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Opening concert: Cappella Musicale Beata Vergine del Rosario (IT)

When: 16. 8. 2019 at 20:30

Creativity race between Archbishop of Salzburg and Venetian Doge

Ticket order:

Ticket price: 10 - 25 EUR

Festibus: Ljubjana (Hala Tivoli) - Brežice at 17:15. Price: 10 EUR. | Zagreb - Brežice at 17:00. Price: 10 EUR

Cappella Musicale Beata Vergine del Rosario (IT)

 

Soloists:

Adriana Tomišić (HR), Teodora Tommasi (IT): soprano

Lora Pavletić (HR): alto

Peter Gus (SI), Stefano Speranzon (IT): tenor

Hao Wang (CN): bass

Claudio Rado (IT), Nicola Mansutti (IT): violin

Simone Siviero (IT), Clelia Gozzo (IT): viola

Giulio Padoin (IT): cello

Gabriele Avian (IT): harpsichord

Emilio Bezzi (IT): theorbo

 

choir:

Maria Viviani (IT), Anna Tarca (IT), Sara Dentice (IT): soprano

Tünde Noémi Nagy-Boros (HU) , Dragana Paunović (RS), Elisa Widmar (IT), Daniele Pilato (IT): alto

Emanuele Petracco (IT), Aleš Petaros (SI): tenor

Enrico Basello (IT), Marco Narduzzi (IT), Matthias Probst (DE): bass

 

Elia Macrì (IT): conductor

 

Creativity race between Archbishop of Salzburg and Venetian Doge

 

Artists’ message to visitors

 

Dear visitors and listeners, the invitation to Seviqc Brežice is a great honour for us. We will perform some pieces of our baroque repertoire in a splendid castle. For 251 years the noble Attems family owned this place and had different connections with the Austrian empire and Italy. We're not talking about geopolitics, but we would like to show you how the arts and music have developed in this area. Between Salzburg and Venice, between Archbishop and the Doge, between H. I. F. Biber and C. Monteverdi: music and Attems family go hand in hand through Mitteleuropa. Unfortunately, this type of repertoire is performed so rarely and it is really a pity that people do not know this musical treasure. Now you have the opportunity to hear how amazing sacred music was during the seventeenth century. The theatre and the church had almost the same stage where singers could show their skill through arias, duets, cadences... like in an opera house! All this in a wonderful frescoed Knight’s hall in Brežice: welcome!

 

About the project

 

In past centuries the aristocratic courts competed for the best artists. The Republic of Venice and the church of San Marco were central points to which the whole art world looked. The small archbishopric of Salzburg was not far behind, so much so that, in the mid-eighteenth century, even the Mozart family was employed by Archbishop Colloredo. The current musical proposal in the 2019 edition of the Seviqc Brežice festival aims to echo the repertoires of some composers linked to these two very powerful political and artistic realities: Salzburg and Venice. About Salzburg: proposing the Vespero della Beata Vergine by H. I. F. Biber, a Bohemian musician, but connected to the Salzburg archbishopric where he worked throughout his life and thanks to which he succeeded in establishing himself as one of the most important and prolific composers of the time. About Venice: proposing some pieces that always constitute the liturgical service of the vespers, that is a psalm and some motets by C. Monteverdi and a Magnificat by F. Cavalli that, by Monteverdi, was a pupil. The vocal and instrumental ensemble is the same for all the pieces (except for the solo ones): this characteristic is not a coincidence, but rather lies in the fact that the Venetian compositional tradition constituted, from the sixteenth century, a reference model with the which all the composers had to confront. Biber never studied in Venice, unlike many of his other predecessors, but he had adapted to the compositional styles in vogue at the time. Artists and musicians, as well as styles and knowledge, travelled throughout Europe despite the fact that the society still did not enjoy all the technological comforts of today: now, in 2019, with this evening's concert, an Italian ensemble wants to bring a successful Bohemian musician, who worked in Salzburg, and two of the greatest composers of the Italian seventeenth century under the frescoed vault of the Knight's Hall in the elegant Brežice Castle.

Cappella Musicale Beata Vergine del Rosario (IT)

Cappella Musicale “Beata Vergine del Rosario” was founded in 2009 in Trieste. This ensemble has residence in a church Chiesa “Beata Vergine del Rosario” in Trieste and its performances are almost only during the liturgy. In this Church the service is celebrated with old Latin ritus and in this way the music has peculiar rule: we can easily say that almost all sacred music was composed for old Latin liturgy and only in this context there is enough space to perform some of the biggest sacred music repertoire during mass.

Concert programme

Rupert Ignaz Mayr (1646-1712)

Domine ad Adiuvandum me festina

 

Heinrich Ignaz Franz von Biber (1644-1704)

Vespero della Beata Vergine

Dixit Dominus / Laudate pueri / Laetatus sum / Nisi Dominus / Lauda Jerusalem / Magnificat

 

*******

 

Claudio Monteverdi (1567-1643)

Nigra sum

(Vespero della Beata Vergine)

 

Claudio Monteverdi (1567-1643)

Duo Seraphim

(Vespero della Beata Vergine)

 

Claudio Monteverdi (1567-1643)

Beatus vir

(Selva morale et spirituale)

 

Francesco Cavalli (1602-1676)

Magnificat

 

The cities Salzburg and Venice share a remarkable political affinity: both were governed by very powerful figures, but independent of a precise dynastic branch. The Archbishop of Salzburg and the Venetian Doge were absolute rulers, but they played a role which was accessed by election and not by birthright. They were two powerful courts vying for the best artists.

The German musical world is often associate with Johann Sebastian Bach and, secondarily, with the First Viennese School which saw little Mozart take his first steps in Salzburg. However it must be borne in mind that music was not born in Eisenach in 1685, but was practiced at very high levels also by other musicians serving in the most powerful courts of the time. This is the case of Heinrich Ignaz Franz Biber (1644-1704) who remained at the court of the Salzburg Archbishop throughout his life. This privileged position allowed him to enjoy a comfortable existence and to devote himself exclusively to the activity of musician. The Salzburg court, very close to the Italian culture (shortly thereafter Colloredo di Montealbano will be elected archbishop), was also distinguished by the musical aspect from the other European courts: it is useful to point out how the composition of the "Vespero della Beata Vergine" is quite special in a non-Italian environment. The celebration of the "Vespero" (evening liturgy with 5 psalms and Magnificat) was typically italian. Not surprisingly, many italian composers have left unforgettable vespers. In this concert we will therefore perform the same type of composition in an Austrian environment with Ignaz Rupert Mayr (1646-1712) and Heinrich Ignaz Franz Biber, and in a Venetian setting with Claudio Monteverdi (1567-1643) and Francesco Cavalli (1602-1676).

Claudio Monteverdi does not need big presentations because, thanks also to his profane music and his compositional innovations, he has always enjoyed great notoriety. This can also be attributed to the particular importance that Italian music had at the time: all great composers spent a period of training in Italy and, returning to their respective homelands, composed respecting the styles learned by Venetian, Roman, Florentine or Neapolitan masters. It is no coincidence that the vocal and instrumental ensemble proposed by Mayr, Biber, Monteverdi and Cavalli is the same, with two violins (concertante) and a complete string ensemble (as a filling part), just as the soloists and the choir are used in the same way. The Venetian Music School laid the foundations at the beginning of the Renaissance and established the rules for centuries to come: it is therefore natural to find the same compositional characteristics both in Italy and beyond the Alps.

An ancient music festival is a meeting place between history and modernity: the recovery of ancient performance practices are the result of studies of the last decades. The same thing applies to the reconstruction or enhancement of the original ancient instruments that has established itself in recent times and thanks to which we can now interpret with great fidelity the enormous repertoire that has come to us intact through the centuries. An ancient music festival is therefore a guarantee of purity, research, attention to a branch of music that amazes and astonishes the listener who will get carried away by it.

The diffusion and enjoyment of classical music often does not enjoy great support because it is believed to be an elitist world destined for the few. Ancient music is even more fragile and unknown to the general public: it is important to believe and support it because so many musical jewels are yet to be discovered. In recent years, the Ensemble Cappella Musicale Beata Vergine del Rosario has succeeded in promoting some highly valuable musical pieces by little-performed authors, for example Alessandro Scarlatti, Niccolò Porpora, Johann David Heinichen: the result has always been exciting and the public has always remained enthusiastic. They are really many great composers that the star system of concerts often forgets. We are happy to present them to the public of the 21st century. 

 

Venue

Brežice, Brežice Castle

The two-storey castle is the mightiest building in Brežice, built in the middle of the 16th century in the site of the castle which was burnt down in 1515, in time of the great peasant revolt.

Partners

FESTIBUS

The price of coach provided for all concerts from Ljubljana and Zagreb is 10€. Departure from Hala Tivoli and Lisinski Hall.