— Early Music Concert Series —
Lively Spanish and Latin American baroque music, spiced with chocolate delicacies.
Monday 6 July 2015 19:00 — Old Townhall (courtyard), Radnická 8, 602 00 Brno, Czech Republic.
Plaisirs de Musique (CZ) and guests:
A sample of chocolate truffles is included in the ticket! If you enjoy the truffles, you can buy more after the concert.
|Anonymus (cca. 1490)||Rodrigo Martinez
(Cancionero de Palacio, E–Mp ms. 2-1-5, fol. 8)|
Al alva venid, bien amigo (Ibid., fol. 5)
Que me queréis, caballero (Ibid., fol. 119)
|Francisco de la Torre (fl. 1483 – 1504)||Alta (Ibid., fol. 223)|
|Luys Milán (cca. 1500 – cca. 1561)||Fantasía IX de toni mixto, tercero y quarto (Libro de musica de vihuela de mano El maestro, Valencia 1536, fol. C5v)|
|Luys Milán (cca. 1500 – cca. 1561)||Sospiró una señora. Villancico en castellano (Ibid., fol. H1v)|
Falai miña amor. Villancico en portugués (Ibid., fol. H3)
|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)|
|Henri de Bailly (? – 1637)||Yo soy la locura (Airs de differents autheurs, Paris: Pierre Ballard, 1614)|
|Juan Hidalgo (1614 – 1685)||Esperar, sentir, morir, adorar|
|Juan Hidalgo (1614 – 1685)||Peynándose estava un olmo (Zarzuela Los celos hacen estrellas, 1672)|
|Gaspar Sanz (1640 – 1710)||Canarios (Instruccion de musica sobre la guitarra espaňola, Zaragoza, 1674)|
|Santiago de Murcia (1673 – 1739)||Los Impossibles (Saldívar Codex No. 4)|
|José Marín (cca. 1619 – 1699)||No piense Menguilla ya|
Ojos pues me desdeñais
Si quieres dar Marica en lo çierto
|Anonymus (17th c.)||No hay más Flandes (katalánská)|
|Sebastián Durón (1660 – 1716)||Sosieguen descansen|
|Juan Arañés (? – cca. 1649)||Un sarao de la chaconna (Libro segundo de tonos y villancicos, Roma 1624)|
|Luigi Boccherini (1743 – 1805)||Duo (G major, op. 5, no. 1)|
|Francisco Hernández Illana (cca. 1700 – 1780)||Desde el cóncavo duro (Cantada humana con bajo solo)|
|Antonio de Literes (1673 – 1747)||Confiado Jilguerillo (from the opera Acis y Galatea)|
Acis dichoso (from the opera Acis y Galatea)
The program presents us with a little-known ancient music of Spain, which on one hand gave the rest of Europe gave a strong impetus for the development of Renaissance polyphony, and on the other hand produced many distinctive rhythms and musical practices that survive today in flamenco and folk music of Latin America.
The singer Beatriz Lafont Murcia revives the ancient tradition of singers who accompany themselves on a musical instrument — a role described by pseudo-mythical terms like minnesinger or bard, or by the utterly contemporary word songwriter. Another guest of the ensemble Plaisirs de Musique is the spirited percussionist with Peruvian roots, Camilo Caller.
This musical evening will be peppered with a tasting of chocolate delicacies.
Born in Valencia, Beatriz Lafont studied Guitar and Singing at Conservatorio Profesional de Música de Valencia. After receiving, in June 2002, the Second Prize of Bachelor in Singing, she continued her studies at the Conservatorio Superior de Música Joaquín Rodrigo de Valencia. In 2006 she was awarded the “Third Prize of Chamber Music”, the “Public Prize” and also the “Best Performer from Valencia Prize” at the V. Certamen Internacional de Guitarra “Luys Milán” in L’Olleria.
After winning a scholarship from Instituto Valenciano de la Música (Generalitat Valenciana) to expand her studies, she moved to The Hague, where she completed her Master’s Degree in Early Music Singing at the Koninklĳk Conservatorium, focussing on early baroque Italian music, with emphasis on the performace practice of that time, singing and accompanying herself on the theorbo.
She studied singing with Rita Dams, Michael Chance, Jill Feldman and Peter Kooĳ, and theorbo with Mike Fentross and Joachim Held. She also attended masterclasses with renowned teachers such as Robert Expert, Marta Almajano, Cristina Miatello, Evelyn Tubb, Lambert Climent, Stephen van Dyck, Johannette Zomer, Fred Jacobs and Margreet Honig. At the Royal Conservatory of The Hague she worked with Fabio Bonizzoni (La Risonanza), Charles Toet (Concerto Palatino), Emilio Moreno and Christina Pluhar (L’Arpeggiata).
She has performed around Europe and South America with various ensembles such as Las Esferas, Musica Poetica, La Academia de los Nocturnos, Le Jardin Secret, Harmonia del Parnàs, Os Orphicum, Collegium Musicum Den Haag and Música Temprana, and participated in different festivals such as XVI Festival de Música Antigua de Peñiscola, XII Festival de Música Antiga: Música, Història i Art in Valencia, Fringe Festival Oude Muziek in Utrecht, Festival Classique in Den Haag, V Festiwal Twórczości Religijnej (Poland), Dag Oude Muziek in Bilzen (Belgium), and XXV Edizione Pievi & Castelli in Musica (Italy). From 2014, she teaches at the Summer School for Early Music in Valtice.
Camilo Caller is a graduate of the State Conservatory in Prague in 1999, majoring in percussion. From age six he attended the Public Art School, studying cello. After graduating from the Conservatory, he is fully involved in artistic activity, performing with the bands Šum Svistu, Laura and Her Tigers, and Chinaski. He cooperated with Lenka Filipová, Kamil Střihavka, Jan Nedvěd, Helena Vondráčková. He participated in concert tours with the Czech Philharmonic and the Prague Symphony Orchestra. Since 1998, he worked in Zuzana Navarová’s group KOA. In January 2001, he attended private lessons in cajón playing with Juan Cotita in Lima.
He was corepetitor at the Duncan centre of the first dance conservatory in Prague. Currently he is member of the crossover trio Bardolino, teaches at the Art School in Řevnice, is member of the orchestra of the Music Theatre in Prague-Karlín, organizes educational workshops and lectures for children from childrens’ homes. Since 2013, he is on the faculty of Jaroslav Ježek Conservatory in Prague.
Plaisirs de Musique is an ensemble that specializes in authentic performance of music from older periods on period instruments. Under the artistic direction of Jan Čižmář it interprets music from the 15th to the 19th century. Its members are leading European professional musicians specializing in early music. Projects which the ensemble performs are partly purely musical, but they also include cooperation on realisations of opera, recitals with singers, actors and dancers.
Esther-Rebecca Neumann studied violin at the University for Music and Performing Arts in Vienna, and won in her youth numerous first prizes in national competitions. As an orchestral musician, she has performed in various symphony orchestras such as the Tonkünstler Orchester, the Concertverein, and the Tyrolean Ensemble for Contemporary Music. The numerous tours have taken her through Europe and Asia.
Later, she discovered her love for historical performance and her studies took her to the biggest European centres for baroque music. She completed her studies of the historical performance practice with Michi Gaigg at the Bruckner Conservatory in Linz, with Petra Müllejans in Frankfurt, and with Lucy van Dael at the Conservatorium van Amsterdam.
Concerts, radio and TV broadcasts with internationally renowned ensembles such as L’Orfeo Baroque Orchestra, Academia Montis Regalis and the Freiburg Baroque Orchestra led her through Europe and America. To facilitate the rediscovery, performance and reconstruction of damaged music by forgotten composers, she transcribes the scores and dedicates herself to research in music archives. She founded the Originalklang!Orchester Wien.
Marta Kratochvílová studied flute at the Conservatory in Pardubice and then at the Janáček Academy of Performing Arts in Brno. In 2000 began her studies in France at the Conservatoire National de Région de Strasbourg, where she specialized in baroque and renaissance flute with Jean-François Alizon and Nancy Hadden, and chamber music with Martin Gester and Patrick Blanc. She has participated in masterclasses and workshops by prominent figures such as Paul McCreesh, Barthold Kuĳken, Jan Latham-Koenig and Sir Neville Marriner. In France she played baroque and renaissance flute extensively in the ensembles Le Parlement de Musique Strasbourg, Bohemia duo and NotaBene. She also performed renaissance workshops (Ferrara, Munich, Stuttgart, Basel) with a consort of traverso players from Strasbourg.
Since 2010 she lives in the Czech Republic while performing regularly throughout Europe. In chamber and solo projects she cooperates closely with artists such as Jan Čižmář, Karel Fleischlinger, Joel Frederiksen, Martin Jakubíček, Petr Kolař, Ján Krigovský, Marcin Świątkiewicz, Marc Vonau and Petr Wagner. She is also leader of the renaissance flute consort Tourdion.
As a teacher with many years of experience she is invited to presentations and masterclasses throughout Europe; she teaches also privately baroque and renaissance traverso playing and interpretation.
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 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 in Brno and at the Academy of Ancient Music at Masaryk University in Brno. He regularly gives courses and masterclasses in Europe and overseas.
The concert takes place with financial support from the Ministry of Culture of the Czech Republic and the Statutory City of Brno.