Musical Delicacies

— Early Music Concert Series —

Folding fan and mantilla

The origins of Zarzuela — Spanish songs presented by a leading Brno opera soloist.

Sunday 3 August 18:00 — Grand hall (entrance from the park), Belcredi chateau, Pohankova 8, CZ–62800 Brno-Líšeň.

Programme

Alonso Mudarra (cca. 1510 – 1580)Fantasía que contrahaze el arpa a la manera de Ludovico   (Tres libros de musica en cifra para vihuela, Sevilla 1546)
Matteo Flecha (1481 – 1553) &
Miguel de Fuenllana (cca. 1500 – 1570)
Si Amores me han de matar   (Libro de música para vihuela intitulado Orphenica Lyra, Sevilla 1554)
Francisco de la Torre (fl. 1483 – 1504)Alta   (Cancionero de Palacio, E–Mp ms. 2-1-5, fol. 223)
 
Bartolomé de Selma y Salaverde (cca. 1595 – after 1638)Fantasia   (Canzoni, Fantasie et Correnti; Venezia: Bartolomeo Magni, 1638)
Juan Hidalgo (1614 – 1685)Esperar, sentir, morir, adorar
AnonymBayle de Chimo   (Códice Trujillo del Perú o Martínez Compañón, Tomo II, cca. 1782 – 1785)
Juan Hidalgo (1614 – 1685)Peynándose estava un olmo   (Zarzuela „Los celos hacen estrellas“, 1672)
Juan Hidalgo (1614 – 1685)Ay, que si, ay, que no
 
Santiago de Murcia (1673 – 1739)Los Impossibles   (Saldívar Codex No. 4)
Juan Arañés (? – cca. 1649)Un sarao de la chaconna   (Libro segundo de tonos y villancicos, Roma 1624)
AnonymBayle de danzantes   (Códice Trujillo del Perú o Martínez Compañón, Tomo II, cca. 1782 – 1785)
AnonymCaraviñas Saon   (Portuguese)

Luys Milán (cca. 1500 – cca. 1561)Fantasia en el tono misto   (Libro de musica de vihuela de mano intitulado El maestro, Valencia, 1536)
Giovanni Pierluigi da Palestrina (1525 – 1594) &
Bartolomé de Selma y Salaverde (cca. 1595 – after 1638)
Vestiva i colli passeggiato   (Canzoni, Fantasie et Correnti; Venezia: Bartolomeo Magni, 1638)
 
Francisco Guerau (1649 – 1714/1722)Passacalles de 2º tono   (Poema Harmónico, Madrid, 1694)
AnonymEs el amor, ¡ay, ay!   (Tono humano)
Matías Juan de Veana (1654 – 1705)¡Ay Amor!   (Solo al Santísimo)
Henri de Bailly (? – 1637)Yo soy la locura   (Airs de differents autheurs, Paris: Pierre Ballard, 1614)
 
Gaspar Sanz (1640 – 1710)Passacalle sobre la D con muchas diferencias para saltar una y otra mano   (Instruccion de musica sobre la guitarra espaňola, Zaragoza, 1674)
José Marín (cca. 1619 – 1699)No sé yo cómo es   (GB–Cfm MU 4-1958, MuMs 727)
Bartolomé de Selma y Salaverde (cca. 1595 – after 1638)Fantasia   (Canzoni, Fantasie et Correnti; Venezia: Bartolomeo Magni, 1638)
Anonym (17th c.)No hay más Flandes   (Catalonian)
 
AnonymVuelve, vuelve, barquilla
Francisco Hernández Illana (cca. 1700 – 1780)Desde el cóncavo duro   (Cantada humana con bajo solo)
Sebastián Durón (1660 –1716)Ay de mí, que el llanto y la tristeza   (Cantada a voz sola al Santísimo y de Pasión)

About the programme

The word “Zarzuela” is now almost synonymous with Spanish opera. Few know, however, that its origin lies in the 15th century – long before the opera in the modern sense of the word came into the world. It originated as a courtly theater entertainment with music and dance, and was actually a pendant to the English masque.

To find the roots of Zarzuela, we must look for composers of the Spanish renaissance and baroque periods, among other stars of the opera’s “Zarzuela heaven”, Juan Hidalgo, Sebastian Durón.

Opera soloist Andrea Široká is accompanied on historical instruments by a pair of Czechoslovak Juans.

Andrea Široká

Andrea Široká graduated from the Janáček Academy in Brno. After two years of engagement with the Silesian Theatre in Opava she became an opera soloist at the National Theatre Brno, where she still works and where she has performed many roles of opera and operetta repertoire, such as Xenia (Musorgsky: Boris Godunov), Frasquita (Bizet: Carmen), Rosina (Rossini: Il Barbiere di Siviglia), Adele (Strauss: Die Fledermaus), Volpino (Haydn: Lo speciale), Clorinda (Rossini: La Cenerentola), Zerlina (Mozart: Don Giovanni), Esmeralda (Smetana: The Bartered Bride), Titania (Britten: A Midsummernight’s Dream), Vanda (Nedbal: Polenblut), Dafne (Hanzlík/Zouhar: La Dafne).

In addition to her home stage she had guest performances at the Municipal Theatre in Brno, and appeared with the opera company Orfeo in several successful productions of Baroque operas. As a concert singer, she focuses on the Czech and international song repertoire, as well as on pre-romantic sacred music. She appeared in concerts, among others with the Czech Virtuosi chamber orchestra and with the Bohuslav Martinů Philharmonic Orchestra, Zlín. In 2008 she and the pianist H. Fialová prepared for the Reduta Theatre in Brno a cycle of three individual recitals, called Melodic Sunday. This year she successfully performed the title role in D. Sarri’s baroque opera Didone abbandonata. In 2014, she received the Brno National Theatre’s DIVA award. She teaches also at Brno Conservatory.

Ján Krigovský

Ján Krigovský studied in the years 1990 – 1995 at the Academy of Performing Arts Bratislava (Radoslav Šašina) and in the years 2001 – 2002 at the Schola Cantorum Basiliensis, specializing on playing the double bass in the so-called Viennese tuning (David Sinclair).

His centre of interest is the interpretation of chamber and solo music as well as orchestral playing. As a chamber musician he works with many ensembles, such as Wiener Accademie (Martin Haselböck), Ars Antiqua Austria (Gunar Letzbor), La Cetra Basel (Ciara Banchini), Capriccio Basel, Freitags Accademie Bern, Royal Orquestra Catalunia (Jordi Savall), Collegium Marianum Praha (Jana Semerádová), Collegium 1704 Praha (Václav Luks), La Fioritta Basel, Freiburg Barock Orchester home and with Alea (Head Boris Lenko), a domestic ensemble for contemporary music.

His artistic partners were, among others, Bohdan Warchal, Ewald Danel, Peter Zajíček, Miloš Valent, Alexander Jablokov, Jozef Podhoranský, Magdaléna Kožená and the conductors Claudio Abbado, Serge Baudo, Jordi Savall, René Jacobs, Sigiswald Kuijken, etc.

As a soloist he has performed with Capella Istropolitana, ŠKO Žilina, Musica Aeterna and with many foreign groups, such as L’Orfeo in Linz, Capriccio Basel, Konzerthaus Vienna and Musikverein Vienna. He has performed at a number of major European festivals (Wiener Festspielwochen, Salzburger Festspiele, Festspielwochen in München) and at early music festivals in Italy, Austria, Switzerland, Germany, Netherlands and Spain.

Jan Čižmář

Jan Čižmář is a versatile performer focusing on historical plucked instruments. He performs regularly in Europe, Asia and the USA with ensembles such as Royal Concertgebouw Orchestra, Orchestra of the Age of Enlightenment, Orchestra of the Eighteenth Century, Rotterdam Philharmonic Orchestra and Capella Cracoviensis, and under conductors such as Frans Brüggen, Christopher Hogwood, Giovanni Antonini, Yannick Nézet–Séguin and Christina Pluhar. He appears also as soloist with of baroque and renaissance repertoire.

After graduation in guitar and musicology in his native Brno he studied at the Royal College of Music in London, where he began playing the lute in the class of Jakob Lindberg. He continued his studies at the Royal Conservatory of The Hague with the teachers Nigel North, Joachim Held, Mike Fentross and Christina Pluhar.

He was the founder and editor of the Czech guitar magazine Kytara and contributes regularly to other musical periodicals. He is also intensely involved with publishing and research activities in the field of early music.

Jan Čižmář taught lute and related instruments at the Karol Szymanowski Academy of Music in Katowice in Poland; currently he is teaching at the Janáček Academy of Music and Performing Arts (JAMU) in Brno and at the Academy of Ancient Music at Masaryk University in Brno. He regularly gives courses and masterclasses in Europe and overseas.

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Thank you

The concert takes place with financial support from the Ministry of Culture of the Czech Republic and the Statutory City of Brno.

We thank the Belcredi family for providing rooms for the concert.

Logo of Ministry of Culture Logo Statutárního města Brna Belcredi coat-of-arms