchestra, Lautten Compagney and Klangforum Wien under such conductors as Stefan
Asbury, Ivor Bolton, Beat Furrer, Paul Goodwin, Philippe Herreweghe, Wolfgang Katschner,
Gustav Leonhardt, Hans-Christoph Rademann, Masaaki Suzuki, and Jos van Veldhoven.
A steadily growing discography with several award-winning recordings documents her
artistic achievements.
[www.kdschmid.de]
PABLO KORNFELD – basso continuo
Pablo Kornfeld was born in Buenos Aires where he began his musical studies at the age
of five. He lives in Europe since 1996, first in Lyons, France, where he graduates in basso
continuo at the National Conservatory (CNSM) in 2000. Since 2002 he lives in Prague,
where he plays with the baroque ensemble Collegium 1704 (conducted by Václav Luks).
He also plays in the ensemble Mala Punica (conducted by Pedro Memelsdorff), focused on
the late middle-age music, since 1999. He has performed with it in many important festivals
all around Europe and in North America.
JAN MICHIELS – piano
Jan Michiels (1966) studied with Abel Matthys at the Royal Conservatory of Brussels. From
1988 to 1993 he studied at the Hochscule der Künste in Berlin under the direction of Hans
Leygraf - he was awarded an exceptional distinction for his interpretations of Bartok's
Second Concerto for piano and Legiti's Etudes. He was Tenuto-laureate in 1988; in 1989
he won the international E. Durlet competition. In 1991 he was awarded the Jem/Cera Prize
for musicians and in 1996 he was signed up as festival star of the Flanders Festival.
[www.michielsjan.be]
50
NELE DELAFONTEYNE – clarinet
Nele Delafonteyne studied at the Conservatory of Antwerp with Walter Boeykens, Ivo
Lybeert and Raymond Dils. She graduated as Master of Music for clarinet and chamber
music with great distinction. In London she studied with Prof. Andrew Marriner, principal
clarinet with the London Symphony Orchestra. Since September 2011 Nele plays first
clarinet at the Royal Flemish Philharmonic. She is also a teacher clarinet at the Municipal
Academy of Music, Drama and Dance of Beveren. Furthermore she plays with the London
Symphony Orchestra, the BBC Symphony Orchestra, the Rotterdam Philharmonic
Orchestra, the National Orchestra of Belgium and ensembles like Oxalys and Het Collectief.
She is a regular member of wind ensemble I Solisti del Vento.
LISANNE SOETERBROEK – violin
Lisanne Soeterbroek studied at the Conservatory in the Hague, specializing in Graz. At
fourteen she made her debut in the Great Hall of the Concertgebouw with Khachaturian’s
violin concerto. She has won several international awards at numerous violin competitions,
including the Padova Competition and the International Violin Competition Cremona. Since
2009 she is first violinist of the Quartet Vespucci. She regularly plays chamber music at
home and abroad, and has performed as a soloist with many orchestras, including the
Dutch Philharmonic Orchestra, the State Orchestra of Frankfurt, Consorto Rotterdam and
others. Since 2013 she has been concertmaster of the Royal Flemish Philharmonic. She
plays a Ferdinand Gagliano from 1773.
51
JUAN PEREZ FLORISTAN – piano
Juan Perez Floristán (born 1993) won the First Prize and Gold Medal as well as the
Audience Prize at the 18th Santander International Piano Competition ‘Paloma O’Shea’
(2015). He received his first training from his mother, Maria Floristán, for almost ten years
before continuing his studies at the Queen Sofia Superior Music School of Madrid with
Galina Eguiazarova. Also deserving of mention is Elisabeth Leonskaja, who invited him to
festivals such as Ruhr Klavier Festival in Germany or the Sommets-Musicaux of Gstaad,
Switzerland. Next to his preference for playing solo recitals, has always looked for the
opportunity to accompany singers, passionate as he is about the Lied world. He currently
lives in Berlin, where he is continuing his studies at the Hanns Eisler Hochschule fur Musik
with Eldar Nebolsin.
[www.juanperezfloristan.com]
ALAIN PLANES – piano
The French pianist Alain Planès (born 1948) studied at the Lyon and Paris Conservatories
and the University of Indiana at Bloomington, where his most important teachers were
Menahem Pressler, Franco Gulli and György Sebök. Although he has demonstrated a
natural affinity for the French repertory (Debussy, Satie, and Chabrier), he has more often
been associated with the works of Schubert and Haydn, and his vast repertory also
includes music by Chopin and Scarlatti. To round out a portrait of one of the most eclectic
pianists of the day, one need only observe his championing of compositions by Boulez (with
whom he worked in Ensemble InterContemporain), Berio, Ligeti, and Stockhausen. Planès
has made numerous recordings, mostly for the Harmonia Mundi label.
HELENA ZEMANOVÁ-KORNFELD – violin
After graduating in modern violin in the Pilsen Conservatory in 1993, Helena Zemanová
spends ten years in France (first in Paris then in Lyons) to study the baroque violin. She
returns to the Czech Republic in 2002. She plays the first violin in the baroque orchestra
Collegium 1704 (Václav Luks). She also works, among others, with Gli incogniti (Amandine
Beyer), Onda armonica (Sergio Azzolini) and the Ars nova ensemble Mala Punica (Pedro
Memelsdorff).
52
Associazione Amici dell’Accademia vzw-asbl
Sophie Cocquyt presidente
Roland Wissaert vice-presidente
Jan Van Crombrugge gestione & segreteria
Annemie De Schryver membre del consiglio
Associazione Accademia delle Crete Senesi
Paul Dujardin presidente
Philippe Herreweghe direzione artistica & socio
Andre Querton socio
Ageet Zweistra socio
Dominique Verkinderen socio
Damien Wigny guida
Astrid Meert produzione italiana
Sophie Cocquyt coordinatore belga
Daan Schalck presidente
Bert Schreurs direttore generale
Jens Van Durme coordinazione artistica
Dominique Verkinderen casting e audizioni
Peter Van Den Borre produzione
Betty Van den Berghe amministrazione e bibliotheca
deFilharmonie
Hugo Van Geet presidente
Joost Maegerman intendente
Henk Swinnen direttore artistico
53
Ringraziamo l’equipe di Volontari
Elien Arckens – Jeroen Beels – Camille Bourgeus – Thijs Brondeel – Ruben Cockx – Bert
De Paepe – Luciaan Groenier – Eline Hendrickx – Nicolas Salamone – Liesbeth Standaert –
Sebastiaan Tips – Gert Van Hiel
In collaborazione con le amministrazioni comunali di
Asciano – Pienza – Trequanda
I nostri migliori ringraziamenti
al commune di Asciano
al Vicario Don Icilio Rossi – Parrocchia di Pienza
a Don Sergio Graziani – Parrocchia di Castelmuzio
a Don Luca Bonari – Parrocchia di Asciano
alla pro-loco di Asciano
Il colophon
Testi:
Jens Van Durme - Tom Janssens
Traduzioni Inglese:
Anne Hodgkinson
Traduzioni italiane:
Adele Stefanelli
Composizione & redazione: Sophie Cocquyt & Jens Van Durme
Fotografia:
Michiel Hendryckx
Design:
Hugues Meert
Stampati:Graphius
Pubblicato da – Published by – Uitgegeven door – Publié par
Amici dell’Accademia delle Crete Senesi onlus - vzw - asbl
Drongenhof 42, 9000 Gent (Belgio)
info@accademiadellecrete.com
Luc Deneys kindly invite you to his “open house”
in his new workplace for string bowed violinmaking.
The Belgian luthier Luc Deneys makes unique
handcrafted stringinstruments : violins, violas and
cellos. He creates every new instrument as an
individual piece of art.
Luc Deneys warmly welcomes you to visit his recently
new opened atelier in Cremona - Italy.
Open House Day
August 10th.
Villa Bianca, Via Giuseppe Verdi 54,
San Lorenzo Aroldo (Cremona)
Tel: 0039 0 375310 444 - www.deneys.com
WITH SYMPATHY
CON SIMPATIA
PETER DEKEERSMAEKER
LAWYER
AVVOCATO
ADVOCAAT
Law office Studio legale Advocatenkantoor
Stoopstraat 1, 2000 Antwerp – Belgium
peter.dekeersmaeker@hedl.be
www.hoplandendelei.be
Philippe Herreweghe artistic director
Budapest Festival Orchestra
Cappriccio Stravagante
Grace Davidson
Ilse Eerens
Ivan Fischer
Freiburger Barockorchester
Damien Guillon
Werner Güra
Ann Hallenberg
Thomas Hobbs
HR Sinfonieorchester Frankfurt
Stefanie Iranyi
Barbora Kabatková
Julia Kleiter
Sebastian Kohlhepp
Peter Kooij
Christine Landshamer
Dorothee Mields
Hannah Morrison
Tareq Nazmi
Margot Oitzinger
2016 | 2017
Orchestre des Champs-Élysées
www.collegiumvocale.com
collegium vocale gent
Hana Blažiková
Thomas Bauer
Tobias Berndt
Samuel Boden
Florian Boesch
Alex Potter
Julian Prégardien
Jéremie Rohrer
Gerhild Romberger
Royal Flemish Philharmonic
Carolyn Sampson
Maximilian Schmitt
Skip Sempé
David Soar
Krešimir Stražanac
Thomas Tatzl
Reinoud Van Mechelen
Foto: deFilharmonie
OPENING
CONCERT
PHILIPPE HERREWEGHE CONDUCTS
TCHAIKOVSKY & BEETHOVEN
FRIDAY 9 DECEMBER 2016
20:00 QUEEN ELISABETH HALL, ANTWERP
INFO & TICKETS: WWW.DEFILHARMONIE.BE

here the program booklet 2016

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