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Konzertagentur Esslinger</B> Konzertagentur Esslinger Gallicantus - Ltg. Gabriel Crouch Ballad of the Marigold Musik aus der Regenschaft von Queen Mary Piety and Penitence William Mundy Exurge Christe Philip van Wilder Pater Noster Christopher Tye Peccavimus Cum Patribus Mary at Court (aus dem Mulliner Songbook) anon Ballad of the Marigold (Forrest) Robert Parsons Enforced by love and fear Newman Fansy Prayers for the Quickening - November 1554 Thomas Tallis(?) Sarum Litany Thomas Tallis O Sacrum Convivium John Sheppard Te Deum Laudamus ***** Feast Days in spring 1555 Thomas Tallis Candlemas: Videte Miraculum John Sheppard Annunciation: Christi Virgo Dilectissima John Sheppard Maundy: Deus Misereatur Lying-in at Hampton Court, April1555 John Sheppard Martyr Dei Thomas Tallis Like as the doleful dove Thomas Tallis When shall my sorrowful sighing slack John Sheppard Vain, all our life Ordinary Time, 1555: Hopes dashed Thomas Tallis Whitsun: Loquebantur John Sheppard Trinity: Libera Nos John Sheppard Corpus Christi: Sacris Solemniis erika esslinger konzertagentur, Werfmershalde 13, 70190 Stuttgart Fon +49 (0)711 722 3440, Fax: +49 (0)711 722 34411, [email protected], www.konzertagentur.de Konzertagentur Esslinger With all the brinksmanship and bloodshed that carried her to the throne in 1553, the issue of Mary Tudor’s succession was a thorny one for the staunchly Catholic queen and her court. Until her marriage to Philip of Spain in the summer of 1554 bore fruit, the heir presumptive was the troublesome young Protestant princess Elizabeth. Understandably, there was an immense sense of expectation for the announcement of a royal pregnancy in the months immediately following the royal wedding, and it duly arrived in late November, with a rush of courtly tributes. This program summons up the spirit of this euphoric moment in Mary’s reign, and her subsequent descent into a depression as it was finally recognized, six months later, that no heir would be born. The music of Mary’s most important composers, including Tye, Mundy, Tallis and Sheppard, is performed alongside secular songs of the day, including a adaptation of verses from William Forrest’s paean to Mary, ‘A New Ballad of the Marigold’. Of special significance is a brand new reconstruction setting of the Sarum Litany, probably by Thomas Tallis and sung on behalf of the pregnant queen as she anxiously awaited the birth of her heir. Das ungesprochene Wort Renaissancemusik im Untergrund Ende des 16. Jahrhunderts hatte der Kampf zwischen Katholiken und Protestanten ganz England erfaßt und war erbittert und grausam. Viele Katholiken waren in den Untergrund geflohen oder hatten sich außer Landes in Sicherheit gebracht. Eine lateinische Motette zu komponieren war deshalb auch nicht nur eine künstlerische, sondern viel mehr noch eine politische Tat und ein religiöses Bekenntnis, das nicht ungefährlich war. Unter den englischen Komponisten war William Byrd der erklärte Favorit Königin Elizabeth I, obwohl er ihr trotzte und sein Leben lang der röm.- kath. Kirche treu blieb. Das lag natürlich zunächst und vor allem an der überragenden Qualität seiner Musik, aber sicherlich auch an seinem klugen Verhalten: Neben komplexen Vertonungen lateinischer Texte, wie sie für die katholische Kirche typisch war, schrieb er immer wieder auch einfache, englische Musik, die von den Protestanten für ihren Gottesdienst geschätzt wurde. Byrd war aber beileibe nicht der einzige katholische Komponist, denn erstaunlicherweise gab es noch eine ganze Reihe, die in diesen Jahren des Glaubensstreits in England arbeiteten, und es gab auch solche, die aus Glaubensgründen zwar im Ausland arbeiteten, aber Verbindung zu ihrem Heimatland unterhielten, und es gab ausländische Komponisten, die den englischen erika esslinger konzertagentur, Werfmershalde 13, 70190 Stuttgart Fon +49 (0)711 722 3440, Fax: +49 (0)711 722 34411, [email protected], www.konzertagentur.de Konzertagentur Esslinger Katholiken Mitgefühl und Zuspruch zukommen ließen. Zu diesen zählt der flämische Komponist Phillipe De Monte, der mit Byrd in eine faszinierende kompositorische Korrespondenz begann. Verse des Psalms 136 'Super Flumina Babylonis' der viele allegorischen Hinweise auf die Not von Katholiken enthält, die nicht in der Lage sind, ihren Glauben offen zu leben, wurden vertont und ausgetauscht. Aus heutiger Sicht ist dies ganz eindeutig eine codierte Nachricht von gegenseitiger Unterstützung und Freundschaft zwischen Glaubensbrüdern. Dieses Programm vereint einige der wichtigsten Vertreter der katholischen Komponisten aus dem England des 16. Jahrhunderts. Alfonso Ferrabosco, ein italienischer Katholik, arbeitete am englischen Hof und man nimmt an, daß er ein Spion der Königin war, Peter Philips, ein englischer Katholik im Exil, der an den Höfen des europäischen Kontinents lebte und arbeitete, und Robert White, ein Katholik der älteren Generation, der am Ende seiner Karriere Organist an der Westminster Abbey war, dem Flagschiff der protestantischen Kirche unter Elizabeth I. Auch der bereits erwähnte Philipe de Monte ist vertreten und natürlich William Byrd. Byrds Motetten aus seinen 1589 veröffentlichten "Cantiones Sacrae" zeigen ihn als Meister des Kontrapunkts und der Tonmalerei, dessen eindrucksvolle Tonsprache das Gefühl der katholische Gemeinde, verfolgt zu sein ("Behold our affliction O Lord", "Vide Domine") sowie das Gefühl des Verlustes ("Jerusalem is wasted", "Ne Irascaris") deutlich werden läßt. Robert While Ad te Levavi Christe Qui Lux Es Et Dies IV Domine Quis Habitabit III Philippe de Monte Miserere Mei, Deus William Byrd Tribulationes Civitatum Vigilate Ne Irascaris **** Peter Philips Ave Maria Robert Parsons Ave Maria Alfonso Ferrabosco Lamentations I William Byrd Vide Domine Afflictionem Tristitia et Anxietas Epitaph Die Kunst der Totenklage in der französischen Renaissance erika esslinger konzertagentur, Werfmershalde 13, 70190 Stuttgart Fon +49 (0)711 722 3440, Fax: +49 (0)711 722 34411, [email protected], www.konzertagentur.de Konzertagentur Esslinger Der Brauch für kunstvoll ausgearbeitete Vertonungen der Totenmesse kam im Laufe des 14. Jahrhunderts auf, und zwar in Frankreich, und es scheint, daß die Gattung bis hinein ins 16. Jahrhundert auf Frankreich und die Niederlande beschränkt war. Die erste polyphone Messe war gerade einmal hundert Jahre alt, als Guillaume Dufay in seinem Testament verfügte, daß nach seinem Tod sein eigenes Requiem aufgeführt werden sollte - unglücklicherweise ist dieses Werk aber verschollen. Das erste Requiem, das wir heute kennen, ist relativ einfach und stammt von Ockeghem, kurz darauf folgten die Arbeiten von Pierre de la Rue und Antoine Brumel. Das "Dies irae" aus letzteren steht am Beginn des vorliegenden Programms. Etwa zur gleichen Zeit begannen Komponisten auch, ihre Trauer mit immer persönlicheren und poetischeren Werken auszudrücken, wobei die Grenze zwischen geistlicher und weltlicher Musik immer mehr verschwamm. Diese Werke beziehen sich immer auf den Tod eines bestimmten Menschen, der namentlich genannt wird, und häufig erfahren wir innerhalb des Stückes auch den Namen des Komponisten. Das erste bedeutende Oeuvre dieser Art stammt ebenfalls von dem erstaunlichen Ockeghem und entstand in Erinnerung an Gilles Binchois. Ockeghems kunstvoller Einschub des gregorianischen Propriums "Requiem Aeternam" in die Struktur von "Mort, tu as navré" hat seinen Schüler Josquin ganz offenbar sehr beeindruckt, der dann in "Nymphes des bois", dieser wunderbar konstruierten Lamentation auf den Tod Ockeghems, die gleiche Technik benützte. Der gregorianische Choral läuft ganz leise durch das Stück, recht tief und in einer Moll-Tonart, bis im Schlussteil der cantus firmus endet und alle Stimmen homophon die trauernden Schüler von Ockeghem - also Loyset Compère, Antoine Brumel, Pierre (Perchon) de la Rue und Josquin selbst - aufruft, der Trauer um ihren musikalischen Paten freien Lauf zu lassen. Wie vorauszusehen war, löste Josquins eigener Tod eine riesige Zahl von Epitaphen aus. Vinders, Gombert und Appenzeller schrieben sehr schöne Werke zu seinem Gedenken, und Richafort komponierte eine ganze Missa Pro Defunctis. Dem in diesem Programm enthaltenen "Musea Iovis" liegt ein Text zugrunde, den Gombert ebenfalls benützt hat: Er beschwört das klassische Pantheon, das die Sonderstellung des Meisters über allen anderen symbolisiert. Der zweite Teil des Programms besteht aus einem längeren Werk von Thomas Crecquillon zum Tod von Isabella, Gattin des Kaisers Karl V. Die Missa "Mort ma privé" ist eine Parodiemesse, die aufgebaut ist auf zwei unterschiedliche Vertonungen des Chansons gleichen Titels - beide ebenfalls von Crecquillon. Das eine veranschaulicht den Verlust aus der Perspektive des Kaisers, das andere aus der seiner Frau. Der Text drückt eine intensive persönliche Trauer aus, die eher in die Privatsphäre als zu einem großen Staatsakt paßt. Musikalisch webt die Messe Teile beider Versionen des Chansons in ihre Struktur ein und symbolisiert damit eine schließliche Wiedervereinigung der Seelen der Liebenden in der Ewigkeit. Johannes Ockeghem Mort, tu as navré Josquin des Prez Nymphes des bois Benedict Appenzeller Musae Iovis Antoine Brumel Dies Irae (aus: Requiem) Jean Mouton Quis Dabit Oculis Nicolas Gombert Vae, Vae Babylon erika esslinger konzertagentur, Werfmershalde 13, 70190 Stuttgart Fon +49 (0)711 722 3440, Fax: +49 (0)711 722 34411, [email protected], www.konzertagentur.de Konzertagentur Esslinger **** Thomas Crecquillon Mort ma privé (a 4) Missa Mort ma privé (Kyrie, Gloria) Mort
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