Camerata Trajectina

Camerata Trajectina (NL)

Hieke Meppelink (sopran / soprano)
Sytse Buwalda (alt / alto)
Nico van der Meel (tenor)
Marcel Moester (bas / bass)
Saskia Coolen (kljunasta flavta, viola da gamba / recorder, viol)
Erik Beijer (viela, viola da gamba / fiddle, viol)
Louis Peter Grijp (lutnja, cister / lute, cittern)

Camerata Trajectina (ustanovljena leta 1974 pod imenom Utrecht music company)
se je uveljavila z izvajanjem stare nizozemske glasbe. Sodelovali so pri državnih slovesnostih, od Unie van Utrecht (1979) do Jeana Calvina (2009). Poseben poudarek posvečajo povezavi slikarstva in glasbe (Jan Steen, Frans Hals in Hieronymus Bosch). Ansambel je izvedel številne koncerte na Nizozemskem, vključno z nastopi na Festival Oude Muziek Utrecht, v Belgiji in drugih evropskih državah ter v Združenih državah Amerike, Mehiki, Kanadi, Indoneziji, Maroku in Gani. Za založbi Globe in Philips so posneli preko 20 CD-jev.

Camerata Trajectina (“Utrecht Music Company”, founded in 1974) has made a name for itself performing early Dutch music. The ensemble took part in many National Commemorations, from the Union of Utrecht (1979) to Jean Calvin (2009). A special theme is the relationship between painting and music, e.g. about Jan Steen, Frans Hals and Hieronymus Bosch. The ensemble has given hundreds of concerts in the Netherlands (including many appearances in the Utrecht Early Music Festival), Belgium and other European countries, in the United States, Mexico, Canada, Indonesia, Morocco and Ghana. Camerata Trajectina has recorded more than 20 CDs for the labels Globe and Philips Classics.

Program / Programme

Antwerpen je bil v 16. stoletju prava metropola ter hkrati najpomembnejše pristanišče Zahodne Evrope. Cvetel je tisk knjig in glasbenih del. Natis Souterliedekensa v letu 1540 je imel velik pomen. V nizozemščino je bilo prevedenih vseh 150 psalmov, to pa je tudi prvi popolni prevod psaltra. Pesnik, plemič iz Utrechta, Willem van Zuylen van Nyevelt je želel pritegniti mlade, da ne bi peli vsakovrstnih abotnih in pohotnih pesmi, temveč raje svete psalme. V ta namen je izbral in priredil 150 popularnih melodij.
Souterliedekens so požele neznanski uspeh in izšlo je na ducate ponatisov. Peli so jih vsi protestanti in tudi nekateri katoliki, čeravno so, peti v domačem jeziku, zbujali sume pri katoliški cerkvi.
Tudi skozi optiko glasbe so bile Souterliedekens uspeh. Pravi izziv je bila že notacija 150-ih različnih popularnih melodij, ki je rezultiral pestro paleto napevov. Priznani cerkveni glasbenik Jacobus Clemens non Papa je Souterliedekens priredil za troglasje, ki jih je v štirih knjigah izdal antwerpenski glasbenik in skladatelj Tilman Susato (1551). Te čudovite uglasbitve so mejnik v evropski zgodovini glasbe. Danes so, zaradi dojemanja nizozemščine kot težko izgovarjajočega jezika, redkeje izvajane. Učenec Clemensa non Pape, manj znani Gherardus Mes, je v letu 1562 prav tako skomponiral cikel Souterliedekens, vendar za štiriglasje. Razlika je izredna. Medtem ko se je Clemens uokviril v rahlo arhaični uglasbitvi, je Mes predstavil tipično glasbo s sredine 16. stoletja, ki je stare melodije nadomestila z modernejšimi.
V tem programu bo poleg psalmov slišati tudi profane napeve po katerih so bile Souterliedekens napisane. Najbolj znana je Antwerps Liedboek (iz leta 1544), prva pomembnejša tiskana zbirka posvetnih pesmi na Nizozemskem. V njej so čudovite srednjeveške balade, ki opisujejo tragične ljubezni, ravno tako pa ne manjka pesmi retorikov z vso virtuozno tehniko izraženo v rimah in verzih. Ker antwerpenska zbirka pesmi ne vsebuje notacije, se moramo po pomoč zateči h glasbeni zbirki religioznih pesmi, pogosto k (monofoničnim) Souterliedekens.
Vsa glasba, ki jo je moč slišati v tem programu, je bila izdana v Antwerpnu. Založnik polifoničnih Souterliedekens, Tilman Susato, je bil tudi sam glasbenik in skladatelj. 1551 leta je pričel z zbirko Musyckboecxkens s pozivom k novi glasbi v nizozemščini, saj je želel pokazati, da je nizozemska glasba, glasba v 'materinščini', enakovredna francoščini, italijanščini ali latinščini, običajno uporabljenim v glasbi. Poziv humanista k uporabi domačega jezika v glasbi je sovpadal z močnim literarnim gibanjem za razvoj nizozemščine, ki naj je literarno popolnoma enakovredno izrazno sredstvo. Susatovi prvi knjigi iz zbirke vsebujeta posvetno glasbo nizozemskih in flamskih skladateljev. Srečujeta se ljubezenska in komična tematika, margina mesta, ničvredneži in berači. V tretji knjigi je instrumentalna plesna glasba, ki bržčas aludira nasproten aspekt ljudskega življenja, dasi nosijo skladbe predvsem francoske naslove.
Susatova iniciativa najbrž ni bila velik komercialni uspeh, a so jo posnemali tudi drugi založniki, kot Pierre Phalèse, ki je prišel iz starega univerzitetnega mesta Leuven v Antwerpen. 1572 leta je objavil Duytsche Liedekens s profano glasbo v 4., 5. in 6. zvezku. Pomembna skladatelja sta bila Clemens non Papa in Loduyicus Episcopius iz Maastrichta. Slednji je napisal nekaj del, ki deležijo v življenju običajnih ljudi. Takšna je napitnica ob koncu prve polovice njegovega programa in šestdelna skladba čisto na koncu, ki ji lahko rečemo Kriki Leuvna. Govori o študentu, ki se zaradi cestnega hrupa, ki prihaja skozi odprto okno in ga proizvajajo prodajalci školjk, dimnikarji in krošnjarji, ne more zbrati pri delu.
Luis Peter Grijp

In the 16th century the city of Antwerp was the main harbour of the Western Europe and a true metropolis. Book printing flourished, as well as music printing. An important print was for example Souterliedekens (1540), all 150 psalms translated into Dutch, the first complete Psalter published in any European vernacular. A poet, the Utrecht nobleman Willem van Zuylen van Nyevelt, chose 150 different popular tunes so that the youth would be motivated to sing the Holy Psalms instead of all kind of silly and lusty song lyrics.
The Souterliedekens was an enormous success – dozens of reprints followed. The Souterliedekens was sung by all Protestant denominations, even by some Catholics, although the psalms in the vernacular were suspicious to the Catholic Church.
The Souterliedekens was also a success from a musical point of view. The notation of 150 different popular melodies had been quite a challenge and the result was a very attractive collection of tunes. The famous church musician Jacobus Clemens non Papa wrote the hole Souterliedekens for three voices, which were published in four books by the Antwerp town musician and composer Tilman Susato (1551). These beautiful settings are a landmark in European music history, but rarely performed today because of the Dutch language, which is regarded as unpronounceable by foreign singers. A pupil of Clemens non Papa, the lesser known Gherardus Mes, also composed a cycle of the Souterliedekens, but this time for four voices (1562). The difference is remarkable: instead of Clemens' slightly archaic settings Mes presented them as actual mid-sixteenth century music, supplanting the old modal melodies by more modern ones.
In this program not only psalms can be heard, but also some of the secular tunes for which the Souterliedekens were written. Most famous is the so-called Antwerp Songbook (1544), the first major printed secular song collection of the Netherlands. It contains beautiful medieval ballads about tragic love affairs as well as new songs from the Rhetoricians with their virtuoso rhyme and verse technique. As the Antwerp Songbook did not have music notation, we have to turn to religious songbooks for the tunes, especially to the (monophonic) Souterliedekens.
All music from this program was published in Antwerp. The publisher of the polyphonic Souterliedekens, Tilman Susato, was himself a city musician and composer. In 1551 he started a series of “Musyckboecxkens” (music books) with a call for new music in the Dutch language in order to show that the “mother tongue Dutch music” was not inferior to music in the usual music languages – French, Italian or Latin. This humanist plea for the native language in music coincided with a strong literary movement to develop the Dutch language into a fully fledged literary vehicle. Susato’s first two books of the series contained secular music by Dutch and Flemish composers, both amorous songs and comical songs about marginal inhabitants of the city, like prostitutes, good-for-nothings, and beggars. His third book was instrumental dance music, probably suggesting another aspect of folk life, although most of the tunes have French titles.
Although Susato’s initiative was probably not commercially successful, it was copied by other publishers, such as Pierre Phalèse, who had come from the old university city of Leuven to Antwerp. In 1572 he published Duytsche Liedekens (Dutch Songs) with secular music for 4-6 parts. Important composers were Clemens non Papa, and Loduvicus Episcopius from Maastricht. The latter wrote several pieces based on folk life, such as the “loud drinking song” at the end of the first half of this program, and the six-part composition at the very end, which may be called the Cries of Leuven. It is about a student who cannot concentrate on his working because of the street cries of mussel sellers, chimney sweeps and pedlars, entering through the open window.
Louis Peter Grijp.

Sreda, 25.08.2010 ~ 20:30

Ljubljana, Ljubljana (SI), Mestna hiša / The Town Hall, Desni atrij / Atrium