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Festival Nits De Classica CERT Festival Nits de Classica CERT Dilluns 6 de juliol, 21 h. Claustre del Monestir de Sant Daniel 5 CON Emma Kirkby, soprano Jakob Lindberg, llaüt Heroïs i mitologies: The Golden Age PROGRAMA THE GOLDEN AGE REVIVED - L’EDAD D’OR RESSUSCITADA PART I PART II · Creation / Creació · Life, death and Fate / Vida, mort i destí So Beauty on the waters stood - Alfonso Diffugere nives (Horace) – John Wilson Ferrabosco Bianco il pel, toso il crin – Cataldo Amodei Emma Kirkby, soprano Giovanni Kapsperger:Toccata * · Metamorphosis / Metamorfosi Alessandro Piccinini: Ciaccona Mariona When Daphne fair - Anònim alla vera Spagnola * Cada era ha tingut la seva elit d’ànimes sensibles, nostàlgiques de temps passats, més purs Coy Daphne fled - John Danyel i més bells; alguns d’ells només lamenten el què es va perdre però d’altres procuren reviure When Phoebus first did Daphne love - John · The death of Dido / La mort de Dido i actualitzar les fites aconseguides. Si bé sovint es troben treballant sobre informacions poc Dowland Dulces exuviae (Virgil) – Alonso Mudarra curoses, els resultats de la seva recerca són, de vegades, meravellosos –tal i com ho testimonia, John Dowland – Prelude, Fantasia * Henry Purcell: Cebell - Ritornell - A New Irish per exemple, la generació de Monteverdi que, en la seva recerca de la força expressiva de les Measure - Scottish Measure - A New Ground- tragèdies de la Grècia clàssica, acabà creant el prototipus de l’òpera a Europa–, o, amb un esperit · Heroines / Heroïnes Hornpipe * similar, la recerca dels “pykna” grecs (“punts de color”) en els madrigals de Gesualdo i els seus Constant Penelope - William Byrd col·legues, que resultaran ser l’esperó de les recerques de Stravinsky quatre segles més tard. , 2014 - 190 x 148 cm Ariadne’s Lament - Henry Lawes · Venus and Cupid / Venus i Cupido William Lawes: Aire-Almain-Courante- Cupid once, when weary grown - Pelham Lindberg Emma Kirkby & Jakob Hom pot veure les darreries dels s. XVI a Itàlia com una edat d’or de la cançó, tal i com ho foren Sarabande * Humphrey les que vingueren després a Anglaterra i a França pels volts de 1600; en temps de Shakespeare, Cupid, the slyest rogue alive - Henry Purcell · Lyric poets / Poemes Lírics Sappho to the goddess of love – John Blow Spenser, Sidney i el jove John Donne, l’eloqüència dels poetes tenia el seu equivalent en la cançó Thelo legein Atreidas (Anacreon) & I long a Dowland, Danyel o Campion, i aquesta tradició continuà fins al s. XVII, sobrevivint trastorns, to sing fins i tot la Guerra civil i la decapitació d’un rei, i subratllant els esforços de Lawes, Blow i Purcell. On Reflection, Material E01 (Anacreon Englished) - Henry Lawes Anònim – The English Nightingale * Els intèrprets del Renaixement i el primer Barroc veien en el llaüt la seva lira d’Orfeu; el Rei dels instruments, dotat d’una gran subtilesa, era capaç de calmar l’ànima més salvatge i desesperada If mighty wealth (Anacreon) – John Blow Ori Gersht: amb el seu so màgic, i esdevenia, a més, el company ideal per a qualsevol cantant eloqüent que volgués reviure l’era d’Arcàdia, terra de la primera innocència on homes i déus vivien frec a frec; * Per a llaüt sol. un escenari recreat una vegada i una altra a les corts europees. Confrontats, per altra banda, a la Dip. Legal: GI.1201-2015 crua realitat del dia a dia, amb la seva violència, conflicte i traïció, els artistes es giraven de nou OBRA PORTADA: envers la literatura clàssica a la recerca de models i arquetips. Emma Kirkby El nostre programa només pot donar una ínfima mostra de la riquesa de l’idea de l’edat d’or ja que, fins La soprano anglesa Emma Kirkby «ha aconseguit sintetitzar en el seu cant tota la puresa i tot amb la nostra petita formació, ens veiem constrets a haver de fer una tria. de la música antiga i és ja un dels tresors del patrimoni musical», segons ha assenyalat el Toronto Globe and Mail. Com a solista ha actuat arreu del món, al costat d’orquestres i Hem seguit els temes següents: conjunts de cambra com l’Academy of Ancient Music, London Baroque, Orchestra of the Age of Enlighment, Freiburger Barokorchester, Tafelmusic, l’Studio de Musique Ancienne de El temps de la Creació – l’Amor i els elements Montreal, sense oblidar el Consort of Musike, amb el qual ha cantat i enregistrat un ampli Metamorfosi – Apol·lo i Dafne repertori de música antiga. Teseu i Ariadna Dido i Enees En principi, Emma Kirkby no tenia aspiracions d’esdevenir cantant professional. Com a Temes lírics de Safo i Horaci estudiant de clàssiques a la Universitat d’Oxford, i després mestra d’escola, cantava per afició Vida pastoral a l’Arcàdia en cors i petits grups. El 1971 es va unir al Taverner Choir i el 1973, al Consort of Musicke. Va participar en els primers enregistraments Decca Florilegium tant amb el Consort of Musicke Tot plegat, en cançons de Dowland, D’india, Ferrabosco, Guédron, Danyel, Lawes, Blow i Purcell. com amb l’Academy of Ancient Music, en un temps en què la major part de les sopranos no trobaven el so adequat per cantar amb instruments antics. Per tant, va haver de desenvolupar la seva pròpia tècnica, amb l’ajuda de Jessica Cash a Londres, així com dels directors, cantants i instrumentistes amb els quals ha treballat al llarg dels anys. Ha mantingut llargues relacions amb grups de cambra i orquestres de música antiga, en particular amb la London Baroque, la Freiburger Barockorchester, l’Orfeo (de Linz) i l’Orchestra of the Age of Enlightenment, així com grups posteriors, com el Palladian Ensemble i L’Edat d’or ressuscitada Florilegium. Ha realitzat més d’un centenar d’enregistraments de tot tipus, des de seqüències de Hildegard von Bingen fins a madrigals del Renaixement anglès i italià, cantates i oratoris Creation Creació So Beautie on the waters stood La bellesa era dreta damunt les aigües del barroc, obres de Mozart, Haydn i J. C. Bach. when Love had sever’d earth from floud. Quan l’Amor tragué la terra de la inundació. So, when he parted ayre from fire, I quan separà l’aire del foc, El 1999 va ser escollida Artista de l’Any pels oients de la cadena de ràdio clàssica Classic FM he did with concord all inspire , Ho inspirà tot de concòrdia. Ràdio, i el novembre de 2000 va rebre l’Orde de l’Imperi Britànic. Des de l’any 2000 col·labora and then a motion hee them taught, Llavors, un moviment tot ho amb èxit amb la discogràfica sueca BIS. Amb aquesta companyia ha enregistrat motets i that elder than himselfe was thought; Copsà que semblava més antic que ell mateix, cantates de Händel, peces de Nadal de Couperin amb la London Baroque, entre d’altres. El which thought was yet the childe of earth, Ja que si bé és el fill de la terra, 2009 va publicar una compilació titulada The Artistry of Emma Kirkby, integrada per nou CDs; for Love is elder than his birth. L’Amor és més antic que el seu propi naixement. el 2010 va enregistrar Orpheus in England, amb Jakob Lindberg; i el 2011 un programa de Cantates de Montéclair amb London Baroque. Actualment, la soprano, de gairebé 67 anys, Metamorphosis Metamorfosi demostra, a cada concert, no només ser una magnífica cantant, sinó també una veritable When Daphne fair from Phoebus did fly Quan l’encantadora Dafne fugia d’Apol·lo storyteller, una artista de cap a peus. The west wind full sweetly did blow in her face; El vent de ponent li bufava suaument a la cara Her silken scarf scarce cover’d her thighs: I el seu sedós mocador li ombrejava els ulls: The god cried “oh, pity” and held her in chase. El déu cridà “Pietat!” i l’atrapà mentre fugia. Jakob Lindberg “Stay, nymph, stay, nymph” cries Apollo “Queda’t, nimfa, queda’t nimfa!” crida Apol·lo “Tarry and turn thee, sweet nymph, stay! “Atura’t i gira’t, dolça nimfa, queda’t! Jakob Lindberg (Djursholm, Suècia,1952) és un dels grans llaütistes del repertori del Lion nor tiger doth thee follow, Ni un lleó ni un tigre t’estan perseguint, Renaixement i Barroc, gràcies a la seva tècnica neta i pura, a un so exquisit i vibrant i a un Turn thy fair eyes and look this way. Gira el teu esguard i mira cap aquí mestratge envejable en l’art de l’ornamentació i la interpretació històrica. Habitualment, actua O turn, O pretty sweet Gira’t, dolça bella com a solista en diferents conjunts i també dirigint òperes, sempre amb instruments de les And let our red lips meet: I que els nostres llavis es trobin: famílies del llaüt i la guitarra. La seva passió per la música va arribar-li escoltant The Beatles i Pity, O Daphne, pity, pity; Pietat, Oh Dafne, pietat, pietat, Pity, O Dapne, pity me!” Pietat, Oh Dafne, tingues pietat de mi!” així va començar a tocar la guitarra. Quan va tenir 14 anys, va estudiar amb Jörgen Rörby, que el va introduir en el món del llaüt. En acabar els seus estudis de música a Estocolm, va marxar She gave no ear unto his cry Ella no parà esment als seus precs a Londres a estudiar al Royal College of Music, on va començar a descobrir un gran repertori But still did neglect him the more he did moan; Sinó que l’ignorà per més que es lamentava; llaütístic sota el guiatge de Diana Poulton. En l’actualitat, s’ha convertit en un dels intèrprets He still did entreat her, she still did deny, Ell més suplicava i ella més s’hi negava més prolífics de la música de la Renaixença i del Barroc.
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