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Renaissance Music RZ-4.korr-NEU!!!_or 0011-Lucie Zakova_Booklet 136x122mm_24-seit_Layout 1 16.06.14 11:59 Seite 1 ORGAN LUCIE GUERRA ŽÁKOVÁ GUERRA LUCIE Popular Renaissance Music RZ-4.korr-NEU!!!_or 0011-Lucie Zakova_Booklet 136x122mm_24-seit_Layout 1 16.06.14 11:59 Seite 2 LUCIE GUERRA ŽÁKOVÁ POPULAR RENAISSANCE MUSIC Anonymous Traditional 01 Intrada (1593) 1’24” 13 Tant que vivray (folk song) 2’35” John Bull (1563–1628) Jacob Paix (1556–1623) 02 The Spanish Paven 5’14” 14 Ungarescha und Saltarello 1’13” Anonymous Pierre Attaingnant (1494–1552) 03 Galliarda (1593) 0’35” 15 Basse danse et Tourdion 04 Gaillarde pour l’orgue 0’58” “La Magdalena” 2’28” Claude Gervaise (1525–1560) Anonymous 05 Branle de Champagne 0’55” 16 A Toy 0’47” 06 Branle de Champagne 0’49” Giles Farnaby (1563–1640) Anonymous 17 Giles Farnaby’s Dreame 1’04” 07 Bransle gay 1’04” 18 His Rest 0’58” 08 Upon la mi re 2’25” 19 His Humor 1’54” 09 My Lady Careys Dompe 1’31” 20 Farnabye’s Conceit 0’58” Claude Gervaise Anonymous 10 Galliarde 0’53” 21 Daunce 1’12” Bernhard Schmid “Le Vieux” (1535–1592) Hans Newsidler (ca 1508–1563) 11 Ein schöner Englischer Dantz 1’46” 22 Juden Tanz 1’23” Claudin de Sermisy (1490–1562) William Byrd (1543–1623) 12 Tant que vivray 1’32” 23 The Bells 7’05” 2 RZ-4.korr-NEU!!!_or 0011-Lucie Zakova_Booklet 136x122mm_24-seit_Layout 1 16.06.14 12:00 Seite 3 Claude Gervaise Pierre Attaingnant 24 Pavane d’Angleterre et Gaillarde 4’12” 31 Te Deum Laudamus 3’14” Pierre Attaingnant Christoph Löffelholtz von Kolberg (1572–1619) 25 “Celle qui m’a le nom d’amy donné” 1’21” 32 Chi paßa per questa strada 1’11” 26 Basse danse à 4 mains 1’42” Clément Janequin (1485–1558) Jan Pieterszoon Sweelinck (1562–1621) 33 “Ce moys de may” 1’18” 27 Volte 0’58” Bernhard Schmid “Le Vieux” Anonymous 34 “Wie schön Bluet uns der Maye” 1’00” 28 Galliarde pour l’orgue 1’10” Tylman Susato (ca 1510–after 1570) Claude Gervaise 35 Ronde et Saltarelle 2’28” 29 Branle 1’20” Jan Pieterszoon Sweelinck 30 Hexachord Fantasia 9’07” TT 70’02” LUCIE GUERRA ŽÁKOVÁ organ (all except 13, 33) / vocals (13, 33) PHILIPPE LÉCOSSAIS small drum (7, 15) / organ (13, 26, 33) CARLOS ARTURO GUERRA PARRA small drum (13) / tambourine (35) THE BELLS OF THE CHURCH recorded by PERE CASULLERAS (23) OF IGUALDA (BARCELONA) 3 RZ-4.korr-NEU!!!_or 0011-Lucie Zakova_Booklet 136x122mm_24-seit_Layout 1 16.06.14 12:00 Seite 4 Lucie Guerra Žáková and Philippe Lécossais RZ-4.korr-NEU!!!_or 0011-Lucie Zakova_Booklet 136x122mm_24-seit_Layout 1 16.06.14 12:00 Seite 5 A performance bringing together the organ and its history … why not? At the many organ recitals I have hosted at as both narrator and organist. The public’s interest Rozay-en-Brie, I have always made a special effort was piqued. to engage the public and to combat the elitist quality that is frequently associated with the traditional Upon meeting the Czech concert organist and organ recital. I have always taken great pleasure harpsichordist Lucie Guerra Žáková, I asked her to in myself welcoming the audience, and in creating join forces with me to build on my new concept. dialogue with and among spectators. This way, Lucie was enthusiastic, and we soon broke ground I sought to present programs naturally and with on our first sound museum, “Promenade through simplicity. I found that this atmosphere created a popular music of the Renaissance”. This was the new intimacy between the musician and his public, birth of a series of “Organ and History” perform- and brought about a greater sense of conviviality for ances that we gave across France for a number of all involved. years. The pieces on this disc are all taken from this presentation and recorded on the almost completely Quickly, I saw that the public appreciated this original 17th century organ of Rozay-en-Brie. personal contact that seemed to help bring it to truly listen to the music rather than just hear it. Lucie Guerra Žáková and I wish you much joy In response, I started to go even farther in the listening to our disc. development of a performance that would combine the organ’s music and its history. The verbal presen- tation took on a new importance, enveloping the Philippe Lécossais music and contextualizing it. Voilà a new idea: Titular Organist of the 17th century organ a museum of sound, where the guide would serve of Rozay-en-Brie 5 RZ-4.korr-NEU!!!_or 0011-Lucie Zakova_Booklet 136x122mm_24-seit_Layout 1 16.06.14 12:00 Seite 6 One of the Finest Jewels in the Crown name of modernization or replacement. It is highly of French Musical Heritage distinguished for being practically the only organ in France to have known only one restoration in its three hundred year existence. Preserved from the Among the many experts on the organ the world many dubious “updates” fashionable in the 19th and over, all are unanimous in calling the 17th century 20th centuries, it was minutely and passionately Baroque organ of Rozay-en-Brie (France) one of brought back to its original splendors in 1996 by the finest instruments of its kind. Upon visiting this organ builder Yves Cabourdin and organist Michel instrument in 1976, the late organist of Notre Chapuis. Dame de Paris, Pierre Cochereau declared, “after its restoration, the organ of Rozay will be the Numerous elements of the “Grand Orgue” case- best instrument of the Paris Region, even of all work are from the 16th century, and a significant France…” Although there are thousands of organs portion of its structural material dates from an even within French borders, one of its most notable is earlier medieval organ from the beginning of the in Rozay-en-Brie, heir to over three centuries of 15th century. Retaining 95% of its original mecha- musical history. Situated in remarkable proximity to nism, pipes, and casework and classed as a pro- Chaumes en Brie, home of the Couperin family, tected landmark, this organ is priceless. In addition, this instrument has oft been referred to as “the it is the only known French 17th century instru- organ of the Couperins”. ment to still have its original keyboards in playable condition, keyboards once played by the greats This instrument, a magnificent anonymous testi- of the Couperin dynasty, by Nicolas Lebègue… mony to 17th century craftsmanship, has miracu- masters of the Chapelle Royale. lously survived the centuries almost completely un- touched. After enduring pillage during the French revolution, its pipework, mechanism, and case all Philippe Lécossais escaped several times the threat of destruction in the 6 RZ-4.korr-NEU!!!_or 0011-Lucie Zakova_Booklet 136x122mm_24-seit_Layout 1 16.06.14 12:00 Seite 7 Baroque organ of Rozay-en-Brie RZ-4.korr-NEU!!!_or 0011-Lucie Zakova_Booklet 136x122mm_24-seit_Layout 1 16.06.14 12:00 Seite 8 Lucie Guerra Žáková, born in Litomyšl, is a Czech harpsichordist and organist living and work- ing abroad (Spain, France). She studied organ at the Academy of Performing Arts in Prague with Jan Hora and Jaroslav Tůma. During her studies she also went for a scholarship to Hochschule für Musik und Theater – a University in Hamburg where she studied with Jan Ernst. She participated in a wide range of master classes in her homeland as well as abroad. Her continuous interest in French music brought her to Paris and Toulouse, where she studied at Universities (CNSMD in Paris and CESMD in Toulouse) as a student of world renowned organists such as Olivier Latry – the chief organist at Notre-Dame de Paris, Michel Bouvard – the chief organist at St. Sernin in Toulouse, J. W. Jansen, L. Avot, Y. Bouvard. Being in France, she also took up her interest in the instrument of harpsichord, which she devoted to more deeply later on. To improve her music knowl- edge she continued to study with Prof. Giedrė Lukšaitė-Mrázková at the Academy of Performing Arts in Prague. Lucie Guerra Žaková has devoted herself to per- forming in concerts for a long time. She is regularly invited to perform at prestigious festivals in the Czech Republic as well as abroad (such as the Smetana's Litomyšl International Festival, the Chamber Music Festival in Český Krumlov, Arte Sacro in Madrid, VIII Festival de Músicas Contemplativas in Santiago de Compostela or Festival Internacional de Órgano de Morelia in Mexico). She has appeared on the 8 RZ-4.korr-NEU!!!_or 0011-Lucie Zakova_Booklet 136x122mm_24-seit_Layout 1 16.06.14 12:00 Seite 9 stage at various places of Europe and Latin America Peregrination with Charles Burney around Europe (Notre-Dame de Paris, Chapelle royale à Versailles, for a harpsichord for four hands and a commentary Saint-Sernin de Toulouse etc.) in the language of the country, where the project is performed. In cooperation with French organist Philippe Lécossais she prepared a series of three musical programmes for the organ and a speaker, which she toured the whole France with: «Promenade dans la Musique Populaire de la Renaissance», «Promenade de la Monarchie au Directoire» and «Le Labyrinthe du Monde et le Paradis du Cœur». One of her long-term goals is promotion of Czech music in foreign countries. In France and Spain she premiered the work Labyrinth of the World and the Paradise of the Heart by Petr Eben with texts read from the book by the same name by J.
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