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Tvrđava Gripe: 01. VIII 2005

RENESANSA DVAJU SVJETOVA RENAISSANCE IN TWO WORLDS
 

  Dirigent: Peter Pontvik

"Sve su to mladi, iznimno profesionalni glazbenici koji zrače radošću i čije interpretacije zadivljuju svojom pokretljivošću, prozračnošću i savršenom intonacijom."

 "They are all young, highly professional musicians, who radiate joy and whose interpretations are remarkable for their flexibility, lightness and excellent intonation"

Program Programme

RENESANSA DVAJU SVJETOVA

Glazbene zbirke stare Skandinavije:

Glazba iz špila karata
(pjesme Claudina de Sermisyja, oko 1490-1562)
Jouissance vous donneray
Vignon Vignette
Le content est riche

Piae cantiones (1582)
Jucundare jugiter
Gaudete, Christus est natus

Cancionero de Upsala (1556):
A Pelayo, que desmayo
Dva prijatelja raspravljaju o nenadmašnoj ljepoti djevojke.
Falalalan falalalera
Mladi pastir Pedro pjeva o životu u planinama i ljubavi prema gospodarevoj kćeri, žaleći se zbog krutosti korizme…

Codex Kellungensis (1611):
Deus misereatur nostri
(Roland Lassus)

* * * * * * 

Latinoamerička renesansna i barokna glazba:

Tleycantimo choquiliya (Gaspar Fernandes, Portugal/Meksiko, 1570?-1629)

Kao dirigent u Puebli u Meksiku, Portugalac Fernandes pisao je uglavnom pjesme “villancico” i “guineo” na raznim jezicima. Korištenjem izvorne mješavine dijalekata Nahuatl i Mestis, Tleycantimo radosno pjeva o djetešcu rođenom u Betlehemu.

Serenissima una noche (Fray Gerónimo González, Španjolska/Meksiko, oko 1633) *
Ples kao izraz zahvalnosti bio je redovita pojava u iberoameričkom svijetu. "Plešimo i zahvalimo novorođenom suncu, istinskom Bogu."

Y may nalla ca qui tayta (nepoznati autor, Bolivija, 18. stoljeće) *
Ova pjesma, na jeziku Quechua i španjolskom, izražava nadu Indijanaca da će ih djetešce-spasitelj osloboditi bolesti. Prva izvedba u Hrvatskoj u današnje vrijeme!

Turulu neglo (nepoznati autor, Peru)
Afrikanci odvedeni kao roblje u Latinsku Ameriku obilježili su latinoameričku glazbu 17. stoljeća. Ovo je pjesma hvalospjeva, s radosnim klicanjem u slavu Isusova rođenja, na španjolskom dijalektu robova.

Vachonloj ibankinal (nepoznati autor, Gvatemala, oko 1585) *
Skladana u španjolskom renesansnom stilu ali na dijalektu Maya, ova pjesma potječe od kopija koje je lokalno stanovništvo sačuvalo u 20. st.  Skladatelj je vjerojatno bio Indijanac.

Gloria Patri (Gutierre Fernández Hidalgo, Peru/Kolumbija, 1553-1620?)
Jedan od najstarijih primjera latinoameričke sakralne glazbe. Iz Hidalgovog djela Magnificat primi toni.

Tarantela por primer tono, iz zbirke "Luz y morte musical"
(instrumentalna, Lucas Ruiz de Ribayaz, Španjolska/Peru, oko 1677).
Španjolac De Ribayaz prikupio je melodije iz raznih izvora u Latinskoj Americi, preradio ih te uvrstio u pedagoški kompendij "Luz y norte musical."

Salga el torillo (Juan de Araújo)
Borba s bikovima iberska je tradicija prenesena u Latinsku Ameriku. Taj se običaj do danas održao u Peruu na primjer. U ovoj dramatičnoj i izražajnoj osmeroglasnoj kompoziciji, Juan de Araújo oslikava simboličnu borbu između bika (vrag) i progonjene mladenke (Krist).

Los coflades de la estleya
(Juan de Araújo, Španjolska/Peru/Bolivija, 1646-1712)
Ovo je “villancico” s podnaslovom "Los negritos" (Mali crnci), a autor dodaje, "u slavu rođenja Gospodina." To je afričko-američka verzija priče o pastiru koji hita k jaslicama,
na španjolskom dijalektu robova.

* Prijepis / obrada: Peter Pontvik

RENAISSANCE IN TWO WORLDS

Musical collections in old Scandinavia:

Music from a Pack of Cards
(chansons by Claudin de Sermisy, approx 1490-1562)
Jouissance vous donneray
Vignon Vignette
Le content est riche

Piae cantiones (1582)
Jucundare jugiter
Gaudete, Christus est natus

Cancionero de Upsala (1556):
A Pelayo, que desmayo
Two friends discourse on a girl´s unsurpassed beauty.
Falalalan falalalera
Pedro, the young shepard sings about living in the hills, 
of loving his master´s daughter and generally complains about the harshness of Lent...

Codex Kellungensis (1611):
Deus misereatur nostri
(Roland Lassus)

* * * * * * 

Latin American Renaissance and Baroque music:

Tleycantimo choquiliya (Gaspar Fernandes, Portugal/Mexico, 1570?-1629)
The Portuguese Fernandes wrote primarily villancicos and guineos in different languages during his time as conductor in Puebla, Mexico. Utilizing an original blend of Nahuatl and the Mestis dialect, Tleycantimo sings joyfully of the child born in Bethlehem.

Serenissima una noche (Fray Gerónimo González, Spain/Mexico, ca. 1633) *
Dance as a form of thanks was a regular occurrence in the Iberoamerican world. "Let us dance and thanks the newborn sun, the true God."

Y may nalla ca qui tayta (Anonymus, Bolivia, XVIIIth Century) *
The song expresses in Quechua and Spanish, the Indians hope that the saviour-child will set them free from illness. First performance in modern times in Croatia!

Turulu neglo (Anonymous, Peru)
The Africans taken to Latin America as slaves have also made their mark on 17th century Latin American music. This is a song of praise, with joyfulcries celebrating the birth of Jesus, sung in the Spanish dialect of the slaves.

Vachonloj ibankinal (Anonymous, Guatemala, ca. 1585) *
Composed in Spanish renaissance style but sung in a Maya dialect, this song comes from copies saved by the local population into the 20th century. The composer was probably an Indian.

Gloria Patri (Gutierre Fernández Hidalgo, Peru/Colombia, 1553-1620?)
One of the oldest examples of Latin American sacred music. From Hidalgo's Magnificat primi toni.

Tarantela por primer tono, from the collection "Luz y morte musical"
(instrumental, Lucas Ruiz de Ribayaz, Spain/Peru, ca. 1677).
The Spaniard de Ribayaz collected melodies of various origins in Latin America, reworked them, and included them in a pedagogical compendium, "Luz y norte musical."

Salga el torillo (Juan de Araújo)
Bullfighting is an Iberian tradition that was transplanted to Latin America. The practice continues in for example Peru to this day. In this dramatic, powerful eight-voice composition, Juan de Araújo paints a symbolic battle between the bull (the devil) and the persecuted bride (Christ).

Los coflades de la estleya
(Juan de Araújo, Spain/Peru/Bolivia, 1646-1712)
This is a villancico subtitled "Los negritos" (the little black ones"), and the writer adds, "to celebrate the birth of the Lord." Here, we find an African-American parallel to the story of the shepherd hurrying to the manger,
all in a Spanish dressed up in the dialect of the slaves.

* Transcription / arrangements: Peter Pontvik

Ansambl Villancico ustanovljen je 1995. godine s ciljem izvođenja i širenja renesansne glazbene kolekcije Cancionero de Upsala, koja je tada i snimljena, i otada je održao više od stotinu koncerata u više od 20 zemalja svijeta. Godine 2001. Ansamblu je dodijeljena nagrada Ivan Lukačić Varaždinskih baroknih večeri. Zadnjih godina ansambl Villancico koncentriran je na baroknu glazbu Latinske Amerike te je izdao dva CD-a: A la Xácara! The Jungle Book of the Baroque i Hy hy hy hy hy hy - The New Jungle Book of the Baroque.

Utemeljitelj i voditelj Ansambla je Peter Pontvik. Studirao je muzikologiju i dirigiranje na Nacionalnom konzervatoriju u Montevideu (Urugvaj) te kompoziciju na Kraljevskom glazbenom sveučilištu u Stockholmu, kod Sven-Davida Santsröma i Daniela Börtza. Nagrađen je, među ostalim, za skladbu Amen na 18. Međunarodnom natjecanju zborskih kompozicija u Tolosi (Španjolska). Godine 1991. dobiva stipendiju Kraljevske švedske glazbene akademije za nastavak studija kompozicije kod profesora Wolfganga Rihma te rane glazbe kod Hansa-Georga Rennera u Kalsruheu (Njemačka). Član je Društva švedskih skladatelja. U svom skladateljskom opusu ističe djela za Ansambl Heinrich Isaac, Švedsko udruženje umjetnika, Kulturnu fondaciju Sörmlanda i Švedski nacionalni koncertni institut. Utemeljitelj je festivala rane glazbe u Stockholmu (od 2002).

The Ensemble Villancico was formed in 1995 for the purpose of performing and spreading the renaissance music collection "Cancionero de Upsala", and is conducted by Peter Pontvik. The ensemble has given more than a hundred concerts, in 25 countries (Scandinavia, Germany, Italy, Spain, the Baltic states and Latin America). In october 2001, the Ensemble Villancico was awarded the Ivan Lukacic prize of the Music festival in Varazdin, Croatia. Now the ensemble is concentrating on the baroque period repertoire of Latin America. In 2000 the CD ¡A la Xácara! The Jungle Book of the Baroque was released. In November 2002, another CD with American baroque Music, 'Hy hy hy hy hy hy hy - The New Jungle Book of the Baroque' was released on Caprice Records. Ensemble Villancico have earlier recorded the CD Cancionero de Upsala 1556 (1996), and the CD single Music from a pack of cards (1999) with songs by Claudin de Sermisy.

Peter Pontvik Born in Copenhagen 1963. Studies in composition for René Marino Rivero and member of "Taller de música contemporánea" (Workshop for new music) in Montevideo, Uruguay. Musical science and conducting at the National Conservatory in Montevideo. Composition studies at the Royal University college of Music in Stockholm for among others Sven-David Sandström and Daniel Börtz. Studies in song for among others Mikael Bellini. 1989, first prize in the "18th International Competition for Choir Composition," Tolosa, Spain, for the work "Amen." 1991, The Royal Swedish Academy of Music's scholarship for higher studies abroad in composition for professor Wolfgang Rihm in Karlsruhe, Germany, as well as early music for professor Hans-Georg Renner. Member of the Society of Swedish Composers, active as a freelance. Has written chamber music and works for choir for, among others, the Swedish Artist's Association, the Heinrich Isaac Ensemble (Germany), The Cultural Foundation of Sörmland and the Swedish National Concert Institute. Founded the Ensemble Villancico in 1995. Since 2002 the artistic leader of the Stockholm Early Music Festival.