Musical Delicacies

— Early Music Concert Series —

A musical banquet

Compositions of the French Baroque and from the less known Classisist parts of the Archives in Kroměříž

Monday 25 July 2016 19:00 — Throne Room, Archbishops’ château, Sněmovní náměstí 1, 767 01 Kroměříž, Czech Republic.


Élisabeth Jacquet de la Guerre (1665 – 1729) Suite en la   (Pièces de clavecin, Livre 1, 1687)
Prélude — Allemande — Courante — Sarabande — Gigue — Chaconne
Louis de Caix d’Hervelois (1677 – 1759) Troisieme Suite pour la flûte traversière   (op. 6, Paris 1736)
Prelude: Lentement, Mouvement gai — La Remy: Vite — Lentement — La Cristin — Sarabande — La Tubeuf: Gaiment et marqué, Vite
François Couperin (1668 – 1733) Les Folies françaises, ou les Dominos
La Virginité: Gracieusement
La Pudeur: Tendrement
L’Ardeur: Animé
L’Espérance: Gaiement
La Fidélité: Affectueusement
La Persévérance: Tendrement, sans lenteur
La Langueur: Également
La Coquetterie: Gaiement / Modéré / Légèment
Les Vieux Galants et les Trésorières Suranées: Gravement
Les Coucous bénévoles
La Jalousie taciturne: Lentement, et mesuré
La Frénésie, ou le Désespoir: Très vite
François Couperin Huitième concert dans le gout theatral   (Les goûts-réunis, ou Nouveaux concerts, 1724)
Ouverture — Air, Noblement — Air tendre — Air léger — Loure — Air, animé et léger — Air tendre, lentement — Air de Baccantes
Leopold Hofmann (1738 – 1793) Concerto per il Clavicembalo [e] Flauto Traverso overo Violino   (CZ–Kr A2951)
Moderato — Andante — Tempo di Menuet[to]
Josef Antonín Štěpán (1726 – 1797) Sonata A dur, S21   (CZ–Kr)
Allegro — Andante non molto — Minuetto-trio — Allegro
Francesco Ruge
(maybe Filippo Ruge, 1725 – 1767)
Solo. Flauto traverso con Basso (G major)   (CZ–Bm A118)
Largo — Allegro moderato — Allegro

About the programme

This concert presents pearls of French High Baroque music, alongside with Rococo compositions from Moravian archives, in settings for harpsichord and and traverso, two favorite musical instruments both at the court of King Louis XIV and among the Moravian nobility.

The first half of the concert is symbolically governed by the “Sun King”. His court organist and harpsichord teacher for the members of the royal family, François Couperin, was a virtuoso and an innovator of harpsichord playing and its pedagogics. Another court musician, Élisabeth Jacquet de la Guerre, was one of the few female composers and harpsichordists. From age 15 she was employed as a musician directly to the King, and her collections of harpsichord works, including today’s Suite, were dedicated to the King.

Louis de Caix d’Hervelois on the other hand worked during his life in various locations across France, but his music publications carried the royal privilege de Roy. He was known primarily as a gamba player, his teacher was the famous Marian Marais. He wrote music for viola da gamba or traverso.

From Moravian archives we hear music by two younger generations of composers of Bohemian, Austrian and Italian nationality. Leopold Hofmann was since 1769 music teacher to the Imperial family, and from 1772 until his death chapelmaster at St. Stephen’s Cathedral in Vienna, where his assistant was Wolfgang Amadeus Mozart. Hoffmann’s compositions were copied so widely that they can be considered to be contemporary hits. The Concerto presented here, however, has only come down to us in the lesser-known Classicist parts of the Kroměříž archives, still awaiting their final cataloguing. Josef Antonín Štěpán is another important composer represented in “late” Kromeříž collection. He was the harpsichord teacher of the Habsburg princesses, similar to Couperin in France.

The final work is from another source, the music collection of the Magnis family from Strážnice château, now in the Moravian Museum in Brno. Francesco Ruge is a less known Italian composer whose compositions only recently surfaced from various collections across Europe, demonstrating the widespread dissimination of the works even of minor composers. The virtuoso character and deep emotion of Ruge’s writing leaves no doubt that we need to reconsider the meaning and usage of the word Kleinmeister.

Aline Zylberajch

A graduate of the Conservatoire National Supérieur de Musique, Paris, and of the New England Conservatory of Music, Boston, Aline Zylberajch started her career as a harpsichordist. She contributed to the early productions of ensembles such as La Chapelle Royale, Les Musiciens du Louvre and Martin Gester’s Le Parlement de Musique, with which she performed numerous operas and oratorios. These concerts fostered her predilection for vocal music and the way it is echoed in works written for keyboard instruments. Later, her interest in the music of the late 18th century led her naturally to an intensive involvement in the performance practice of the early piano and the amazing variety of instruments built at that time. This period, which also saw the increasing popularity of duos, trios and quartets with obbligato keyboard opened up a whole new field of research into chamber music, another one of her many passions.

Based in Strasbourg, where she teaches harpsichord at the Académie Supérieure de Musique, she travels extensively to give recitals both on the harpsichord and fortepiano and interpretation Masters classes (in Australia, Austria, Czech Republic, Germany, Japan, Mexico, North America, Poland and Spain). She also teaches the pedagogy of the harpsichord at the Pedagogy Department of the Conservatoire National Supérieur de Musique in Paris.

Her recordings have received much praise in Classica, Gramophone, Early Music Review, etc. and several prizes such as “Diapason d’Or”, Répertoire, “Choc du Monde de la Musique”, etc.

Marta Kratochvílová

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 until 2010, 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.

Today she lives in the Czech Republic and performs regularly throughout Europe. She appears in mostly chamber and solo projects with artists such as Jan Čižmář, Karel Fleischlinger, Joel Frederiksen, Martin Jakubíček, Petr Kolař, Ján Krigovský, Marcin Świątkiewicz, Marc Vonau, Petr Wagner, and with the ensembles {oh!} Orkiestra Historyczna and Plaisirs de Musique, of which she is a founding member. She is also artistic 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.

Thank you

The concert takes place under the auspices of the Minister of Culture of the Czech Republic, Mgr. Daniel Herman and in collaboration with the following partners: The Archbishops’ Château and Gardens Kroměříž (NPÚ), the Kroměříž Archdiocesan Museum (MUO) and the Czech National Trust o.p.s.

Media partners for the concert are Radio Proglas and Radio Petrov.

Logo of Ministry of Culture Logo Arcibiskupského zámku a zahrad v Kroměříži Logo muzea umění olomouc Czech National Trust Radio Proglas Rádio Petrov