Musikalische Leckerbissen

— Konzertreihe alter Musik —

YouTube-Video — Robert Johnson: „Orpheus, I am“ — Joel Frederiksen — Wallenstein Palais, Prag, 26.09.2006.
250 Kč / 150 Kč / 90 Kč

Tell me true Love

Liebeslieder mit Lautenbegleitung aus dem elisabethanischen England.

Sonntag 12. Februar 2017 17:00 — Altes Rathaus (Kristallsaal), Radnická 8, 602 00 Brno, Tschechische Republik.

Die Eintrittskarte fürs Konzert gilt auch für Joel Frederiksens Meisterkurs The Art of Singing am Samstag 11. Februar.


Gemälde: Jakob I. von England Jakob I. von England
John Dowland (1563 – 1626) The lowest trees have tops   (Third Booke, 1603, XIX)
Can she excuse my wrongs   (First Booke, 1597, V)
The Earl of Essex his Galliard
Deare, if you change   (First Booke, 1597, VII)
Tarleton’s Riserrectione
Sleep wayward thoughts   (First Booke, 1597, XIII)
All ye whom Love or Fortune hath betrayed   (First Booke, 1597, XIV)
My Lord Chamberlaine (His Galliard)
Away with these self-loving lads   (First Booke, 1597, XXI)
Flow my teares   (Second Booke, 1600, II)
Galliard to Lachrimae   (Pilgrimes Solace, 1612, XXII)
Fortune, my foe
Go from my window
John Dowland (1563 – 1626) Fine Knacks for ladies   (Second Booke, 1600, XII)
A Fancy (Fantasie 6)
Time stands still   (Third Booke, 1603, II)
When Phœbus first did Daphne love   (Third Booke, 1603, VI)
In darkness let me dwell   (Musical Banquet, 1610, X)
Say love if ever thou didst find   (Third Booke, 1603, XIII)
Frog Galliard
Tell me true love   (Pilgrimes Solace, 1612, VIII)

►►►  Liedtexte.

Entschuldigung, die folgenden Absätze sind nur auf Englisch und Tschechisch abrufbar.

About the programme

Today’s concert is entirely devoted to the works of the English composer John Dowland (1563–1626), an outstanding master of songs and music for the lute, who in his lifetime received perhaps even more recognition on the European continent than at home in Britain. This cannot surprise, because after several unsuccessful attempts to acquire a position at the British Royal Chapel, Dowland applied at other European courts, whence his captivating music spread throughout Europe, also to the Czech Lands.

About Dowland’s life we have only spotty information. A substantial part of his biography is either based on what he wrote about himself in the prefaces to the printed collections of his works or in his private correspondence, or remains in the shadow for lack of sources. The basic outline of his life is scarcely known. He graduated from Oxford University, and although his fame as an excellent lutenist reached the gates of the Royal Palace, he did not receive the vacancy left after the death of the lutenist John Johnson in 1594. He accepted an offer from Duke Henry Julius of Brunswick (1564–1613) and became his court musician. This laid the foundations for Dowland’s Europe-wide fame as the composer, because he did not just reside at the Brunswick court in Wolfenbüttel, but traveled through the countries of Central Europe as well as to France and especially to Italy. Aside from the renowned musical centres of Northern Italy (Venice, Padua, Genoa, Ferrara, Florence), he visited Rome, where he established contact with Luca Marenzio (1553/54–1599), the master of the late madrigal.

Painting: Christian IV of Denmark Christian IV of Denmark

Dowland’s German admirers also included Landgrave Moritz of Hesse (1572–1632), himself a very good musician and a remarkable composer, who invited him to his court in Kassel. However, the English composer gave precedence to a position at the court of the music-loving Danish King Christian IV (1577–1648), with whom he remained in service from 1598 till early 1606. Now approaching his fifties, Dowland finally received the long-desired post at the English Royal Chapel in 1612, which he held until the end of his life.

As noted above, John Dowland’s music production is dominated primarily by the human voice and by the lute, one of the most popular instruments of the 16th and early 17th centuries. Its curved body resembling a tortoise shell gave the instrument its Latin name testudo (turtle). Its gut strings are tuned in pairs (“courses”), only the topmost string is single. Most often we meet the 7-course lute tuned in fourths with a third in the middle, similar to the tuning of the viola da gamba, which also will appear in today’s programme. Music for the lute is written in a special notation called tabulature, which does not indicate the sounding pitch (like in the notation for vocal music) but only the fingering.

First Booke of Songes or Ayres of fowre partes with Tableture for the Lute — London, Peter Short, 1597 — VII. Deare if you change ile never chuse againe. First Booke of Songes or Ayres (London, Peter Short, 1597)
VII. Deare if you change Ile never chuse again

This concert presents a selection of Dowland’s songs, historically known as Ayres. The composer published four collections; the initial one, The First Booke of Songes or Ayres, published in London in 1597, received considerable acclaim. It was a truly groundbreaking publishing achievement, because its music printing became a model for other collections of this type: the left half of an opening contains the upper part (cantus) and the lute accompaniment in tablature, the right half contains the remaining three vocal parts – alto, tenor and bass – arranged such that you can sing and play with the open book placed on a table and the musicians sitting around it. This offers some varieties: Purely vocal four-part music, with lute accompaniment, or as a solo formed by the voice and the lute, possibly accompanied by the viola da gamba, as shown this afternoon.

Moreover, Dowland gradually rewrote some vocal pieces for solo lute or for viola da gamba ensemble. This is the case with the opening song of this concert, Can she excuse my Wrongs, which underwent both modifications. Conversely, the vocal reworking of the Lachrymae pavan originally written for lute appeared with Dowland’s own text Flow my Teares in the collection The Second Booke of Songs or Ayres, of 2, 4 and 5 parts (London 1600). This song became a sort of a musical signature that later appeared in other compositions by Dowland for viola da gamba ensemble (Lachrimae or Seaven Teares, London 1604) and also inspired imitations by other composers. Dowland’s own reworking for solo lute Galliard to Lachrimae ends the composer’s last collection of songs, A Pilgrime Solace (London 1612). We encounter both originally vocal pieces and instrumental pieces underlaid with text, such as Shall I strive with words to move, whose original version for solo lute was called Mignarde and which subsequently was arranged for viola da gamba ensemble under the name M. Henry Noel His Galliard.

The peak of Dowland’s song writing and undoubtedly one of his most impressive pieces of this kind is In darkness let me dwell from the collection A musicall Banquet (London 1610). It bears testimony of Dowland’s melodic mastery and great receptivity to the character of the sung text. The perfect harmony between these two components suggests, like in the case with Flow my teares, that we here are hearing the composer-poet’s own song text.

Painting: Francis, Duke of Anjou (“frog”) Francis, Duke of Anjou (“frog”)

The lutenist John Dowland is today represented by instrumental pieces for one or more lutes. The title Frog Gaillard deserves some elaboration. It probably aims at the youngest son of the French King Henry II, Hercules Francis of Anjou (1555–1584), who aspired for the hand of Queen Elizabeth I. It was she who jokingly called him “the frog”. The Frog Galliard is also very close to one of Dowland’s songs, Now, O now I needs must part (First Book of Songes), however, is not clear which of the compositions was the first. Like Flow my teares also this galliard has enjoyed many reworking from the pens of Downland’s contemporaries.

This concert programme presents step for step the various expression possibilities of Dowland’s songs, with love being their common denominator. Besides lots of emotions we can find disappointed aspirations of love and the sadness of separation, but also jokingly moralistic sayings about women’s inconstancy. Thematically Dowland’s works are thus highly contemporary and despite the gap of four centuries their beauty certainly can conquer the heart of today’s listeners.

Jan Baťa

Joel Frederiksen

Joel Frederiksen.

Joel Frederiksen studierte Gesang und Laute in New York und Michigan, wo er sein Master’s Degree erwarb. Seine weitspannende basso profundo-Stimme und ausdrucksvolle Aufführungen haben ihm weltweite Anerkennung verdient. Er trat mit den Vorreitern der frühen Musik auf, unter anderen mit Dame Emma Kirkby, Jordi Savall, Paul O’Dette und Stephen Stubbs, und mit den Ensembles Musica Fiata, Freiburger Barockorchester, Josquin Capella, Ensemble Gilles Binchois and Huelgas Ensemble. Von 1990 bis 1999 war er Mitglied von zwei herrausragenden amerikanischen Ensembles für Alte Musik, The Waverly Consort und der Boston Camerata.

Seit vielen Jahren widmet Joel Frederiksen sich intensiv seinem Spezialgebiet, dem selbstbegleiteten Lautenlied. Nach seiner Übersiedlung nach Deutschland gründete er das Ensemble Phoenix Munich, dessen Programme ob ihrer Originalität und Qualität bekannt sind und glühende Rezensionen sowie großzügige Unterstützung aus dem Kulturleben erhalten haben. Der erste CD des Ensembles, The Elfin Knight, erschien in 2007. Die CDs gewannen hohe Anerkennungen, wie Stern des Jahres (Münchner Abendzeitung), Orphée d’Or (Académie du Disque Lyrique) or Echo Klassik (Deutsche Phono-Akademie). Der CD Rose of Sharon erreichte den amerikanischen Billboard Top 10 und die Bestseller-Liste von Als Open- und Oratoriensänger ist Joel viel gefragt, sein Debüt als Seneca in Monteverdis L’incoronazione di Poppea in 2016 erhielt herausragende Rezensionen. Er gibt regelmäßig Meisterkurse und unterrichtet an Kursen für Alte Musik. Seit 2012 zählt Joel Frederiksen zu den Distinguished Alumni der Oakland University, Michigan.

Ziv Braha.

Ziv Braha

Ziv Braha begann mit 14 Jahren die elektrische Gitarre zu lernen, mit 17 Jahren wechselte er zur Laute. Sein Studium bei Isidoro Roitman an der Musikakademie in Jerusalem schloss er in 2000 mit dem Bachelor-Diplom ab. Als Lautenist war Ziv in Israel ein vielgefragter Continuo-Spieler. Er trat bei Gesangsrezitalen und mit israelischen Ensembles und Barockorchestern auf, darunter beim Seviqc-Brežice-Festival und im Radio Kol HaMusica. In 2001 folgte ein Aufbaustudium bei Hopkinson Smith an der Schola Cantorum in Basel, das sein Interesse für das Solo-Repertoire der Laute intensivierte.

Er wurde dazu eingeladen, unter René Jacobs in Monteverdis L’Orfeo zu spielen (Innsbrucker Festwochen der Alten Musik, Berlin Stadttheater), mit dem Sinfonieorchester Luzern unter der Leitung von Howard Arman, mit der Capella Vocale unter der Leitung von Mark Goossens und mit den Basler Madrigalisten zu konzertieren. Er nahm Yannis Markopoulos’ Oratorium Liturgie von Orpheus mit dem Orchester der Vlaamse Opera auf und trat beim Dag Oude Muziek in Alden-Biesen, beim Klara Festival in Brüssel und im Fringe-Programm des Festival Oude Muziek Utrecht auf. Seit 2010 unterrichtet Ziv Braha Laute an der Musikschule der Schola Cantorum in Basel.

Ryōsuke Sakamoto — 坂本龍右.

Ryōsuke Sakamoto

Ryōsuke Sakamoto wurde in Nara (Japan) geboren. Bereits im Alter von drei Jahren fing er an sich für die Alte Musik zu interessieren und begann danach, Laute und Viola da Gamba zu spielen. Nach dem Studium an der Universität Tokyo (Bachelor in Ästhetik) studierte er Laute und andere Zupfinstrumente bei Hopkinson Smith an der Schola Cantorum Basiliensis. Dort setzte er das Studium bei Crawford Young (Plektrum-Laute), Randall Cook (Renaissance-Gambe) und Anne Smith (Aufführungspraxis) fort und schloss das Studium mit einem Master-Diplom in Spezialisierter Musikalischer Performance ab.

Im Jahr 2013 erhielt Ryōsuke den ersten Preis in der Kategorie Lautensolo beim Concorso „Maurizio Pratola” in L’Aquila (Italien). Er wurde als Solist von den englischen, französischen und deutschen Lautengesellschaften eingeladen. Er konzertierte mit zahlreichen Ensembles, u. a. mit dem Bach Collegium Japan und La Morra, und trat bei zahlreichen internationalen Festivals auf, u. a. in Wien, Utrecht, York und Regensburg. Seine zahlreichen Aufnahmen, sowohl mit der Viola da Gamba als auch mit der Laute, beinhalten zwei Solo-CDs Travels with My Lute und Polyphony and Diminution, die beide bei der Musica Rediviva (Sweden) erschienen sind.

Wir danken

Das Konzert steht unter der Schirmherrschaft des Hauptmanns der Region Südmähren JUDr. Bohumil Šimek und des Oberbürgermeisters der Statutarstadt Brünn Ing. Petr Vokřál.

Logo Jihomoravského kraje Logo Statutárního města Brna