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Ensemble rosarum flores (AT)

When: 1. 8. 2018 at 20:30

Our programme will lead you through the diversity of human feelings. The continuous cycle of nature is, at first, a symbol of the carefree and pleasurable life that is marked by juvenile energy – symbolised, for example, by the song of the nightingale. As is typical for English music from around 1600, the central theme is love. Love in all its facets: from exuberant joy and fulfilled hopes to desperation and bitter disappointments.

Ticket order:

Ticket price: 10 - 25 EUR

Festibus: Departure at 17:45 (Hala Tivoli). Price: 10 €.

Ensemble rosarum flores (AT):

Gabriele Ruhland: viol

Wolfgang Praxmarer: lutes, cister, pandora

Ilse Strauß: recorders

 

https://www.rosarumflores.at/

 

Instrumental music from the time of Queen Elizabeth I.
 

Artists’ message to visitors

 

Our programme will lead you through the diversity of human feelings. The continuous cycle of nature is, at first, a symbol of the carefree and pleasurable life that is marked by juvenile energy – symbolised, for example, by the song of the nightingale. As is typical for English music from around 1600, the central theme is love. Love in all its facets: from exuberant joy and fulfilled hopes to desperation and bitter disappointments. “Come again” represents the longing to see a loved one again, ending a long absence. There is a prevailing mood of melancholy, which is always to be found in compositions by John Dowland, Thomas Morley and their English contemporaries. And the tears flow – or as John Dowland puts it, “Flow my tears” – which develop into instrumental “Lachrimae versions” – but life-affirming and joyful dances will conclude our programme. Exuberant, foolish, courtly and sometimes very down-to-earth. The Ensemble Rosarum Flores performs using instruments that were common in England at that time, including recorders, viols and lutes in various versions and sizes. 

 

About the project

 

The Innsbruck-based Ensemble rosarum flores is intensely exploring new concert formats in the field of Early Music. All the musicians share affection for English Renaissance music that has its origin in the Elizabethan era (1533–1603). The music that will be performed during this evening was written by composers that lived and worked around the time of Elizabeth I. John Dowland, Thomas Morley and Robert Johnson in combination with their delicate songs and instrumental compositions rank among the most prominent representatives of this time. Many of their compositions were so popular in Europe that they were reflected in numerous music collections, manuscripts and prints. Jacob van Eyck, for example, who was a sightless carillonneur employed at the church in Utrecht, composed dozens of recorder variations on those popular tunes, which were collected in the so-called “Fluyten Lusthof”. A version of “Engels Nachtegaeltje” (English nightingale) composed for three instruments can be found in the “Uitnement Kabinet” collection as well. The unbelievable density, expressive power and intensity of this music is also reflected in the literature of that time. In William Shakespeare’s work, music is playing an important role, and incidental music was added to numerous of his plays. In its programme, Ensemble rosarum flores thereby unites music and recitals of a number of English sonnets written by William Shakespeare. The instruments which Ensemble rosarum flores use as replicas of historical instruments in their concerts were among the most widely played instruments in England at the time around 1600: viols and recorders in various sizes and ranges, as well as lutes and citterns.

 

Ensemble Rosarum Flores (AT)

In 2014, Ilse Strauß and Wolfgang Praxmarer founded the ensemble rosarum flores, which specialises in cultivating Early Music in Tyrol. Therefore they work together with different museums and musical collections to find out rare treasures. During the last four years they performed special programms for exhibitions, sometimes in combination of visual arts and music. They work together with actors and speakers for giving a view to the intense relationship between literature, history and music of different times.

Concert programme

I.

A GARDEN IN HER FACE

 

Anonymus / Jakob van Eyck (ca. 1590-1657): Bravade

Thomas Champion (1567-1620): There is a garden in here face

John Playford (1623-1686): All in a garden green

John Dowland (1563-1626): The Frog Galliarde

Thomas Weelkes (1576-1623): The nightingale the organ of delight

John Playford (1623-1686): Woodycock

Jakob van Eyck (ca.1590-1657): Engels Nachtegaeltje

Anonymus: Nachtegael (Uitnement Kabinet, 1649)

Robert Johnson (1580- 1633): Where the bee sucks

Thomas Morley (1557-1602): La Caccia

Anthony Holborne (1545-1602): Fantasy

Robert Johnson (1580- 1633): Satyr’s Dance

 

II.

BELOVED LOVE

 

William Brade (1560-1630): My Lady Wraths Mascharada

William Shakespeare (1564-1616): Sonnet 145

Robert Johnson (1580- 1633): The Princess Almaine

Tobias Hume (1569—1645): The Duke of Holston’s Almaine

Jakob van Eyck (ca.1590-1657): Camagain

Anonymus: Male simmen

John Wilbye (1574 – 1638): Fly love aloft to heaven

Robert Johnson (1580- 1633): The noble man

 

*******

 

III.

HEERE REST MY THOUGHTS

 

William Holborne (?-?):Heere rest my thoughts

William Shakespeare (1564-1616): Sonnet 66

John Dowland (1563-1626): Lachrimae Galliarde

Jakob van Eyck (ca.1590-1657): Pavane Lacryme

Thomas Morley (1557-1602): Fantasia “Il Lamento”

Anonymus / Jakob van Eyck (ca. 1590-1657): When Daphne from fair / Phoebus did fly / Derde, Doen Daphne d’over

William Byrd (1542?-1626): Fantasy

 

IV.

FINALLY WE DANCE

 

William Brade (1560-1630): The Queens Intrada

William Shakespeare (1564-1616): Sonnet 128

Thomas Lupo (1570-1628): Pavan

Anonymus: Adons Masque

Anonymus: Cupararee or Graysin

Jakob van Eyck (ca.1590-1657): Prins Robberts Masco (Uitnement Kabinet, 1649)

Anonymus: Mascarada (edited by Thomas Simpson, 1582-ca.1628, from: Taffel-Consort, Hamburg, 1621)

 

“Heere rest my thoughts” – this line is to be found in an arrangement by William Holborne and as a solo piece in “Chittaren Schoole” by Anthony Holborne, William’s brother, published in 1597. May the thoughts find peace, since they are stirred up by sorrow of love, confused and not able to turn to other topics.

The thoughts can find this peace in nature, to which we will devote the first part of our programme. In The English Dancing Master, a comprehensive music book which was written by the well-known dancing master John Playford and published in London in 1651, we come across the wonderful tune “All in a garden green”. John Playford’s compendium describes 105 then popular English dances and their tunes. In these observations of nature, animals in large numbers are of course not to be missed: the Nightingale – a musical version by John Weelkes –, the “Woodycock” once again by John Playford as well as variations of the “English Nightingale” composed by the sightless Jakob van Eyck, one of the best-known recorder virtuosi in the Netherlands at that time. The collection “Uitnement Kabinet” (1649) contains dozens of variations of well-known tunes, so the nightingale for three voices. To conclude this part of the programme, we will go hunting accompanied by Thomas Morley’s colourful duet “La Caccia”.

The second part of our programme will be completely dedicated to love. Gentlewomen of English society, such as Lady Wrath, who participates in a masquerade ball, will make their appearance – set to music by William Brade. In his Allemanda for lute, Robert Johnson allows a princess to show her graceful movements. At last, we will not exclude the gentlemen of that time: Tobias Hume introduces us to the Duke of Holston, while Mister “Male Simmen” and his crazy capers are described in a manuscript by an anonymous composer. John Wilbye deals with “fleeing” love; melancholic thoughts blend into the initially happy scenery.

In English music from around 1600, melancholy plays a vital role. A plaintive tune, accompanied by tears, prevails. We will address these topics in the third part of our programme. “Lachrimae Galliarde” and “Lachryme Pavan”, calmly composed dances by John Dowland and Jakob van Eyck, as well as Thomas Morley’s lament for two voices represent this mood perfectly. All this sorrow is directly or indirectly provoked by Cupid, the god of love. Just like almost always, he causes confusion: Phoebus (= Apollo) is struck by one of Cupid’s arrows and hopelessly falls in love with the nymph Daphne, but his love is not requited. He pursues Daphne, but the nymph flees. In order to escape his advances, the gods eventually turn the nymph into a laurel tree. Once again, it is Jakob van Eyck who interprets this ultimately sad story in his recorder variations with absolute accuracy.

To conclude our programme and to alleviate our depressing and melancholic thoughts, we venture to play a buoyant and joyful dance. “The Queens Intrada” by William Brade takes us back to the noble, courtly society associated with Queen Elizabeth I. In sync with the solemn tunes, she walks gracefully through the hall, and even remains unfazed during Thomaso Lupo’s Pavan. But just maybe, the exuberant movements expressed in the "Adsons Masque" or Thomas Simpson's "Mascarada" will prompt her to venture to dance eventually.

Our instruments for this concert include plucked string instruments like a renaissance lute and an archlute, which are replicas of historical instruments and were built by Bernd Holzgruber (Austria) and Michael Haaser (Germany). Furthermore, we play on ‘Bassano’ consort recorders. The Bassanos were a dynasty of instrument makers who worked in Venice and later in England. Contacts to William Shakespeare and the English court stand testament to the high quality of their works. The replicas were built by Adriana Breukink (Netherlands). The early baroque recorders are built by Luca de Paolis, Helge Stiegler and Philippe Bolton. The tenor viol is made by Peter Hütmannsberger (Austria) 1984, it is a copy after Jakob Stainer. The alto viol is built by Werner Rohregger (Austria) 2006.

Venue

Soteska, Devil's tower

The most interesting jewels of Slovenia's landscape are very often those that are shrouded in a veil of mystery. One such place is the Devil's Tower in Soteska, a little village between two forested plateaux. The tower has stood here for over three hundred years, a place of entertainment and sinful pleasure.

Partners

FESTIBUS

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