Organ concert

When: 25.06.2016 17:00, Where: Church of Corpus Christi

Ludmila Dvořáková – organ

Richard Šeda – cornett

Georg Muffat (1653–1704).

  • Toccata duodecima et ultima (Apparatus Musico-Organisticus, 1690)

Giovanni Gabrieli (1557–1612)

  • Canzon a 5 (Canzoni et sonate, 1615)

Jan Pieterszoon Sweelinck (1562–1621)

  • Fantasia chromatica

Giovanni Martino Cesare (ca. 1590–1667)

  • La Foccarina (Musicali melodie, 1621)

Johann Pachelbel (1653–1706)

  • Preludium a fuga g moll
  • Prelude and Fugue in G minor

Giovanni Felice Sances (ca. 1600–1679).

  • Passacaglio (Cantade a voce sola, 1633)

Heinrich Scheidemann (1596–1663)

  • O Gott, wir danken deiner Güt

Girolamo Frescobaldi (1583–1643)

  • Toccata prima (Toccate e partite d'intavolatura, Libro secondo, 1627)
  • Canzon seconda (Il primo libro delle canzoni,1628)

Johann Ernst Eberlin (1702–1762)

  • Toccata a fuga g moll
  • Toccata and Fugue in G minor

Giovanni Pierluigi da Palestrina / Diminuce Francesco Rognoni (after 1570 – after 1626)

  • Pulchra es amica mea (Selva de varii passaggi, 1620)

The organ at the Minorite Monastery is undoubtedly one of the most historically valuable instruments located in the Český Krumlov region. The art historian Vít Honys has characterised it as follows: “Yet the truly oldest instrument [in the Český Krumlov region], virtually preserved in its original state, is the one made by the organ-builders Nicolaus Christeindl and Bernhard Wollers from České Budějovice, concealed behind the main altar of the Church of the Virgin Mary and Corpus Christi at the Minorite Monastery in the town of Český Krumlov. The two-manual instrument with 22 stops dates from between 1679 and 1682, with its singular sound hailing from the late Renaissance period, although owing to the absence of the typical Renaissance stops and its possessing an unobtrusive pedal it is the result of the accomplished organ-building craft in south Germany in the early Baroque era.”   

Accordingly, today’s concert will feature a selection of pieces primarily written by early- and high-Baroque composers. Jan Pieterszoon Sweelinck (1562–1621) hailed from the Netherlands and spent the most part of his life in Amsterdam. He gained recognition throughout Europe as a composer, educator, and had a profound influence on the North German organ music creators. For three years, he taught Heinrich Scheidemann (1596–1663), deemed to be one of the most distinguished German organ music composers of the early 17th century, who held the highly prestigious post of the organist at the Saint Catherine’s Church in Hamburg from 1629 until his death. A renowned creator of music for keyboard instruments, Johann Pachelbel (1653–1706) too mainly served in Protestant churches, with his workplaces including towns in south Germany (Eisenach, Erfurt, Stuttgart, Gotha, Nuremberg, etc.). Even more widely travelling for the sake of education and work was Georg Muffat (1653–1704), who lived in turn in France, Italy and Austria (he also stayed in Prague for a short time), before settling down in 1690 in Passau, Germany. As an organist and composer alike, he most often served at the courts of the Catholic clergy, with his oeuvre encompassing all the then regular contemporary domains of sacred and secular music, and duly manifesting an intimate knowledge of the Italian and French styles. A court musician too was the Austrian organist and composer Johann Ernst Eberlin (1702–1762), who from 1726 worked for the Archbishops of Salzburg and enjoyed a highly prominent position during the reign of Andreas Jakob von Dietrichstein, when he served as Kapellmeister at both the Salzburg Cathedral and the Archbishop’s court. A renowned late-Baroque composer of sacred and secular works during his lifetime, Eberlin’s acclaim among the later generations was eclipsed by representatives of Classicism, with mainly his pieces for keyboard instruments having withstood the test of time.  

Besides the popularity of particular composers, the contemporary taste was also reflected in the preference given to instruments. Although today the cornett is above all familiar to early-music lovers, it was in great vogue at the time of the late Renaissance and early Baroque. It is a wooden wind, conically curved instrument with finger holes, most frequently furnished with a small wooden mouthpiece. To put it in today’s perspective, it approximately combines the properties of the trumpet (in terms of creating the notes) and the recorder (as regards the touches). The cornett was used back in the late Middle Ages, while during the Renaissance era it was mainly applied by wind ensembles. At the beginning of the 17th century, the fashion of accompanied homophony began to spread from Italy, and with it solo instrumental compositions with basso continuo, which were published in printed collections that counted with rather variable instrumentations and a considerable degree of improvisation on the part of the performers, with the cornett, alongside the violin, being the most frequently applied solo instrument. A large proportion of this music took the form of virtuosic arrangements of older polyphonic pieces, a case in point being the diminutions of Giovanni Pierluigi da Palestrina’s motet Pulchra est amica mea by the Milan-based composer, Kapellmeister, violinist and flautist Francesco Rognogni (after 1570 – after 1626). No less favoured were variations on the basso ostinato, with a prime example being the Passacaglia by the then famed composer and singer Giovanni Felice Sances (ca. 1600 – 1679). At the time, the terms “canzon” (or “canzona”) and “sonata” referred in a rather indefinite manner to loosely composed works that were written by numerous music creators. Those still renowned today include the Venetian organist and composer Giovanni Gabrieli (1557–1612), as well as Girolamo Fresobaldi (1583–1643), who, in addition to holding other prestigious posts, served as organist at the Saint Peter’s Basilica in Rome. On the other hand, virtually unknown nowadays is the one and only cornett player represented in the programme of today’s concert, Martino Cesare (circa 1590–1667), who worked in Munich in the service of Maximilian I, Elector of Bavaria. As has been indicated above, and as is after all evident, the cornett’s popularity did not last for ever. In Italy, it had started to wane back in the second half of the 17th century, while in the 18th century only scarcely did composers employ the difficult-to-play instrument. The cornett first experienced a slight “revival” in the interwar period of the 20th century, followed by a greater interest in the wake of WWII amidst the growing affection for the music of earlier stylistic eras.  

Ludmila Dvořáková

Ludmila Dvořáková studied the organ at the P. J. Vejvanovský Conservatory in Kroměříž, under the guidance of Ester Moravetzová, and at the Janáček Academy of Music and Performing Arts in Brno, under the tutelage of Pavel Černý. In the 2012/13 academic year, she studied the organ at the Maastricht Academy of Music with Marcel Verheggen and Hans Leenders, and last year she attended the Hochschule für katholischen und Kirchenmusik in Regensburg, studying with Prof. Stefan Baier. At the present time, she is attending the Academy of Performing Arts in Prague. She herself teaches the organ at the Otakar Jeremiáš Primary Art School in České Budějovice, and she plays the instrument during the divine services at the Church of Our Lady the Queen of Angels. Ludmila Dvořáková has performed with the Bohuslav Martinů Philharmonic Zlín, the Hradišťan band, and other orchestras and ensembles. She has appeared at festivals, including the Forfest Czech Republic, Maastricht L’Europe & L’Orgue, and sings in the Dyškanti choir, specialised in Renaissance music. She has attended numerous international organ classes and contests. In 2011, she won third prize in the Bach Organ Autumn, a competition of conservatories. She has given concerts in the Czech Republic and abroad alike. 

Richard Šeda

A native of Dačice, Moravia, Richard Šeda studied the trumpet at the České Budějovice Conservatory in the class of Jiří Pelikán. Having had a penchant for early music and historically informed performance since the time of his studies, he became enraptured with the cornett in 1998, upon hearing the recording of Adam Michna’s The Czech Lute made by Michael Pospíšil’s Ritornello ensemble, where he subsequently gained his initial experience with the instrument. Since 2005, Richard Šeda has attended a number of master classes in the Czech Republic and France, including those led by the acclaimed cornett player Judith Pacquier, with whose ensemble, Les traversées baroques, he is performing today. He has appeared with the Concerto Copenhagen orchestra at the Royal Danish Theatre, conducted by Lars Ulrik Mortensen (2013), and the Ensemble Artaserse, and made a concert tour of Europe with the countertenor Philippe Jaroussky (2013). He has often been invited to work with the Wiener Hofburgkapelle and Clemencic Consort in Austria, and has performed with Cappella Mariana, Collegium Marianum, Ensemble Inégal and Collegium 1704 in the Czech Republic. In 2007, he established Capella Ornamentata, an ensemble focusing on the music of the 16th and 17th centuries, which has given numerous concerts at Czech and foreign venues and festivals, and has been featured in radio and television broadcasts. In 2016, the Karmelitánské nakladatelství label released Capella Ornamentata’s debut album, titled “Da pacem Domine”, presenting a selection of the music performed in Bohemia prior to the outbreak of the Thirty Years’ War.

Richard Šeda has pursued intensive activities in his native town of Dačice. He teaches the recorder and trumpet at the local Primary Art School, whose pupils have gone on to garner success in national competitions. He co-founded and has compiled the programmes of the Dačice Baroque Days festival, and he has also devoted to research into and scoring of early music. His contribution to the exploration of the collections maintained at the Kroměříž Archives is summed up in Jiří Sehnal’s book Pavel Josef Vejvanovský and the Kroměříž Music Collection

Line-up

up

Contacts

Hana Pelzová - director

phone: +420 721 470 558

e-mail: pelzova@komorni-festival.cz

Marek Tůma – production

phone: +420 777 243 992

e-mail: produkce@komorni-festival.cz

Alena Svobodová – PR

e-mail: ala.svobodova@seznam.cz