1 1 — 1 6 d e c e m b e r 2 0 1 2

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Ladies and Gentlemen

It is for the second time that we can warm ourselves up for Christmas with the world’s best period performersin six concerts of the Actus Humanus Festival. After the brilliant Goldberg Festival this autumn, this will bethe last opportunity of the year to listen to early music in Gdańsk. The concerts involving star performerswill be held in the evocative interiors of St. John’s and St. James’s churches and at the Artus Court.True to a promise made last year by Mr Filip Berkowicz, the Festival’s Artistic Director, we will openwith Marc-Antoine Charpentier performed by Akaděmia under Françoise Lasserre on 11 December.

The following day will belong to Jordi Savall, the Spanish musician, composer and virtuoso of the viol.This concert is bound to attract fans of the wonderful soundtrack of the film “All the Mornings of the World”by Alain Corneau. Those who have not heard it yet could not wish for a better opportunity.

On 13 December, Antonio Florio will conduct I Turchini, a group specialising in the 17th and 18th centurymusic from Naples. The following days will bring performances by Mala Punica under Pedro Memelsdorff,the Argentinian flutist, and by Ottavio Dantone the Italian conductor, harpsichordist and directorof the famous Accademia Bizzantina playing the Goldberg Variations. Finally, Europa Galantawith Fabio Biondi featuring Carlo Allemano, will play Vivaldi.

Experience it yourself in Gdańsk!In the words of Jordi Savall: …music, whether sang, played or danced, is the most wonderful way of achievinghappiness...

May all participants of the Actus Humanus Festival experience this happiness.

PPaawweełł AAddaammoowwiicczzMayor of Gdańsk

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Ladies and gentlemen

I have a great pleasure to invite you to the second edition of the Actus Humanus Festival. Its mission is to showcasethe greatest masterpieces of early music associated with Christmas time by inviting leading period performers fromaround the world. The Festival’s carefully crafted repertory and a select cast of undisputed authorities among earlymusic performance have already helped to put the city of Gdańsk prominently on the map of events devoted to thisperiod in music. It is an ambition of the Actus Humanus to join the Europe’s elite festivals of Renaissance and Baroquemusic.

The Actus Humanus Festival may only be in its second year, but we will expand its programme and consolidate itsposition while exploring brave new developments in early music performance around the world. This year, the Festivalhas a string of exciting musicians who have already confirmed their participation, including Jordi Savall, OttavioDantone, Europa Galante with Fabio Biondi, Akadêmia with Françoise Lasserre and Mala Punica with PedroMemelsdorff. An opportunity to witness the emergence of a new and important cultural phenomenon does nothappen very often and this is precisely what we are experiencing in Gdańsk. You too can become part of its wonderfulstory and I hope to see you in Gdańsk!

FFiilliipp BBeerrkkoowwiicczzArtistic Director

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Gdańsk is a Baltic-Sea hub with half a million inhabitants, a rich heritage featuring Hevelius, Fahrenheit, Schopenhauer,Günter Grass and Lech Wałęsa, and a constant appetite for change. From the cradle of the Solidarity movement, the epicentre of events that changed the history of the continent, the city has turned into a bustling culturalmetropolis and an attractive tourist destination competing with its Western European counterparts. It is for a goodreason that Gdańsk hosted the UEFA EURO 2012™ tournament. The city has freedom in its genes. Boldness, novelty, but above all freedom, are the names of the game in Gdańsk of today, including in culture. By reaching out and involving the spectator this cultural freedom has been making itsmark across the city’s public space. It can be found in the maze of old town streets, among the towering gantry cranesat the shipyard, on sandy beaches and in post-industrial sites. Often, the city offers itself as a huge stage, a gallery or a concert venue, as the streets and open areas of Gdańsk fill in with colourful shows and expressivemonumental paintings. Music is made in the most unlikely places and the Poland’s only (perhaps also the world’s)theatre-in-the-window attracts the surprised passer-by, while even the most humble buildings are transformed by nighttime illumination. Gdańsk is a place of alternative art and has been adopted as home by uncompromising artists with bold, sometimescontroversial visions. The city has a strong personality and is not shy of experiments or revolutions while continuouslyoffering new events.

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The Actus Humanus Festival is co-organised by event-factory, a Krakow-based companyran by Sebastian Godula and Konrad Koper. The two men combine a vast experience inorganising and producing cultural events, festivals and concerts. Between 2003 and 2007,they were responsible for managing productions at the Krakow’s leading event operation,the Krakow Festival Office. Together with Filip Berkowicz they initiated and managed thesuccess of Sacrum Profanum and Misteria Paschalia, Poland’s leading festival brands. Atevent-factory they have been producing the Festival of Polish Music (since 2007) and theCrossroads Festival Krakow (since 2010), and were involved in arranging some of thecountry’s largest mass events. In 2011, aside from the Actus Humanus, they wereinvolved in organising the European Culture Congress in Wrocław, the key cultural eventof the Polish EU Presidency. Event-factory, acting for the National Audiovisual Institute,were the executive producers of the unique double concert Penderecki & Aphex Twinand Penderecki & Greenwood. Building on the success of this project event-factory washired to organise a penderecki//greenwood concert at the Barbican Centre in London inMarch 2012 and again during the Heineken Open’er Festival in July. Also in 2012, event-factory won contracts for the executive production of the Goodfest festival and theKrakow Theatrical Reminiscences.Event-factory has also a history of projects located in Gdańsk. In 2005, they producedZapis, a show opening the celebration of the 25th anniversary of the Solidarity, staged byleading Polish artists in front of the entrance to the historic Lenin’s Shipyard. Morerecently, in 2010, event-factory worked for the Gdańsk-based European Solidarity Centreproducing the musical 21, part of 2xStrajk, the celebration the 30th anniversary ofSolidarity at a derelict steel plant in Warsaw.

Radio RMF Classic is broadcasting to 19 largest Polish cities. Its team of competent and ambitious people ensures that the spokenword is more then just filler between music and the radio offers generousamounts of artistic, historical and personal background to the music played. Combining quality content with a simple format and a light-hearted style has become a successful formula in catering to the needs of bothserious aficionados and the more casual audiences. RMF Classic alsoprovides coverage of major cultural events, including local art exhibitions,stage shows and film and book premieres, while its news service offersmore down-to-earth facts. On Sundays, RMF Classic features extendedinterviews with musicians, actors, authors, etc. The audience of RMF Classic involves open-minded people of all ages who share the appreciation of art and culture. The station is working withnumerous Polish cultural institutions, including all philharmonic halls andmany opera houses, theatres, cinemas, museums and with publishers. The 432 thousand people who tune in to RMF Classic every day constitutea very attractive target group. Highly educated, living in the largest Polishcities, listeners of RMF Classic represent some of the most prestigiousprofessional groups. Indeed, 59.1% are executive managers, professionalsor entrepreneurs; 54.7% live in cities with more than 500 thousandinhabitants; and 58.3% have higher education backgrounds.

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]]

1111 DDeecceemmbbeerr

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uull.. ŚŚwwiięęttoojjaańńsskkaa 5500

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PPaassttoorraallee ppoouurr llaa NNaaiissssaannccee ddee nnoottrree SSeeiiggnneeuurr JJééssuuss--CChhrriisstt

EEddwwiiggee PPaarraatt,, JJuulliieettttee PPeerrrreett soprano

JJeeaann--CChhrriissttoopphhee CCllaaiirr alto

RReennaauudd TTrriippaatthhii,, JJoohhaannnneess WWeeiissss,, GGuuiillllaauummee ZZaabbéé tenor

BBeennooîîtt GGiiaauuxx,, PPhhiilliippppee RRoocchhee bass

FFrraannççooiissee LLaasssseerrrree conductor

AAKKAADDÊÊMMIIAA

LLiieessjjee VVaannmmaasssseennhhoovvee,, PPiieetteerr CCaammppoo flute

FFllaavviioo LLoossccoo,, SSttéépphhaanniiee PPffiisstteerr violin

GGéérraallddiinnee RRoouuxx viola

SSaammaanntthhaa MMoonnttggoommeerryy cello

EEttiieennnnee MMaannggoott double bass

EEmmmmaannuueell VViiggnneerroonn bassoon

EEmmmmaannuueell MMaannddrriinn positive organ

EErriicc BBeellllooccqq theorbo

MMaarrcc--AAnnttooiinnee CChhaarrppeennttiieerr 1643–1704

MMaaggnniiffiiccaatt H79

3ème Magnificat avec les instruments

Prélude

Magnificat anima mea

Quia fecit mihi magna

Et misericordia

Fecit potentiam

Suscepit Israel

Sicut locutus est

Gloria Patri

Sicut erat in principio

IInn nnaattiivviittaatteemm DDoommiinnii CCaannttiiccuumm H416

Præludium Usque quo avertis faciem tuamChorus justorum Memorae testamenti

Nuit

Réveil des Bergers

Chœur des Bergers Cœli aperti suntL’Ange Nolite timere pastoresChœur des Anges Gloria in altissimis DeoUn Berger Transeamus usque BethleemMarche des Bergers

Chœur O infans, o DeusDernier Chœur Exultemus, jubilemus Deo

***

MMeessssee ddee MMiinnuuiitt à 4 voix, flûtes et violons pour Noël H9

Kyrie

Kyrie eleison

Noëls sur les instruments Joseph est bien marié H534/3

Christe eleison

Noëls sur les instruments Or nous dites Marie H534/4

Kyrie eleison

Noëls sur les instruments Une jeune pucelle H534/6

Gloria

Noëls sur les instruments Les bourgeois de Chastre H534/1

Noëls sur les instruments Où s’en vont ces guays bergers H534/2

Credo

Noëls sur les instruments Vous qui désirez sans fin H531

Voici venu le jour de NoëlNoëls sur les instruments A la venue de Noël H534/5

Sanctus

O dieu que n’estois je en vie

Agnus Dei

A minuit fut fait un reveil

Marc-Antoine Charpentier was born in 1643, a momentous

year for the European culture. Europe was still torn by the

raging Thirty-Year War that would elevate France as the

continent’s leading power in five years time. Claudio

Monteverdi, the champion of seconda prattica, died in Italy,

while in France death took Antoine Boësset, the court

composer of Louis XIII and author of the famous Mass and

Magnificat. The opera was taking off and the foundations of

the sacral music, on which Charpentier would build, had been

laid. This was a very well established and solid ground, on

which French music would develop steering its own individual

course.

Nothing is known about Charpentier’s earliest encounters

with composing and the first mention of his musical

education comes only from the time of his stay in Rome,

where he arrived at the age of 21. He studied with Giacomo

Carissimi, known for elevating the status of the sacred tale,

the oratorio. Charpentier would soon prove that he was a

keen student of his Roman master. Today, Charpentier, with

his arcane theoretical considerations about harmony in music

and tonal harmonies best suited to render certain feelings,

and with his strong involvement in religious matters, which is

known from both his work and life, seems a figure somewhat

withdrawn from the main stream. Indeed, he was suspended

between, on the one hand, the times of Louis XIII, when the

French music was clearly absorbing intense flavours of the

Italian freshness (allowing such cheeky Spaniards, as Luis

de Briceño, to exert influence on the court’s music) followed

by a wave of the Sun King’s darling composers exemplified

by Jean-Baptiste Lully (who introduced the world to the

French opera in its format that may be seen as traditional

today, but was barely established then) and, on the other

hand, the stylistic boisterousness of Jean-Philippe Rameau.

This transitional period in music would serve Charpentier’s

music very well. While modal scales continued to echo of past

centuries, tonal harmonies - to the study of which he was so

devoted - have already started making their way into music.

Their coexistence was devoid of an original aggression, more

like when a benevolent elder anoints his young grandson

without regret, and the two modes that seemed mutually

exclusive enriched each other’s potential. Charpentier used

this to his benefit perfectly by composing vocal pieces based

on counterpoints that were partly rooted in the chant

tradition, which gave them a contemplative and utterly

absorbing nature, but which were supported by a new set

of instruments compatible not just with the tonal system, but

also with an entire spectrum of links between tonal

harmonies and the intended emotions. This seemingly

complex approach produced very clear and highly involving

music that was very simple structurally yet highly refined.

An account of Charpentier’s work would be incomplete

without a section devoted to compositions linked with the

liturgical period of Christmas, to which the composer had

a strong attachment devoting much of his oeuvre to it. The

oratorio (or motet, depending on the source) In nativitatemDomini Canticum, based on an anonymous libretto, is

regarded as one of Charpentier’s highest achievements, while

Magnificat delivers stunning harmonies in his praise of the

Virgin Mary. Yet another powerful product of this line of work

is Messe de Minuit pour Noël (No. 9 in Hugh Wiley

Hitchcock’s catalogue) from around 1690, when the composer

was maître de musique at the Jesuit Order. The mass

combines the lyrics and vocal lines of traditional carols (noëls)

with the instrumental section arranged by Charpentier. While

the liturgy of the midnight mass allowed carols the thought of

structuring an entire piece around folk songs of praise about

the birth of Christ was truly novel. In this way carols,

somewhat dancelike in nature, received a second refined life

and the composer revealed his talent by combining two

different cultural idioms with grace and ease.

Paweł Szczepanik

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In choosing the name Akadêmia,

Françoise Lasserre rooted her approach

to music firmly in a consciously

humanistic tradition, inherited from

the Platonic garden and the Italian

Renaissance.

Vigorously pursuing a ‘musical ideal’

embracing both asceticism and

exhilaration, founded on scrupulous

respect for the text and the wish to

transport listeners to summits of sheer

emotion, Françoise Lasserre and her

ensemble have chosen the long and

arduous path of complete fidelity to their

artistic convictions.

This ascetic attitude has borne splendid

fruit, and led to an exemplary meeting of

minds. As the ensemble’s discography so

eloquently demonstrates, Akadêmia and

its record company Zig-Zag Territoires

have discovered a common passion as

they blaze new trails through the music

of Heinrich Schütz. To date, Akadêmia has

devoted five recordings to this composer:

the Musikalische Exequien, The Seven Last Words of Christ on the Cross, the Resurrection History, the ChristmasHistory, and the St Matthew Passion.

Widely recognised as an inspired

interpreter of Schütz, Françoise Lasserre

also has strong elective affinities with

Claudio Monteverdi. Her recordings of the

complete Selva morale e spirituale and

the Combattimento di Tancredi e Clorinda,

both unanimously acclaimed by the

musical press, demonstrate the high

standards of excellence achieved by her

rigorous direction. The group’s rich

discography has recently been augmented

by Stefano Landi’s La morte d’Orfeo and a

recording of Bach’s cantatas. Akadêmia’s

primary vocation remains the recreation

of major or unknown vocal and/or

instrumental works of the seventeenth

century.

The Ensemble has been regularly invited

by prestigious French festivals such as

Ambronay, La Chaise- Dieu, Auvers-sur-

-Oise, Lourdes, Festival d’Ile de France,

Contrepoint 62 and many others. Its

international fame has taken it all over

Europe to places like Mainz, Regensburg,

Schwaebisch Gmünd (Germany), Roma,

Cremona, Napoli, Arezzo (Italy), Bruxelles,

Liège, Brügge-Festival van Vlanderen

(Belgium) Utrecht-Oude Musiek Festival,

Maastricht (Holland), Fribourg

(Switzerland), Monaco.

Akadêmia worked also with others

partners, like instrumental groups

(La Fenice, Il Concerto Italiano); the Ballet

of Monte-Carlo (choreography by Sidi

Larbi Cherkaoui on Schütz’s pieces and

Jean-Christophe Maillot on Monteverdi’s

pieces); la Comédie de Saint-Etienne

(director Jean-Claude Berutti) and an

author-poet, Jean-Pierre Siméon, who

wrote a text on the Legend of Orpheus

on their request.

Akadêmia has now been in residence

amid the vineyards of Champagne for

more than twenty years. Each year,

the group presents a concert season

and an ambitious programme aimed

at developing new audiences in the

Champagne-Ardenne region.

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AAKKAADDÊÊMMIIAA

The artistic director and founder of the

ensemble Akadêmia, Francoise Lasserre is

known for her unique approach to period

performance that she truly mastered with

a humanism-based attitude to

harmonious relationships within the

group and painstaking selection of the

repertory, the instrument set, choice of

voices and an utmost attention to the

meaning of the text and its strict link with

the music. After graduating from the

unlikely subject of mathematics, she

turned to musical education. She took

part in Pierre Dervaux’ courses, where she

learned about composition, analysis of

musical works and conducting. With these

skills she joined the famous La Chapelle

Royale, a group established by Philippe

Herreweghe in 1977. She also had an

opportunity to work with Michel Corboz,

the artistic director of Ensemble Vocal

de Lausanne. These episodes have set

Françoise Lasserre on a new course and

her life would become inextricably linked

with early music.

In 1986, Françoise Lasserre embarked on

a new venture to establish a vocal-

instrumental ensemble with her as the

artistic director. Her ambition was to

change the image of early music that

lingered among the general public by

showing its attractive and refined side

that was close to modernity. Her proposal

was accepted by the regional authorities

of Champagne-Ardenne, thus beginning

the story of Akadêmia, one of the world’s

leading period performance groups and

a long string of award-winning records,

mostly for Zig-Zag. Two composers,

Claudio Monteverdi and Heinrich Schütz,

are particularly close to the heart of

Françoise Lasserre for the utmost

importance they attach to lyrics.

Lasserre’s humanistic approach demands

that she reaches to each and every

listener, but also to conduct voluntary and

educational activity. She uses Akadêmia’s

concerts to reach out to youngsters, to

senior citizens, sick people and prison

inmates; she also often holds auditions

looking for young talented singers who

are then offered an opportunity to work

with her ensemble or on its side projects.

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FFRRAANNÇÇOOIISSEE LLAASSSSEERRRREE

1122 DDeecceemmbbeerr

WWeeddnneessddaayy,, 88::0000 ppmm

AArrttuuss CCoouurrtt

uull.. DDłłuuggii TTaarrgg 4433//4444

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TToouuss lleess mmaattiinnss dduu mmoonnddee

All the Mornings of the World

JJoorrddii SSaavvaallll viola da gamba

II.. IINNVVOOCCAATTIIOONN

KKaarrll FFrriieeddrriicchh AAbbeell 1723–1787

Arpeggiata

JJoohhaannnn SSeebbaassttiiaann BBaacchh 1685–1750

Allemande

JJoohhaannnn SScchheenncckk 1660–1712

Aria Burlesca

IIII.. LLEESS RREEGGRREETTSS

MMoonnssiieeuurr ddee SSaaiinnttee--CCoolloommbbee, llee ffiillss 1660–1720

Fantaisie en Rondeau

MMoonnssiieeuurr ddee SSaaiinnttee--CCoolloommbbee, llee ppèèrree 1640–1700

Les Pleurs

JJoohhaannnn SSeebbaassttiiaann BBaacchh

Bourrée II

IIIIII.. LLEESS GGOOÛÛTTSS ÉÉTTRRAANNGGEERRSS

MMoonnssiieeuurr ddee SSaaiinnttee--CCoolloommbbee, llee ffiillss

Prélude en mi

MMaarriinn MMaarraaiiss 1656–1728

Sarabande a l’Espagnol

Muzette & Tambourin

IIVV.. LLAA RREEVVEEUUSSEE

MMoonnssiieeuurr ddee SSaaiinnttee--CCoolloommbbee, llee ffiillss

Prélude en Fa

MMaarriinn MMaarraaiiss

La Reveuse

L’Arabesque

VV.. LLEESS VVOOIIXX HHUUMMAAIINNEESS

LLee SSiieeuurr ddee MMaacchhyy II poł. XVII w.

Prélude

MMaarriinn MMaarraaiiss

Les Voix Humaines

Les Folies d’Espagne

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Why is it that concert halls filled with baroque music tend

to emit mostly the sounds of Italy?

There is no doubt that the 17th century was dominated

by an operatic tradition emerging from Italy, preceded

by Giulio Caccini’s treatise Le nouve musiche and backed

by, among others, an impressive heritage of Monteverdi’s.

While it is true that the primacy of Rome, Florence and,

at a later stage, also of Venice has lingered to this day, it is

difficult to accept the marginalisation of the French music,

especially the intense work by Marin Marais and Monsieur

de Sainte-Colombe.

The 17th century was associated, on the one hand, with the

flourishing of the air, rooted in the monody, and of the opera,

while on the other hand with a repertory that was far more

intimate, yet endowed with a good measure of flair and

virtuosity. The instrumental oeuvre of Sainte-Colombe

and Marais, masters of the fascinating viola da gamba,

belongs to that latter genre. Viola da gamba was Louis XIV’s

favourite instrument of choice due to its thoroughly French

nature (despite Italian origins), as opposed to the violin with

a strong Italian tradition. With its enormous scale, unique

dynamics and a warm soft sound viola da gamba not only

rapidly conquered nearly all of Europe, but more importantly

attracted composers who wrote music specifically for this

instrument.

To illustrate the point just Mr de Sainte-Colombe composed

more than 170 pieces for the viola da gamba solo. He was

not just a master of the instrument, but probably also the

experimenter attributed traditionally with adding the seventh

base string in A to the chordophone and thus expanding its

sound potential. His mastery is illustrated by Hubert Le Blanc

in his treatise Defense de la basse de viole contre lesentreprises du violon et les prétentions du violoncelle (1740):

“He could render every nuance of the human voice from

a sigh of a young maiden to a cry of an old man”.

Alongside Sainte-Colombe in the pantheon of the basse

de viole virtuosos is his disciple, Marin Marais, author of the

five-volume Pièces de viole (1686-1725), which enjoyed great

popularity among his contemporaries and consolidated

the instrument’s unquestionable status at the French court.

Marin Marais used his enormous talent very well at the

Versailles court and in 1679 was named ordinaire de la Chambre du Roy pour la viole.

The fates of Sainte-Colombe and his sixteen-year-junior

Marais joined for six months, when Marais took lessons from

his master. The book Le Parnasse Francais by Evrard Titon

du Tillet, published in 1732, may contain a suggestion that

Sainte-Colombe terminated the tuition when he realised

that Marais had a potential to surpass him. Details of their

relationship are not known, but the fact that the young

composer dedicated his Tombeau pour Monsieur de Sainte--Colombe to his teacher in 1701, one year after the old man’s

death, would at least suggest respect. An interesting,

although entirely imaginary, view of the relationship between

the young student and his mentor is presented in the feature

film All the Mornings of the World based on Pascal Quignard’s

book and directed by Alain Corneau, where the charismatic

personalities of the two virtuosos of the viol clash and inspire

each other. The film is permeated by the music composed by

the two protagonists in a phenomenal interpretation of Jordi

Savall, himself an authority on period performance and

excellent instrumentalist. The soundtrack of All the Morningsof the World was awarded a Cesar, the prestigious French film

award. It is an interesting coincidence that Jordi Savall left

a choir at a young age and become interested in the cello,

which eventually lead to playing historic instruments, just as

Marin Marais started playing basse de viole after having been

expelled from a choir when his voice broke.

Paweł Szczepanik

An unquestionable star of early music,

if early music can have a star, a conductor,

the driving force behind ensembles

Hespèrion XXI, La Capella Reial de

Catalunya and Le Concert des Nations,

a virtuoso of the viola da gamba

and a tireless discoverer of music.

His contribution to the discovery of the

medieval, Renaissance and Baroque

repertory is difficult to overestimate.

He has brought to life forgotten pieces

from his beloved Catalonia, Europe,

Middle and Far East, and from Latin

America. Each of Savall’s recordings has

a solid research base, including

musicological, but is also enriched by his

unique talent to reconstruct forgotten

or incomplete music. Equally unique

is his passion for musical and cultural

ecumenism, as his magnetic personality

can bring to a single stage Jewish cantors

and Arabic singers.

Jordi Savall came in contact with music

at an early stage, when he sang in a choir

in his hometown. He studied

in a conservatory in Barcelona from which

he graduated in 1965. His interests

in early music lead him to study viola

da gamba.

In 1968, he started to study performance

practice at Schola Cantorum Basiliensis.

Jordi Savall made more than 170

recordings, many of which were awarded

the Midem Classical Awards, Orphée d’Or,

César and Caecilia, while his album

Dinastia Borgia (2010) received a Grammy.

Savall garnered several accolades himself,

including L’Ordre des Arts et des Lettres

(1988), La Medalla de Oro de las Bellas

Artes (1998), Victoire de la Musique

(2002), Medalla d’Or from the Catalonian

Parliament (2003) and the Artist for the

Peace (UNESCO). In 2009, he received

the Georg Friedrich Handel Prize from

the German city of Halle and was named

the Ambassador of the European Year of

Creativity and Innovation. The following

year, he won the award of Academia

de las Artes y las Ciencias de la Música as

the best classical music performer and the

Praetorius Music Prize from Lower Saxony

(Germany). His latest award, the Danish

Léonie Sonning Music Prize, received in

2012, puts him along the likes of Witold

Lutosławski, Kaiji Saariaho, Mstislav

Rostropovich and Miles Davis.

Jordi Savall is the owner and artistic

manager of the record label Alia Vox,

where he publishes his new recordings,

re-releases albums recorded for other

labels and publishes music broadly related

to himself, his ensembles and to his

musical path.

Jordi Savall’s greatest recording success

remains the soundtrack to the Alain

Corneau’s All the Mornings of the World,

which includes compositions of Monsieur

de Sainte-Colombe and Marin Marais

preformed on the viola da gamba with

the greatest skill and powerful emotions.

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JJOORRDDII SSAAVVAALLLL

With the support of the Departament de Cultura of the Generalitat de Catalunya,the InsOtut Ramon Llull and the “CultureProgramme” of the European Union."

1133 DDeecceemmbbeerr

TThhuurrssddaayy,, 88::0000 ppmm

SStt.. JJoohhnn’’ss CChhuurrcchh

uull.. ŚŚwwiięęttoojjaańńsskkaa 5500

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OOrraattoorriioo

La Vergine: LLeesslliiee VViissccoo soprano

Amor Divino: CCrriissttiinnaa GGrriiffoonnee soprano

La Sapienza: FFiilliippppoo MMiinneecccciiaa alto

L’Onnipotenza: RRoossaarriioo TToottaarroo tenor

Il Peccato: GGiiuusseeppppee NNaavviigglliioo bass

AAnnttoonniioo FFlloorriioo conductor

II TTUURRCCHHIINNII

AAlleessssaannddrroo CCiiccccoolliinnii,, MMaarrccoo PPiiaannttoonnii violin

RRoossaarriioo DDii MMeegglliioo viola

AAllbbeerrttoo GGuueerrrreerroo cello

GGiioorrggiioo SSaannvviittoo double bass

PPaattrriizziiaa VVaarroonnee harpsichord

FFrraanncceessccoo AAlliibbeerrttii positive organ

PPaaoollaa VVeennttrreellllaa theorbo

PPrriimmaa ppaarrttee

Sinfonia

Tutti: Divini attributiLa Vergine, Amor Divino, La Sapienza, L’Onnipotenza,

Il Peccato

Recitativo: Io che fabra di luce L’Onnipotenza

Aria: Impiegata l’OnnipotenzaL’Onnipotenza

Recitativo: Io che dal seno eterno La Sapienza

Aria: Quanto so’ voglio crearlaLa Sapienza

Recitativo: Et Io che da due senniAmor Divino

Aria: Sono Amore et innamoratoAmor Divino

Trio: Venga a luce chi luce haAmor Divino, La Sapienza, L’Onnipotenza

Aria Il più bello, il più nobile oggettoLa Vergine

Recitativo: Ordinata ab aeternoLa Vergine

Aria: Quel guardo che amorosoLa Vergine

Aria: Quanto sei bella L’Onnipotenza

Recitativo: Sei la maggior dell’opreL’Onnipotenza

Aria: Se bella io sonoLa Vergine

Aria: Ti compose di gigliLa Sapienza

Recitativo: Dell’eterno saperLa Sapienza

Aria: Vieni e cogli, mio caroLa Vergine

Aria: Mia colomba intemerata Amor Divino

Recitativo: Se il vero amoreAmor Divino

Aria: Il tuo stral divino arcieroLa Vergine

Trio: Per dar al tron d’IddioAmor Divino, La Sapienza, L’Onnipotenza

GGaaeettaannoo VVeenneezziiaannoo 1656–1706

LLaa PPuurriiffiiccaazziioonnee ddeellllaa VVeerrggiinnee oovvvveerroo LLaa SSaannttiissssiimmaa TTrriinniittàà iimmppiieeggaattaa nneellll aa CCoonncceezziioonnee IImmmmaaccuullaattaa ddii MMaarriiaa

World premiere

***

SSeeccoonnddaa ppaarrttee

Sonata

Recitativo: Lungi il Peccato?Il Peccato

Aria: Su’ schiere mie fiereIl Peccato

Recitativo accompagnato: Vomiterò da questa ingorda boccaIl Peccato, La Vergine

Aria: Come orrendo superbo e tremendoLa Vergine

Trio: Teco è lo sposo eternoAmor Divino, La Sapienza, L’Onnipotenza

Recitativo: Dunque una creaturaIl Peccato

Aria: Se poi non osserva la leggeIl Peccato

Recitativo: Si che in potereAmor Divino, La Sapienza, L’Onnipotenza

Aria: Mostro terribileLa Vergine

Recitativo: Tanto vuol DioLa Vergine, Il Peccato

Aria: Tutti assistetemi mostri del TartaroIl Peccato

Recitativo: Aquila invittaLa Vergine, Amor Divino, La Sapienza, L’Onnipotenza, Il Peccato

Aria: Chi a’ languidi senniL’Onnipotenza

Recitativo: No, che non può temerL’Onnipotenza, La Sapienza

Aria: Spezzerai tu le cateneLa Sapienza

Recitativo: Se amore Amor Divino

Aria: Senz’ombra concettaAmor Divino

Recitativo: Accetto il pesoLa Vergine

Aria: Figli mieiLa Vergine

Recitativo: Quante soverchierie?Amor Divino, La Sapienza, L’Onnipotenza, Il Peccato

Aria: Invan chiedo vendettaIl Peccato

Quartet: Vittoria per MariaLa Vergine, Amor Divino, La Sapienza, L’Onnipotenza

Tutti: Chi salvarsi, liberarsi vuol dal dragoLa Vergine, Amor Divino, La Sapienza, L’Onnipotenza, Il Peccato

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27

Gaetano Veneziano was born in 1656 in Bisceglie, a town

founded by Normans in Apulia in the 11th century. At the age

of 20, he began his studies at Conservatorio di Santa Maria

di Loreto in Naples, where, one year later, he met his new

tutor Francesco Provenzale, probably the first Neapolitan

composer who brought the opera to the Italian south.

At 22, Veneziano received the post of the organist at Cappella

Reale, the royal chapel, where he continued until 1686. His

composer career accelerated further when, on 10 July 1684,

he was nominated the first maestro di cappella in the history

of Conservatorio di Santa Maria di Loreto. One year later,

he was replaced by Nicolo Acerbo, but would come back after

another 10 years. The activity of Veneziano was not limited

to this post and he was also maestro di cappella at the

Neapolitan court and at Santa Maria del Carmine Maggiore.

This multitude of duties proved his partial undoing, as a

rebellion of the Conservatorio’s students lead to his humbling

replacement by Giuliano Perugino in 1705.

Gaetano Veneziano achieved his greatest success at the

Neapolitan court. The retirement of Alessadro Scarlatti, who

had brought the Neapolitan operatic school to its heights,

opened the position of maestro di Cappella Reale. Four

composers, including Cristofaro Caresana, entered in a

competition for the post, which was promised to the author

of the most perfect mass. On 25 October 1704, Veneziano

took the coveted position and held it until the falling of

Naples into the Hapsburg hands in 1707.

Gaetano Veneziano died on 15 July 1716, as a teacher at the

Conservatorio di Santa Maria di Loreto, having had written

more than 120 pieces, including such genres, as passion

cantatas, masses, motets and cantatas. He was also

instrumental in preserving the heritage of his master,

Francesco Provenzale, by rewriting many of his manuscripts,

which remain to this day mostly as Veneziano’s copies.

The figure of Gaetano Veneziano remains shrouded in thick

veil of oblivion and obscurity. Apart from a few obvious, but

strictly biographical, facts about his music the contemporary

audiences were not able to fully appreciate the achievements

of this Neapolitan composer. Fortunately much of his

manuscripts have been preserved at the dei Filippini library

in Naples. This treasure is successfully mined by Antonio

Florio and his ensemble, as they research and, equally as

importantly, record and perform publically the best examples

of the Neapolitan school of music. Some of that veil

of mystery will be lifted as the audience in Gdańsk listens

to La Purificazione della Vergine ovvero La Santissima Trinitàimpiegata nell a Concezione Immaculata di Maria showing the

beauty of mature southern Italian music that stays away from

stile antico. I Turchini bring with them a music that is based

on elegant and subtle instrumentation and vocal parts that

are full of freedom, yet without unnecessary nonchalance.

Veneziano’s music is easily placed between Provenzalo’s, who

introduced a new genre to Naples, and Alessandro Scarlatti’s,

who laid solid foundations for the development of the opera,

on the one hand, and the stylistically bold music of Pergolesi

on the other. Veneziano may have shied away from the opera

at a time of its very rapid development, devoting himself

primarily to sacred music, but his understanding of the

intense effect of a stage performance and of the play of

tensions between dramatic characters was so perfect that his

oratorio’s have lost nothing of their theatrical value. What

they gained was a direct and true-to-text musical message

so characteristic of the change in music of the 17th century.

Paweł Szczepanik

AANNTTOONNIIOO FFLLOORRIIOO

A tireless researcher of the Neapolitan Baroque

music, Antonio Florio reveals to the audiences the

work of Cristofaro Caresana, Leonardo Leo, Nicola

Fago and most of all Francesco Provenzale, maestrodi cappella at Conservatorio della Pietà de’ Turchini.

Florio was born in Bari, where he studied piano and

cello. He then went on to study period performance

practice and, fascinated by the southern Italian

musical tradition and by Provenzalo himself,

he founded the Ensemble Turchini in 1987.

From that point on, he has been devoting himself

to his musicological research, in which he is aided

by the musicologist Dinko Fabris, and to performing.

Antonio Florio’s explorations focus on the 17th and

18th century Neapolitan music and much of his

repertory is a result of painstaking research

and discovery, including of such masterpieces

as La colomba ferita (1670), Il schiavo di suamoglie (1671) and Stellidaura vendicante (1674)

by Francesco Provenzale, Pulcinella vendicato by

Giovanni Paisiello (1767), La Statira by Francesco

Cavalli and Motezuma by Francesco De Majo (1765).

Antonio Florio passes on his knowledge not just

through performances, but also by teaching

as a professor at the Conservatorio San Pietro

a Majella in Naples where he gives a course

in Baroque performing practice and theory.

In 2009, he signed a contract with Glossa and since

then he has recorded two albums devoted to

Cristofaro Caresana, Neapolitan cantatas with

the phenomenal tenor Pino de Vittorio and cello

concertos of Giovanni Sollima. Earlier, he recorded

for Opus 111 and Eloquentii among other labels.

Until 2010, the ensemble founded

by Antonio Florio was known to music

lovers around the world as Cappella

della Pietà de’ Turchini. It consists

of instrumentalists and singers who

specialise in the performance of

Neapolitan music from the 17th and 18th

centuries and in rediscovering forgotten

early music composers.

I Turchini stand out with their unique

sound, which sets them apart from all

other ensembles involved in early

music. The dynamism, the soft sound,

the characteristic timbre, precision and

the enormous emotional involvement

of both the conducting Antonio Florio

and the musicians make them

recognisable after just the first few

sounds and their narrative can be

followed without a single slip.

The originality of their programmes and

the rigorous adhesion to the rules of the

baroque performing practice turned the

formation into an absolute

phenomenon of the Italian and

European stage of early music

performance. I Turchini is a permanent

feature of elite early music European

festivals, such as: the Monteverdi

Festival in Cremona; festivals at

Versailles, Nancy, Nantes, Metz, Caen,

Ambronay; Festival de Otoño in Madrid;

Music Festivals in Tel Aviv, Barcelona

and Potsdam; BBC Early Music Festival,

Cité de la Musique in Paris, Fondation

de Saison Royamount, Mozart Festival

in La Coruna and the Misteria Paschalia

Festival in Krakow. I Turchini is also

resident at the Centre Lyrique

d’Auvergne at Clermont-Ferrand.

The ensemble recorded for Radio

France, BBC, as well as in Belgium,

Spain, and for the German and Austrian

radio. In the past, I Turchini recorded

for Opus 111 and Eloquentia, but they

switched to the prestigious Madrid-

-based label Glossa in 2009.

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II TTUURRCCHHIINNII

1144 DDeecceemmbbeerr

FFrriiddaayy,, 88::0000 ppmm

SStt.. JJaammeess’’ss CChhuurrcchh

uull.. ŁŁaaggiieewwnniikkii 6633

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NNaappoollii GGootthhiiqquuee –– LLaa PPoolliiffoonniiaa ddeellllaa NNaappoollii aannggiiooiinnaa

PPeeddrroo MMeemmeellssddoorrffff flutes, artistic management

MMAALLAA PPUUNNIICCAA

BBaarrbbaarraa ZZaanniicchheellllii soprano

MMaarrkkééttaa CCuukkrroovváá mezzosoprano

GGiiaannlluuccaa FFeerrrraarriinnii,, RRaaffffaaeellee GGiioorrddaannii tenor

HHeelleennaa ZZeemmaannoovváá,, TThhoommaass BBaaeettéé vielle

PPaabblloo KKoorrnnffeelldd early harpsichord, positive organ

LLiibbeerr uussuuaalliissStatuit ei Dominus testamentum pacis

AAnnoonniimm Kyrie

PPhhiilliippppee ddee VViittrryy 1291–1361Rex quem metrorum

AAnnttoonneelllloo ddaa CCaasseerrttaa XIV/XV w.Or tolta pur me sey

Più chiar che‘l sol

Deh vogliateme oldire

AAnnoonniimmSempre serva

FFiilliippppoottttoo ddaa CCaasseerrttaa ok. 1350–ok. 1435De ma dolour

AAnnttoonneelllloo ddaa CCaasseerrttaaAmour ma le cuer mis

Dame zentil

FFiilliippppoottttoo ddaa CCaasseerrttaaPar les bons Gedeon et Sanson

AAnnoonniimmOchi piangete

AAnnoonniimmHa fortune

AAnnoonniimmPar che la vita mia

The 14th century was a time of decline in Naples. The reign

of Joan I, deemed infamous by historians, undermined

the power of the Kingdom of Sicily, which was ruled by the

Angevins between 1226 and 1442. Social conflicts unsettled

the state that clung to its old feudal system while the western

schism deprived southern Italy of papal protection. Even

in these difficult times, however, fresh ideas made their way

into the area. Two of them were Ars nova (the new art,

or perhaps new technique) and Ars subtilior (more subtle art),

the best examples of which can be found in the famous

Codex Chantilly and Codex Modena manuscripts.

The two chronologically adjacent performance techniques

may be regarded as different styles, although some scholars

treat the younger Ars subtilior merely as a subgenre of

the revolutionary Ars nova, the name of which comes from

the eponymous treatise by Philippe de Vitry. The emergence

of Ars nova not only added dynamism to the melodic line

through a reform of the musical notation that allowed a more

precise rhythmical notation, but also developed polyphony

through the introduction of the counterpoint and the

rhythmisation of all voices, and shifted the focus of music

to secular topics, which gave it a new lease of life and helped

achieve a new heights of refinement. These changes lead

to the development of a vast range of new musical genres,

of which the madrigal, inextricably linking the melodic line

with the lyrics, would achieve the greatest success during the

coming centuries. The shift of towards the secular meant an

increased focus on the aesthetic value of music and, it seems,

accentuated the humanist aspect foretelling the imminent

Renaissance.

The next evolutionary step was taken in the form

of Ars subtilior, which continued in the reformist vein and

brought vocal art to new heights. The refinement, complexity

and technical virtuosity of the new style may have limited its

accessibility to just a tight circle of connoisseurs, but

propelled Ars subtilior to becoming arguably the pinnacle

of achievement of medieval experiments with polyphony,

dynamics and rhythm, pushing expression to the fore

and switching from sacred to entirely secular topics.

The scale of musical experimentation of Ars subtilitorand its predecessor Ars nova could only be compared to

what happened in music during the 20th century. Just as the

musical component, so the aesthetic form of the manuscripts,

where the sheet music of a love song would take the shape

of a heart and the score of Jacob Senleches” La Harpe de melodie takes the form of a harp, also brings to mind

the 20th century literature.

Among the most eminent figures of the new composition

techniques are Philippe de Vitry, author of the treatise

Ars nova notandi of 1322, Filippotto da Caserta, composer

and theoretician of “the more subtle art” and Antonello

da Caserta. While a direct link between de Vitry and Italian

music was very unlikely, since he most certainly spent

his entire life in his native France, it is difficult not to notice

his influence on the music of Trecento, as Ars nova spread

rapidly into Spain and Italy where it was met with good

reception.

The motet Rex quem metrorum illustrates perfectly the

isorhythmic system of voices that distances the piece

from the modal character of the earlier times.

Written for two voices, the Italian-language ballatas Or toltapur me sey, Più chiar che ‘l sol and Deh vogliateme oldireby Antonello da Caserta are secular and dance-like in nature

while maintaining an exquisite style of composition.

The triple-voiced French-language ballads by Antonello

da Caserta (Amour ma le cuer mis, Dame zentil) and Filippotto

da Caserta (De ma dolour, quoting the lyrics of a chansonby Guillaume de Machaut and Par les bons Gedeon et Sanson) are characterised by an even greater level of

refinement and an unexpected slightly syncopated rhythm.

The pieces share the common topic of the virtues of amourcourtois (courtly love), except Par les bons Gedeon devoted

to the antipope Clement VII.

Paweł Szczepanik

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A flutist, conductor and expert on late-

medieval instrumental and polyphonic

performing techniques. Pedro

Memelsdorff is also known for his

musicological research on Ars nova and

for important studies he published about

Matteo da Perugia and the famous

manuscripts Codex Modena Aand Codex Faenza 117.

Memelsdorff was born in 1959 in Buenos

Aires. At the age of 18, he emigrated to

Europe where he graduated from Schola

Cantorum of Basel and from Sweelinck

Conservatory of Amsterdam. He went on

to join several chamber music ensembles,

including Jordi Savall’s Hespèrion XXI, and

formed a piano duo with Andreas Staier.

In 1987, he established the Mala Punica

ensemble to explore late medieval music.

Memelsdorff performed in Europe, Japan

and the Americas and Mala Punica’s

recordings received numerous and

prestigious international awards,

including: the album of the year from

Fondazione Cini Vivaldi Award Venezia,

Prix Caecilia Belgia, Diapason d’Or de

l’année and Holandia Edison Award. His

teaching posts included Scuola di Musica

Civica di Milano (1985–2002), where he

taught theory of medieval music and

Conservatory in Zurich and Trecento

Schola Cantorum in Basel (1987–1992).

Pedro Memelsdorff was also invited to

give lectures at the Conservatory of

Maastricht, Frankfurt, Cologne, Bremen,

Lovanio, Dublin, Haifa, Copenhagen

and Boston. Other universities he worked

for included University of Salamanca,

New York University, Oxford University,

Tokyo University, London Royal Academy

of Music, City University of New York

and Universidad Catolica Argentina

of Buenos Aires.

Pedro Memelsdorff is currently holding

the chair of flute and chamber music at

Escola Superior de Musica de Catalunya

(ESMUC) in Barcelona and is director

of the seminary of early music at the

Foundation Giorgio Cini in Venice.

He publishes regularly in Recarcare,

a journal on the practice and theory

of period performance.

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PPEEDDRROO MMEEMMEELLSSDDOORRFFFF

Mala Punica is a vocal and

instrumental ensemble specialised

primarily in the music of the Trecento

and the Italian Ars subtilior,

a repertory that has been dubbed the

“avant garde of the medieval Europe”.

Mala Punica’s programmes open

before audiences new levels of

refinement and emotion. Under the

careful direction of Pedro

Memelsdorff the ensemble has

developed a characteristic intimate

way of expression with an utmost

attention to precision, microdynamics

and subtle glissandos.

Mala Punica (Italian for pomegranate)

was founded in 1987 by Pedro

Memelsdorff. The ensemble combines

erudition and musicological research

with a unique style of musical

expression. The virtuosity of solo

performance, unique singing

technique, poetry and theatrical

effects confirm the group’s strong

identity and have attracted critical

acclaim and more than thirty

international awards. Mala Punica

regularly participates in festivals held

in Europe and the Americas. Its

discography includes three albums

recorded for Arcana (Ars subtilisYtalica, D’amor ragionando and Enattendant), three for Erato (MissaCantilena, Sidus preclarum and HelasAvril) and one each for Harmonia

Mundi and Näive (NarcissoSpeculando, madrigals by Don Paolo

da Firenze and Faventina devoted

to liturgical music from Codex Faenza,

respectively). All of these albums

won prestigious awards.

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MMAALLAA PPUUNNIICCAA

1155 DDeecceemmbbeerr

SSaattuurrddaayy,, 88::0000 ppmm

AArrttuuss CCoouurrtt

uull.. DDłłuuggii TTaarrgg 4433//4444

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RReecciittaall

OOttttaavviioo DDaannttoonnee harpsichord

Aria

Variatio 1 a 1 Clav.

Variatio 2 a 1 Clav.

Variatio 3 a 1 Clav. Canone all‘Unisono

Variatio 4 a 1 Clav.

Variatio 5 a 1 Clav. ovvero 2 Clav.

Variatio 6 a 1 Clav. Canone alla Seconda

Variatio 7 a 1 Clav. ovvero 2 Clav.

Variatio 8 a 2 Clav.

Variatio 9 a 1 Clav. Canone alla Terza

Variatio 10 a 1 Clav. Fughetta

Variatio 11 a 2 Clav.

Variatio 12 Canone alla Quarta

Variatio 13 a 2 Clav.

Variatio 14 a 2 Clav.

Variatio 15 a 1 Clav. Canone alla Quinta

Variatio 16 a 1 Clav. Ouverture

Variatio 17 a 2 Clav.

Variatio 18 a 1 Clav. Canone alla Sesta

Variatio 19 a 1 Clav.

Variatio 20 a 2 Clav.

Variatio 21 Canone alla Settima

Variatio 22 a 1 Clav. Alla breve

Variatio 23 a 2 Clav.

Variatio 24 a 1 Clav. Canone all‘Octava

Variatio 25 a 2 Clav.

Variatio 26 a 2 Clav.

Variatio 27 a 2 Clav. Canone alla Nona

Variatio 28 a 2 Clav.

Variatio 29 a 1 ovvero 2 Clav.

Variatio 30 a 1 Clav. Quodlibet

Aria da capo

JJoohhaannnn SSeebbaassttiiaann BBaacchh 1685–1750

GGoollddbbeerrgg VVaarriiaattiioonneenn BWV 988

History is just turning full circle. The circle may be somewhat

deformed or even twisted, but like the mythical Ouroboros

eating its own tail so Johann Gottlieb Goldberg is coming back

to his native Gdańsk. He does so through one of the most

perfect pieces ever to have been written for the harpsichord:

the Goldberg Variations by Johann Sebastian Bach.

It is arguable whether the current title of the piece, originally

written as Clavier-Ubung bestehend in einer Aria mitverschiedenen Verænderungen vors Clavicimbal mit 2Manualen, is indeed justifiable. According to a Bach’s

biography published in 1802 by Johann Nikolaus Forkel, the

Variations were written for the insomniac count Hermann Karl

von Keyserling, the Russian Ambassador to Saxony, who

would spend long sleepless nights listening to the piece

played by the harpsichord virtuoso Goldberg. It would sound

plausible if not for the fact that Bach published his work in

1741, when Goldberg was only 14. Also the lack of a

dedication in the title puts the Forkel’s idea in doubt.

Whether the biographer’s version is correct or not, one must

admit that Bach must have been convinced of his piece’s

greatness. All four parts of the Clavier-Ubung, literally

“keyboard exercises”, are among a modest fraction of his

entire oeuvre that was published during his lifetime (and by

himself). He normally published his music every four years,

yet he made an exception precisely for the GoldbergVariations, which he published only two years after a previous

round. Considering the enormous cost of printing at the time,

the composer must have attached substantial importance to

making this particular piece available to the public.

The title Clavier-Ubung would suggest a set of drills for

learners of the harpsichord. This is highly typical of Bach’s

direct and practical approach, so characteristic of his deeply

rooted protestant streak. For example, he commented on DasWohltemperierte Klavier that the piece was written “for the

benefit of musical students, especially for advanced learners”.

There is no such dedication on the Goldberg Variations and

the composition is devoted to music lovers to “refresh their

spirits”.

The Goldberg Variations are composed for a double-manual

harpsichord, although some parts include a comment

whether they should be performed on one or on both

manuals. The opening Aria is known from Klavierbüchlein fürAnna Magdalena Bach, the second notebook intended for the

composer’s wife, bearing the date 1725. The Aria is

ornamented in the French style with a saraband in 3/4 metre,

while the subsequent thirty pieces are variations on the

theme of the opening one and are based less on its melody

than on the chord progression and on the bass line theme.

Each of the variations features a separate and characteristic

motif, but the entire sequence of variations is joined together

by a coherent harmonic plan.

The proportions and symmetry of the Goldberg Variations are

truly fascinating. The variations are combined in threes, the

first being of a dancelike nature, the second - a virtuoso

variation and the third is a canon. All the virtuoso pieces are

arranged according to their level of difficulty from the easiest

to the most demanding. The thirtieth variation, Quodlibet,which by the rule of threes should be a canon, contains

melodies of many German folk songs, which, according to

Forkel, should be regarded as the composer’s joke.

A counterbalance for the previous cycle is provided in

variation 1 based on a Polonaise offering a symmetrical

reference to the Polish-Saxonian Union. The series is

completed by the initial Aria but this time intended for

da capo performance, which closes the circle

of the Goldberg Variations and of this description.

Paweł Szczepanik

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The Italian conductor and harpsichordist

records and performs live both as a soloist

and with Accademia Bizantina regarded as

one of the best ensembles playing early

music.

Ottavio Dantone graduated from

Conservatorio Giuseppe Verdi in Milan in

the class of the organ and harpsichord.

His musical talent combined with the

passion for historical studies brought him

enormous popularity among the

audiences and critics in a very short time.

He became the first Italian to win

harpsichord competitions in both Paris

(1985) and Bruges (1986), which paved

the way to an international career.

In 1989, Ottavio Dantone started working

with Accademia Bizantina, an ensemble

specialising in early music, and in 1996 he

became its artistic director. Dantone

played at festivals across Europe, in the

Americas, the Middle East, Mexico and

Japan. Some of the festivals and concert

halls he has attended include

Concetgebouw in Amsterdam, Cité

de la Musique in Paris, the Metropolitan

Museum in New York, festivals in Ravenna

and Bologna, Accademia di S. Cecilia

in Rome, Settembre Musica in Turin,

Accademia Filarmonica della Scala.

Dantone’s operatic career took him to the

most prestigious stages. He debuted in

the modern era’s premiere performance

of Giuseppe Sarti’s Giulio Sabino at Teatro

Comunale Alighieri of Ravenna in 1999.

In spring of 2005, he made his first

appearance at Milan’s famous La Scala

conducting Rinaldo by J. F. Handel staged

by Piero Luigi Pizzi. In 2009, he took

Rinaldo to Poland where he conducted

the concert version of the opera at Teatr

im. Juliusza Słowackiego in Krakow as part

of the Opera Rara series.

Ottavio Dantone teaches at the

conservatories in Lugano and Turin, and

conducts courses in harpsichord

performance, chamber music, basso

continuo and improvisation.

Dantone’s recording of Sonate digravicembalo by Paradisi was awarded the

album of the year award in 1998 while his

album with J.S. Bach’s DasWohltemperierte Klavier released by Arts

in 2001 received universal critique

acclaim. In 2003, Decca recognised his on-

stage and studio success by offering an

exclusive contract. The relationship with

this prestigious label started with none

other than a recording of the GoldbergVariations.

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OOTTTTAAVVIIOO DDAANNTTOONNEE

1166 DDeecceemmbbeerr

WWeeddnneessddaayy,, 88::0000 ppmm

AArrttuuss CCoouurrtt

uull.. DDłłuuggii TTaarrgg 4433//4444

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AArriiee ee ccoonncceerrttii IIII

CCaarrlloo AAlllleemmaannoo tenor

FFaabbiioo BBiioonnddii concertmaster, conductor

EEUURROOPPAA GGAALLAANNTTEE

FFaabbiioo RRaavvaassii,, EElliinn GGaabbrriieellssssoonn 1st violin

AAnnddrreeaa RRooggnnoonnii,, LLuuccaa GGiiaarrddiinnii,, BBaarrbbaarraa AAllttoobbeelllloo 2nd violin

AArrmmaannddoo BBaarriillllii viola

AAlleessssaannddrroo AAnnddrriiaannii cello

PPaattxxii MMoonntteerroo double bass

GGiiaannggiiaaccoommoo PPiinnaarrddii lute, theorbo

SSaallvvaattoorree CCaarrcchhiioolloo harpsichord

AAnnttoonniioo VViivvaallddii 1678–1741

SSiinnffoonniiaaLa Griselda RV 718

KKoonncceerrtt FF--dduurr RV 284

AllegroLargoAllegro

NNoonn ffiiaa ddeellllaa vviittttoorriiaaErcole sul Termodonte RV 710

LLaa ttiirraannnnaa,, ee aavvvveerrssaa ssoorrtteeArsilda, Regina di Ponto RV 700

KKoonncceerrtt DD--dduurr RV 204

AllegroLargoAllegro

***

KKoonncceerrtt dd--mmoollll RV 540

AllegroLargoAllegro

DDeell ddeessttiinn nnoonn ddeeee llaaggnnaarrssiiBajazet RV 703

SSee aall ccaaddeerr ddeell mmoossttrroo oorrrreennddooL’Oracolo in Messenia RV 726

KKoonncceerrtt aa--mmoollll RV 522

AllegroLarghetto e spiritosoAllegro

SSiinnffoonniiaa Ercole sul Terdomonte RV 710

GGiiaa’’ ll’’iiddeeaa ddeell ggiiuussttoo sscceemmppiiooL’Oracolo in Messenia RV 726

After years in obscurity, Antonio Vivaldi was brought back to

light only in the 20th century, but then almost immediately

took the place he deserved among the best of Baroque music.

Today, famous primarily for this impressive artistic heritage,

Vivaldi enjoyed a short-lived admiration in his native Italy and

in France during his lifetime, but would later only be known

from rather unfavourable anecdotes commenting his weak

spot for the fairer sex and from a legend whereby he would

run into the sacristy in the midst of celebrating a holy mass

to take down a musical theme he had just come up with.

Igor Stravinsky attempted to support the composer’s bad

reputation, fortunately unsuccessfully, by maintaining that

Vivaldi had written the same concerto four hundred times.

In reality, the Red Priest – as he was known for his red hair -

wrote around five hundred concertos, including more than

two hundred for violin, but the determination of the exact

number is very difficult, as their attribution can be dubious

and new pieces of his authorship keep being discovered to

this day.

The collection of twelve concertos Opus 4 known as LaStravaganza was written in 1712–1713 and first published,

with a dedication to Signore Vettoro Delfino, in 1716. The fact

that the previous series L’estro armonico was dedicated to no

less than Ferdinando de’ Medici, the Grand Duke of Tuscany,

might suggest that the composer did not value La Stravaganzaas much. In reality this latter series not just constitutes the

style of a “perfect” violin concerto that was typical of Vivaldi,

but also reveals his incredible invention kept within a strict

harmonic frame. All pieces are concertos for solo violin,

strings and basso continuo, but some of them require

virtuosity also of the second, somewhat overshadowed, solo

instrument, which can be either violin or cello. Examples of

such pieces include concertos 4 (in A minor) and 5 (in A

major), with their perfectly highlighted continuous search of a

relationship between the solo instrument and the orchestra,

which is sometimes found through similarity and otherwise

by the searching preceded by a sudden split between these

two components. This formula is fascinating for its freeing of

the imagination and openness to emotions, which just a

moment later, like a captured bird, are brought back to the

fold of the orchestra’s format. Both concertos also reveal a

flirtation with folk music, as the solo violin improvises wildly

around traditional themes. This is heard particularly well in

concerto No. 5 where the line of the first violin is underlined

by ritornellos of the second instrument. These symptoms of

mastery offer a perfect justification for the collection’s title,

which literally means “extravagance”.

The concerto in D minor for viola d’amore and lute is based

on a dialogue between the two solo instruments where the

dynamics and lyricism of the viola is underlined by the

punctual, precise and subtle lute, while the whole is

maintained in a moody and sweet clime. On the other hand,

concerto in A minor opus 3 No. 8 for two violins and the string

section from the collection L’estro armonico is restrained with

the melodic line of the solo instruments betraying none of the

later-time flamboyant invention and is better established

within the harmony of the entire orchestra, while loosing

nothing of it virtuosity.

The fullness of the Vivaldi’s art can be appreciated in his

operas, of which – according to his own account - he wrote

94, but only about half of that number have yet been

identified. In sinfonias this talent is manifested by perfect

harmonies and the awareness of the tutti sound, while in

arias – in accordance with the Neapolitan school – by giving

the priority to the vocal part brought to a level of difficulty

that would often be virtually impossible for the singer and

by perfectly rendering the emotional message derived from

the libretto. An ideal example is provided by the aria DelDestin non dee lagnarsi from the opera Bajazet (1735),

in which the fearless Bajazet, sensing an imminent death,

gives the hand of his beloved daughter to Prince Andronicus.

The listener shares entirely the sense of the correct choice

and the strength of the emperor’s character.

Paweł Szczepanik

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[[FFOOTTOO FFAABBIIOO BBIIOONNDDII]]

Distinguished violinist specialising in

baroque music, Fabio Biondi began his

violin training at the age of 5, at 12 he

started his career with the RAI symphony

orchestra and at 16 played Bach’s violin

concertos at the Musikverein in Vienna.

This is when he became attracted to

period performance.

Biondi performed with a number of

ensembles specialised in the performance

of Baroque music using original

techniques and instruments, including La

Capella Reial de Catalunya, Musica

Antiqua Wien, Il Seminario Musicale, La

Chapelle Royale and Les Musiciens du

Louvre. His earliest recordings included

demanding compositions by the Italian

geniuses of violin: Veracini, Locatelli and

Tartini.

In 1990, Fabio Biondi founded Europa

Galante, an ensemble that has become a

leading group specialised in period

performance with original instruments

worldwide. Biondi does not contend

himself with just his pioneering role in

performance with original instruments,

but also combines an instinct of a

researcher with the nature of a leader. His

interpretations of Italian music, especially

of Vivaldi, paved new ways in early music

performance. Fabio Biondi is a successful

soloist, chamber musician and conductor.

His powerful temperament, technical skill

and pure talent combine to turn

impossibly difficult baroque pieces for

violin music into breathtaking

performances of eruptive virtuosity.

When not on stage, he involves himself in

extensive musicological and historical

studies that return many forgotten or

partly preserved pieces of early music for

contemporary audiences.

Since 2005, Fabio Biondi has taken on the

role of artistic director for early music of

the Stavanger Symfoniorkester. In 2011,

he took a teaching post at Accademia

Nazionale di Santa Cecilia in Rome.

At the mature stage in his career, he

worked with National Orchestra

Montpellier, Mahler Chamber Orchestra,

Orquesta Ciudad de Granada, the

Mozarteum Orchestra of Salzburg, the

Santa Cecilia ensemble of Rome and many

others. He performed solo and in

chamber arrangements at Cité de la

Musique in Paris, Hogi Hall in Tokyo and

Wigmore Hall of London. Biondi has made

dozens of recordings for leading music

labels. He plays on Andra Guarneri’s violin

(Cremona, 1686), but sometimes also

uses an instrument made by Carlo

Ferdinando Gagliano (1766) that is made

available to him by the Salvatore Cicero

Foundation of Palermo.

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FFAABBIIOO BBIIOONNDDII

This Italian instrumental ensemble

specialising in the performance of early

music, especially Baroque, was

established by Fabio Biondi in 1990. The

ensemble’s worldwide career took it to

such famous venues, as Teatro alla Scala

in Milan, Concertgebouw in Amsterdam,

Royal Albert Hall in London, Musikverein

in Vienna, Lincoln Center in New York and

the Sydney Opera House, as well as to

concert halls in Israel, Canada, Japan and

South America.

Europa Galante’s flexible structure allows

the ensemble to work successfully on

both large musical forms (operas and

oratorios) and smaller ones (chamber

music). The ensemble is famed for its

impeccable technique practiced in

keeping with the rules of period

performance. It is, however, their bravura,

precision and vast dynamic scale that

have earned them enthusiastic receptions

from audiences worldwide.

Europa Galante has made dozens of first

performances of musical pieces dating

back to the 17th and 18th centuries. A

special place in their repertory is held by

the Italian masters: Vivaldi, Alessandro

and Domenico Scarlatti, Caldara and

Boccherini. After many years with Opus

111, the ensemble has signed a contract

with Virgin Classics. This collaboration has

yielded numerous albums and each

resonated well with the world’s critique.

Their latest Vivaldi recordings for Virgin,

Pyrotechnics with arias performed by

Vivici Genaux (2009) and Ercole sulTermodonte (2010) gained universal

critical praise. In February 2011, the

ensemble continued the Vivaldi series and

their release of the reconstructed opera

L’Oracolo in Messenia received the

Diapason d’Or and popular recognition.

Further plans include the opera Adriano inSiria by Francesco Maria Veracini, which

will be recorded live with the top suit of

singers: Vivica Genaux, Ann Hallenberg,

Sonia Prina and Romina Basso.

The ensemble was recognised twice (2002

and 2008) by Associazione Nazionale dei

Critici Musicali. Europa Galante was also

nominated twice for the Grammy Award;

in 2004 for Concerti per mandolini,concerti con molti strumenti and in 2006

for Vivaldi’s Bajazet. They received many

other awards, including Premio Cini, Choc

dé la Musique (for their debut album),

Diapason d’Or (5 times), Diapason d’Or of

the year in France, RTL Prize, and

nominations for the Record of the Year in

Spain, Canada, Sweden, France and

Finland, and Prix du Disque.

Europa Galante is the resident orchestra

of the Foundation Teatro Due of Parma.

DDWWÓÓRR AARRTTUUSSAA

Niegdyś siedziba Bractwa św. Jerzego,

miejsce spotkań stanu rycerskiego,

kupców i siedziba sądu. Dziś oddział

Muzeum Historycznego Miasta Gdańska

i jedna z największych atrakcji

turystycznych miasta. Historia Dworu

Artusa sięga połowy XIV wieku – został

wzniesiony w latach 1348–1350, zaś jego

nazwa pochodzi od imienia legendarnego

wodza Celtów Artura – dla ówczesnych

ludzi był on wzorem cnót rycerskich,

a Okrągły Stół, przy którym zasiadał ze

swoimi dzielnymi rycerzami, symbolem

równości i partnerstwa. Nazwa budynku

curia regis Artus (królewski dwór Artusa)

pojawiła się pierwszy raz w 1357 roku.

Usytuowany jest w obrębie Głównego

Miasta i stanowi fragment

reprezentacyjnego traktu miejskiego

zwanego Drogą Królewską.

Wnętrze składa się z jednej bardzo

obszernej sali w stylu gotyckim. Dwór

słynie z najwyższego w Europie, bo

mierzącego niemal

11 metrów wysokości, renesansowego

pieca kaflowego autorstwa Georga

Stelznera, późnogotyckiej rzeźby Św. Jerzywalczący ze smokiem z 1485 roku

i najstarszego w Polsce baru – cynowej

lady piwnej z 1592 roku. Można tam także

oglądać najstarszą w Polsce kolekcję

modeli okrętów oraz XV-wieczne zbroje

turniejowe.+

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EEUURROOPPAA GGAALLAANNTTEE

Carlo Vincenzo Allemano began his career

with immediate success by winning the

singing competition Toti dal Monte in

Treviso (1989) and Mozart Competition in

Vienna (1990) and has established himself

as one of the most admired singers.

He has regularly worked with leading

musicians, such as Christophe Rousset,

Emmanuelle Haïm, René Jacobs, Wolfgang

Sawallisch, Claudio Abbado, Riccardo

Muti, Zubin Mehta, Leopold Hager,

William Christie, Fabio Biondi and Marco

Guidarini. Allemano’s deep matt tenor

and his enormous signing ability help him

perform both opera and concept music of

nearly all periods.

The range of roles in his repertory is truly

impressive: from the Monteverdi’s

Orpheus, to Bajazet in Handel’s

Tamerlane, to Arthur in Donizetti’s Lucia diLammermoor, Tebaldo in I Capuleti e iMontecchi by Bellini, Fenton in Falstaff by

Verdi, Dmitri in Boris Godunov by

Mussorgsky, to the part of the young man

in Schönberg’s Moses und Aron. Carlo

Vincenzo Allemano has very often played

in Mozart’s operas, including Titus in Laclemenza di Tito at Opéra National du

Rhin in Strasbourg, Tamino in The MagicFlute at the Opera of Nice, Ferrando in

Cosi fan tutte in Tel Aviv and Don Basilio in

the Marriage of Figaro at La Scala.

His versatility is also attested by his

multiple performances in the oratorio

repertory, which include such roles as the

Evangelist in Bach’s St. John Passion inTurin and solo parts in Vespro della BeataVergine by Monteverdi with the Berlin

Philharmonic, Messiah by Handel with

Europa Galante under Fabio Biondi in

Madrid, Barcelona and Venice, Requiemwith the RAI symphonic orchestra in Turin

and with Accademia di Santa Cecilia in

Rome and in Mozart’s Coronation Massunder Marco Guidarini in Nice, in Elijah by

Mendelssohn at the festival in Ravenna,

Orff’s Carmine burana at the festival

Maggio Musicale Fiorentino, Petite MesseSolennelle by Rossini, Lazarus and Mass

No. 6 in E-flat major by Schubert and

Messa di Gloria by Puccini.

His illustrious career was also recorded for

top music labels, such as Antigona by

Traetta with Christophe Roussete (Decca),

Turandot by Puccini with Zubin Mehta

(RCA) and The Wedding of Figaro by

Mozart with Claudio Abbado (Deutsche

Grammophon).

Some of Carlo Vincenzo Allemano’s recent

performances included at Musikfestspiele

Potsdam Sanssouci in Piramo e Tisbe by

Hassego, during the festival in Innsbruck

in La Stellidaura vendicante by Provenzale

with Alessandro de Marchi and a

European concert tour with Europa

Galante and Fabio Biondi performing

Vivaldi’s arias.KKOOŚŚCCIIÓÓŁŁ ŚŚWW.. JJAAKKUUBBAA

Historia kościoła sięga 1414 roku, kiedy

gdańscy marynarze wznieśli kaplicę dla

chorych i ubogich szyprów. Świątynia

przyjęła obecny kształt w latach 1436–

1437. Jedyną poważną zmianą

architektoniczną jest pochodząca z 1639

roku, wybudowana po pożarze wieża.

Podczas reformacji kościół przejęli

protestanci, w 1807 roku wojska

napoleońskie przeobraziły go w obóz

jeniecki dla jeńców pruskich i rosyjskich.

Osiem lat później wybuch w stojącej obok

baszcie prochowej poważnie uszkodził

kościół, przez co obiekt stracił charakter

sakralny i przekształcony został w 1819

roku w miejską bibliotekę oraz szkołę

nawigacyjną. Dopiero po II wojnie

światowej, w 1946 roku zniszczony kościół

wrócił w ręce ojców Kapucynów, którzy

w 1948 roku odbudowali świątynię

i ponownie ją poświęcili. Wnętrze kościoła

zostało doszczętnie zniszczone podczas

wojny, toteż w latach 1952–1960 w nawie

głównej powstają freski (zamalowane

w 2008 roku), ołtarz główny, ołtarze

boczne, ambona i witraż św. Jakuba.

Ponadto w latach 2007–2010 świątynia

przeszła kapitalny remont elewacji

wewnętrznej i zewnętrznej.

Kościół św. Jakuba jest przykładem

późnogotyckiego przyszpitalnego

budownictwa sakralnego, jako jedyny

w Gdańsku posiada renesansowy strop

belkowy, zdobi go dodatkowo

przeniesiony z Bramy św. Jakuba+

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CCAARRLLOO VVIINNCCEENNZZOO AALLLLEEMMAANNOO

AARRTTUUSS CCOOUURRTT

In its day, the Artus Court played a number of roles, including the seat of the Brotherhood of St. George, a meetingplace for nobles and merchants and a courtroom. Currently, the Artus Court is a branch of the Gdańsk History Museumand is regarded as one of the city’s main tourist attractions. The building was erected during 1348-1350 and namedafter King Arthur, reflecting the aspirations to the ideals of knightly virtues perfectly embodied by the legendary Celticleader and of equality and partnership symbolised by the Round Table, at which Arthur sat with his knights. The building’s name, curia regis Artus (Royal Artus Court) was mentioned for the first time in 1357. The Artus Court is part of a route known as the Royal Way in the historic Main Town. Arranged as one vast hall inside the Court is famous for the Europe’s tallest, nearly 11-metre high Renaissance-styletiled stove designed by Georg Stelzner; a late-Gothic statue of the St. George and the Dragon from 1485; and forPoland’s oldest tin-plated bar dating back to 1592. The building also houses the oldest collection of naval ship modelsin Poland and a number of fine 15th century tournament armours.The Artus Court played a central role in the life of Gdańsk. Every year, on Pentecost, the Brotherhood of St. Georgeheld a tournament, while on the daily basis the Court served as a meeting point where merchants of Gdańsk forgedand maintained their links with the rest of Europe. “[A]s a house of merchants and ship owners it allowed visitors to find appropriate company at any time of the day”. In 1530, this seat of various brotherhoods, a meeting point and festival venue took on another important role as a chamber for open court hearings. In the late 17th c., the Grand Hall’s acoustic properties were recognised and regularconcerts were held.

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SSTT.. JJAAMMEESS’’SS CCHHUURRCCHH

The history of the church goes back to 1414, when local sailors erected a chapel for sick and impoverished skippers. In 1432–1437, it was expanded to the current form with the only modification in 1639, when a tower was addedduring a reconstruction after a fire. During the Reformation, the church was taken over by Protestants and in 1807 the Napoleon’s army converted it into a camp for Prussian and Russian POWs. Eight years later, an explosion in a nearby gunpowder magazine damaged thechurch putting an end to its ministerial function. The remaining structure was converted into a municipal library and a navigation school. Only after the Second World War, the damaged church was given to the Capuchin Friars whorebuilt the temple in 1948 and reconsecrated it. During the period 1952–1960, the Friars installed new side-altars, a pulpit and a stained glass window with the figure of St. James’s and had frescos painted in the main aisle (painted-over in 2008) to replace the interior decoration completely lost during the war. Between 2007 and 2010, the church went through an overhaul of its exterior and interior walls. The late-Gothic St. James’s Church is an example of hospital church architecture. It is the only temple in Gdansk tohave a Renaissance beam ceiling and its tower is covered with an early-Baroque dome transferred from the St. James’sTower. A new presbytery was designed by Romuald Sołtys in the early 1970s. Notable pieces of interior decorationinclude the main altar of white sandstone, a late-Gothic figure of Madonna and Child to the left of the altar and thestained glass window entitled the Martyrdom of St. James’s Apostle and Patron made by Zofia Baudouin de Courtenay.

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SSTT.. JJOOHHNN’’SS CCHHUURRCCHH

The first written mention of a small chapel dedicated to St. John comes from 1358, but the present church was builtearly in the second half of the 15th century. Its architecture is typical of the late-Gothic architecture of the 14th and 15th

centuries, with its heavy, buttressed structure, triple nave interior and flat-ended presbytery. In March 1945, the church burned down and while it’s overall structure survived many architectural components werelost, including the entire roof with its structure, windows and floors. Adjacent twin Baroque townhouses weredestroyed, as was a small sacristy adjacent to the Holy Spirit Chapel. After the war,the gutted building was roofed, itsvaluable vaults secured, but reduced to the function of an official lapidarium.Since 1990s, the Gdansk Diocese has been using the church for services on Sundays and holidays. Since autumn 1998,regular masses have been held, in Polish and in the local Kashubian language, organised by the Artists’ ChristianMinistry of the Gdańsk Diocese. In 1995, the management of the church was transferred to the Baltic Sea Culture Centre. BSCC is offering its culturalactivities, makes the church available to artists and the general public, while also performing conservation andconversion work intended to turn the church into St. John’s Centre. The church has already hosted several important cultural events and has become recognisable on the cultural map of the region, the country and Europe. St. John’s church offers unique atmosphere for concerts,shows, stage plays and exhibitions.

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FFEESSTTIIVVAALL HHOOTTEELL

The story of the Grand Cru Hotel is inseparably linked with the beginnings of Gdańsk. It takes us back 1000 years to a time, when a fortified town was established in the name of the Polish rulers and then of the Pomeranian Dukes. In the 14th century, the area was taken over by the Teutonic Knights who built a medieval castle. The hotel building used to play several important functions, including as wine storage and warehouse for the Polish Ocean Lines. In 2009, the whole area was included in a development project known as StaraWiniarnia and involving a restoration of the buildings and their conversion into apartments, commercialunits and a hotel. The entire project was designed by the studio Wolscy Architekci.The Grand Cru Hotel of Gdańsk offers 50 rooms that are anything but ordinary. The modern style meetsperfectly with raw brickwork evocative of the Middle Ages and the combination of deep colours with purewhite in the decoration creates a unique interior climate. Nothing is spared in the area of comfort with thefurniture including a desk and a chair, a flat screen TV, a coffee and tea making set, a minibar, an ironing set,a safe, a hairdryer and Wi-Fi access. The Grand Cru Restaurant in the basement offers an exquisite menu and a choice of unique wines that is in a class of its own. This unique place is perfect for a romantic dinner, a business meeting or a family lunchfor up to 60 people. Our Chef and Sommelier have taken great care to turn every visit into a memorableexperience.

HOTEL GRAND CRUul. Rycerska 11–1280-882 Gdańsk

RECEPTION DESKTel.: +48 58 77 27 300Fax: +48 58 77 27 301e-mail: recepcja@hotelgrandcru.pl

Guests of The Actus Humanus Festival can enjoy a 15% discount on rooms and 20% discount at our Restaurant.

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MM EE CC EE NN AA SS FF EE SS TT II WW AA LL UU

2 0 1 3a c + u s h u m a n u s

1100TTHH OOFF DDEECCEEMMBBEERR,, 22001133,, SSTT.. JJOOHHNN’’SS CCHHUURRCCHHGeminiani: La Foresta incantata

EUROPA GALANTEFABIO BIONDI

1111TTHH OOFF DDEECCEEMMBBEERR,, 22001133,, SSTT.. JJAAMMEESS’’SS CCHHUURRCCHH Chants de Noël

HUELGAS ENSEMBLEPAUL VAN NEVEL

1122TTHH OOFF DDEECCEEMMBBEERR,, 22001133,, AARRTTUUSS CCOOUURRTTNoëls de l’Europe Baroque

MARIA CRISTINA KIEHR CONCERTO SOAVE JEAN-MARC AYMES

1133TTHH OOFF DDEECCEEMMBBEERR,, 22001133,, SSTT.. JJAAMMEESS’’SS CCHHUURRCCHHOrganum Vobiscum

ENSEMBLE ORGANUM MARCEL PÉRÈS

1144TTHH OOFF DDEECCEEMMBBEERR,, 22001133,, AARRTTUUSS CCOOUURRTTBach: Goldberg-Variationen

FRETWORK

1155TTHH OOFF DDEECCEEMMBBEERR,, 22001133,, SSTT.. JJOOHHNN’’SS CCHHUURRCCHHVivaldi: Arie e concerti III

SONIA PRINA ROBERTA INVERNIZZI

IL COMPLESSO BAROCCO ALAN CURTIS +

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FFIILLIIPP BBEERRKKOOWWIICCZZ Filip Berkowicz is a musicologist,

a manager and a promoter.

He is the artistic director of music

festivals acclaimed by the world’s critique,

including Misteria Paschalia, Sacrum

Profanum, Actus Humanus and the

Opera Rara series.

Each festival signed by him has

a well-defined profile. The Misteria

Paschalia Festival, held in the context

of the Holy Week and Easter, presents

Renaissance and Baroque music

and Mr Berkowicz invites world’s leading

period performers. In a similar fashion

the Actus Humanus Festival focuses on

the topic of Advent and Christmas, early

music repertory and period performance

ensembles. The Sacrum Profanum has

earned the status of the most important

Polish festival showcasing a combination

of the classical music, the avant-garde

and ambitious popular music, with such

performers as Ensemble Modern,

Klangforum Wien, Alarm Will Sound, Bang

on a Can All-Stars, on the one hand,

and Aphex Twin, Jonny Greenwood, Chris

Cunningham, Kraftkwerk and Sigur Rós

on the other. The Opera Rara series offers

Baroque operas in modern versions

and with an elite cast of performers.

Filip Berkowicz graduated with honours

from the Institute of Musicology,

Jagiellonian University of Krakow.

During the period 2002–2004, he worked

for publishing houses Polskie

Wydawnictwo Muzyczne and Musica

Iagellonica. In 2004, he joined ranks

with the Krakow Festival Office. In 2008,

he took the post of the Mayor’s

Plenipotentiary for Culture

at the Krakow Town Hall.

Filip Berkowicz received the Hieronim

Feicht Award from the Polish Composers

Union for his research activity. He wrote

dozens of entries in the Polish

Encyklopedia Muzyczna PWM,

musicological papers and popular articles.

In 2011, he curated the spectacular

double music project Penderecki & Aphex

Twin and Penderecki & Greenwood. These

unique meetings of musical minds

resulted in an album with compositions

by Krzysztof Penderecki and Jonny

Greenwood performed by the AUKSO

Orchestra and released by the legendary

American label Nonesuch (2012). The

project received the Koryfeusz Muzyki

Polskiej award from the Polish music

community for the Event of the Year 2012.

Filip Berkowicz received multiple

nominations to prestigious awards,

including RMF Classic MocArt in the

category Man of the Year 2011,

Gwarancje Kultury TVP and Niptel.

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Artistic director:Filip Berkowicz

•Organiser, executive producer:

Konrad Koper, Sebastian Godula•

Press office:Adrianna Ginał

•Editors:

Paweł Szczepanik, Filip Berkowicz•

English translation:Paweł Pilch

•Polish language consultation:

Danuta Ambrożewicz•

Design and typesetting:Witold Siemaszkiewicz

•Photos:

Bogdan Frymorgen Gerard Rondeau Teresa LlordesAdam Golec

Marek AngielMaciej Szajewski

Witold Siemaszkiewiczarchive UMG

NCKMHMG

event-factory•

IT & web services:Robert Zaleski

•Web design:

Michał Łopatkiewicz•

Motion picture studio:Grzegorz Nowosielski, Witold Nogieć, Miłosz Kozioł

•Publisher:

event-factory ul. Pękowicka 7731-031 Kraków

www.event-factory.com.pl•

The Festival is partly funded by the City of Gdańsk. +

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