— Early Music Concert Series —
Popular lute songs of the 16th and 17th centuries.
Sunday 2 August 2015 18:00 — Blansko castle (courtyard or Music Salon), Zámek 1, 678 01 Blansko, Czech Republic.
Duo Aurette (CZ):
|John Dowland (1563 – 1626)|| Gaillard (1610)|
I saw my lady weep (1600)
Praeludium (cca. 1590)
Fantasia Ioannis Dooland Lachrimæ (1603)
Come away, come sweet love (1597)
|Nicolas Vallet (1583 – 1642)||Prelude (1620)|
|Étienne Moulinié (1599 – 1676)|| Enfin la beauté que j’adore (1624)|
Le Sort Me Fait Souffrir (1629)
|Michel Lambert (1610 – 1696)||Vos mepris (1689)|
|Giovanni Girolamo Kapsperger (1580 – 1651)|| Toccata, Gagliarda (1611)|
Felici gl’animi (1623)
|Barbara Strozzi (1619 – 1677)||Amor dormiglione (1651)|
|Claudio Saracini (1586 – 1630)||Toccata intitolata all’illustrissimo signor Alfonso Strozzi (1614)|
|Giulio Caccini (1551 – 1618)|| Amarilli mia bella (1601)|
Belle Rose porporine (1601)
|Charles Mouton (1617 – cca. 1700)||Le Charmant Retour (cca. 1690)|
|Jean-Baptiste Drouart de Bousset (1662 – 1725)||Pourquoy doux Rossignol (1698)|
|Alessandro Piccinini (1566 – 1638)||Aria di Saravanda in varie partite (1623)|
|Claudio Monteverdi (1567 – 1643)||Quel sguardo sdegnosetto (1632)|
Love and passion know no borders, and those that divide the countries, where the composers of this programme originate, were well guarded as well as permeable. On one hand, these composers sought through their own creativity to distinguish themselves from colleagues from other “nations” and schools; on the other hand, they liked being influenced and inspired by them.
When Caccini’s famous madrigal Amarilli mia bella was published in London in 1610, the vocal line was true to its Italian original, yet the accompaniment arrangemed by J. Dowland bustles with typically English progressions and formulas. Well circumscribed permeability. A little later, the French philosopher René Descartes in his work Passions of the Soul (1659) described the anatomy of the six primary passions: wonder, love, hate, desire, joy and sadness. It should not surprise us then that the English composer and poet is equally enthusiastic in portraying and representing them as is his Italian colleague. It is exciting, though, to watch similar situations emotionally understood and experienced from different angles. Ultimately, however, this endless diversity of often contrasting shades forms – despite the different vernaculars – one language, one code, that is addressing today’s audience. Love and passion thus describes the highlights around the Italo-Anglo-French triangle unifying circle.
Lucie Rozsnyó studied opera singing at the Janáček Academy of Music and Performing Arts in Brno (A. Barová). She completed courses at Universität für Musik und darstellende Kunst in Vienna (C. Visca), at Anton Bruckner Privatuniverzität in Linz (K. Beranová) and a work placement at ZHdK in Zürich. As a scholarship recipient, she participated in many international courses (P. Rozario, J. Hassler, C. Pelon, M. Ch. Kiehr, D. York. E. Tubb, etc.).
She won the first prize in the Leoš Janáček International Singing Competition, and an award for the best interpretation of Czech contemporary compositions. She received another award at the Internationale Sommerakademie Prag-Wien-Budapest for the best interpretation of works by L. Janáček. In 2012, she received the first prize of ABA Music Award (Austria Barock Akademie Gmunden). As a soloist, she visited the National Theatre in Brno, Prague and Bratislava. She participated in recordings of CDs and films for the radio.
She is dedicated to concert activities and performs at numerous music festivals (Prague Spring, Janáčkův máj, Forfest, Smetana Days, the Festival of Baroque Art Český Krumlov, the international festival Haydnovy hudební slavností, Smetanova Litomyšl, the Easter Festival of Sacred Music (Brno), Česká Lípa, Musica Sacra (Nitra), Winter in Schwetzingen (DE), Internationale Händel Festspiele Göttingen 2015, etc.).
She is engaged in the interpretation of baroque music (Musica Florea, Ensemble Inégal, Hof-Musici) and is co-founder of Ensemble Fiorello and the duo Aurette. With the ensemble ISHA Trio, she is dedicated to the music of the 20th and 21st centuries.
Miloslav Študent was already during his studies of musicology and aesthetics (Masaryk University in Brno) intensely dedicated to the issues of music performance practice of the 16th to 18th centuries, and at the same time he founded and led the ensemble Flores Musicae (together with M. Kožená, V. Richter and V. Mikulášková), with whom he studied and premiered several masterpieces of renaissance and baroque music. After a period where he as autodidact was confined to master classes (lute: S. Juřica, L. Contini, A. Bailes, H. Smith; viola da gamba: R. Boothby), he went to study in Italy, where he in 1998 completed a three-year study of historical performance practice of Italian music of the 17th century in the class of R. Gini at Laboratorio permanente di ricerca sulla musica italiana del XVII secolo (the department for Early Music at the Municipal Music School in Milan). Concurrently, he graduated in 2002 in lute playing with Paul Beier.
In the years 2002–2012, he led the lute class at the Academy of Ancient Music at the Institute of Musicology at Masaryk University in Brno. During this tenure, where he was appointed leader 2004–2008, he implemented a variety of special lectures and seminars. In 2003 he also led specialized seminars at the Accademia Internazionale della Musica di Milano. In 2004, he was artistic director of the festival of baroque opera in Valtice, where in this and the following year he prepared and rehearsed the music and dance performances Duel of Singing and Dancing and Festino. In 2007–2012, he taught the lute at the International Summer School of Early Music in Valtice. In 2007, he contributed significantly to the musical preparation and implementation of the production of C. Monteverdi’s Orfeo at the National Theatre, for which he compiled a critical edition of the score.
As a lute player he has collaborated with a series of soloists (M. Kožená, R. Gini, I. Troupová, J. Lewitová, B. Zanichelli, M. Hugget, E. Machová, M. Pospíšil, etc.) and ensembles (Ensemble Concerto Milan, Ritornello Prague, Musica Florea, Academia Montis Regalis Mondovì (IT), Margaretha Consort (NL), Societas Incognitorum Brno, Capella Regia Prague, Musicalische Compagney Berlin, Ensemble Galatea Milan, Teatro Franco Parenti Milan, Musica Bellissima Prague, La Gambetta Brno), with whom he performed not only in Europe but also in South America. He performs also as a soloist and has recorded for various record labels, radio, TV and film.
The concert takes place with financial support from the Ministry of Culture of the Czech Republic and the South Moravian Region.