Download 56 - Dubrovačke ljetne igre

56. dubrovačke ljetne igre
56th Dubrovnik Summer Festival
2005
Hrvatska Croatia
Monegaški mali pjevači
Les Petits Chanteurs de Monaco
Philippe Debat
glazbeno vodstvo i orgulje Choir Master and organ
Dubrovačka katedrala
Dubrovnik Cathedral
25. srpnja 25 July
21.30 9.30 pm
Koncert pod visokim pokroviteljstvom Njegova Visočanstva Princa od Monaca
The concert is under the high patronage of His Highness the Prince of Monaco
Nicolas Bernier:
Confitebimur tibi Deus
Marc Antoine Charpentier:
Regina coeli laetare
Ecce panis angelorum
Tenebrae factoe sunt
André Campra:
Tota pulchra es
Johann Michael Haydn:
Magnificat
Felix Mendelssohn-Bartholdy:
Geistliches Lied
Gabriel Fauré:
Le ruisseau, op. 22
Tantum ergo sacramentum, op. 65
En prière
Edward Elgar:
Ave verum corpus, op. 2
Sergej Vasiljevič Rahmanjinov:
Slav´sja, op.15
Maurice Duruflé:
Ubi caritas et amor, op. 10
Hermann Schroeder:
Kindelein Zart
Philippe Mazé:
Messe Notre-Dame du Vieux Cours
Kyrie
Gloria
Sanctus
Agnus Dei
Christian Gouinguené:
Suite sur des chansons françaises
Henri Crovetto:
Piam´u frescu
The boys' choir Les Petits Chanteurs de Monaco was founded in 1974, following the
tradition of the Palatine Boys' Chapel from early 18th century, which later became the boys'
choir of the Monaco Cathedral (Maîtrise de la Cathédrale de Monaco). At the beginning of
the 20th century, the little singers of Monaco with Monsigneur Perruchot, the choirmaster,
became popular for their interpretations of sacral early music. The Choir did not interrupt its
activities even during the World War II. Since its foundation the Choir was supported by the
Royal Family and the government of Monaco. Under the high auspices of Prince Rainier III,
the Choir has been able to perform at concerts and promote the Monegasque culture and
tradition throughout the world. The Choir has given numerous charitable concerts for
hospitals, orphanages and schools in Central and East Europe, the Brazilian and Mexican
institution The Children in the Street, and similar projects. The Choir has a carefully planned
schedule during the school year: the rehearsals are held during the autumn and winter
seminar, the first concert takes place by the end of February, followed by the regular Spring
and Summer tours in Europe, all together about forty concerts a year. The Choir has
performed in Argentina, Austria, Belgium, Canada, Korea, the Czech Republic, Denmark,
Egypt, Finland, France, Germany, Great Britain, Russia, South Africa, Taiwan, etc. The Choir
participates in performances of the Monte Carlo Opera, and sings regularly with the Monte
Carlo Philharmonic, working with the world-renowned musicians. In addition to sacral and
concert repertoire, the Choir performs in operettas, wearing the traditional costumes.
Choirmaster of Les Petits Chanteurs de Monaco and organist Philippe Debat is also engaged
as conductor of the Monaco Cathedral Choir.
French composer Nicolas Bernier (1664 - 1734) sang as a boy in the Mantes Cathedral, and
later studied in Rome, where he was taught by composer Antonio Caldar. From 1694 – 1698
he was Mâitre de musique at the Chartres Cathedral, and later at the St Germain l'Auxerrois
and Saint-Chapelle in Paris. From 1723 – 1733 he served as conductor at the Court of Louis
XIV in Versailles. He is among the first composers in France who wrote secular cantatas (in
seven volumes), including Les Nuits de Sceaux. His sacral pieces show his mastery of
polyphony. An excellent pedagogue, he published a treatise on composition principles.
French composer Marc-Antoine Charpentier (1634 - 1704) studied counterpoint, divided
choirs composition, and historiae sacrae with Carissimi in Rome. Having returned to Paris he
began an association with Molière in theatrical company Comédie- Française. He composed
both secular and (particularly) sacral music, grand motets and about thirty psalms.
Charpentier is the founder of oratory in his homeland (masterpiece Le reniement de St-Pierre,
etc.). He created a specific music language characteristic of rare modulations, frequent use of
the suspension, chromatism, dissonant chords and adroit melodic lines.
French composer and conductor André Campra (1660 - 1744) studied music as a member of
the boys' choir in Aix. In 1678 he was ordained priest, in 1681 was organist in Arles, and in
1683 became the choirmaster of St Étienne Church in Toulouse. He promoted introduction of
string instruments in church orchestras. In 1694 he left for Paris where he became the choir
and schoolmaster of Notre-Dame Church, and wrote operas and ballets. In 1700 he gave up
his church service, dedicating himself entirely to the theatre. He soon became the most
renowned theatre composer in Paris, and was appointed the court conductor in 1723. From
1730 – 1740 Campara was head of the Royal Music Academy, and later retired from public
life. In his works he managed to achieve synthesis of the Italian and French operatic styles of
the time, combining the principles of Lully and Rameau. He is noted for introducing a kind of
a leading motive, for employing huge melodic shifts that reflect powerful emotions, and for
tense chromatics in the scenes of crisis and suffering. His melodic is specific and substantial,
and the rhythm depends on the plot development; in the process, the syncopes accentuate the
excitement, and everything is built on the new, and often, very brave harmony combinations.
Campra's orchestration also reveals his aspiration to point out the most convincing dramatic
expression. The instruments often have dialogues with the voice, and certain groups
interchange according to the contrast principle. His pieces include both French and foreign
folk melodies.
Brother of a better-known Franz Joseph, member of the Vienna Cathedral Boys' Choir,
Johann Michael Haydn (1737 - 1806) based his composing on the instrumental heritage of
the Vienna School and on the Austrian folk melodic tradition. Most outstanding in his output
are church pieces, in which he skilfully avoids influence of the Neapolitan operatic style, and
aims for a purified church expression. His strict and clear a cappella style, which greatly
influenced Wolfgang Amadeus Mozart, become an important link with the movement for
rehabilitation of Palestrina in the time of romanticism.
Lyrical melodiousness and lightness of the tonal movement are the main style features of
German early romantic composer Felix Mendelssohn-Bartholdy (1809 - 1847). His spiritual
pieces reveal an innate elegiac quality, strengthened by the great mastery of counterpoint.
For their refinement, elegance and an overall balance and restraint, the works of French
composer Gabriel Fauré (1845 - 1924) do not seem to belong to the late romantic period.
Fauré's refinement culminated in his vocal music, particularly in solo songs, composed singly
or in cycles, in which the tone and word make an inseparable unit, resulting from the deep
emotional experience of the poetry. This explains why Fauré is called «the French
Schumann».
In his creative work English composer Edward Elgar (1857 - 1934) went a barely
perceivable way from a self-taught musician to a court composer, becoming perhaps the most
popular composer after Purcell. However, Elgar did not employ the folk and music heritage of
his homeland in his works. Although his music language initially derived from German
composers, particularly Johannes Brahms, he later neither followed any particular music
group, nor founded his own school. His best works are permeated with warm lyricism, but
also with epic breath of vision, free from any mannerism.
Russian composer, pianist and conductor Sergei Vasilyevich Rachmaninov (1873 - 1943), is
widely known for his popular piano concertos, and his effective solo piano pieces. He
successfully proved his imaginative melodic and harmonic invention in several huge church
pieces, the most outstanding being Liturgy of St John Chrysostom, All-Night Vigil, and motet
Deus Meus. Even his short, homophonic pieces are ingeniously shadowed by occasional
elements of polyphony.
French composer and organist Maurice Duruflé (1902 – 1986) initially studied at the Rouen
Cathedral School of Singing, and later (1920-1928) at the Paris Conservatory (L. Vierne, J.
Gallon, G. Caussade, Ch. Tournemire, E. Gigout, P. Dukas), where he graduated from with
honours in organ, harmony, counterpoint, fugue, composition and piano accompaniment. He
was replacing L. Vierne as organist of Notre-Dam Church in Paris for a time, and in 1930
became organist of Saint- Étienne-du-Mont Church. From 1944 he was professor of harmony
at the Paris Conservatory. He performed in France, Germany and England, being appreciated
for his improvisation skill. His masterpiece Requiem was inspired by the Gregorian Chant.
German composer and conductor Hermann Schroeder (1904 - 1984) studied composition,
conducting and organ at the Cologne High School of Music, and musicology at the Innsbruck
University. He was a music teacher and organist in Trier, and from 1946 professor at the
Cologne High School of Music. At the same time he was instructor at the Bon University, and
from 1956-1961 at the Cologne University. Conductor of the Bach Society in Cologne from
1947 – 1962, he was also leader of the Rhine Chamber Orchestra from 1958 – 1961. He
composed orchestral, concertante, vocal, chamber and piano pieces, and his church output
includes about twenty outstanding Masses.
French conductor and composer Philippe Mazé (1954) began his music studies with Daniel
Roth and Gabriel Looren, later studied harmony, counterpoint, musical analysis and aesthetics
with Ginette Keller and Francine Aubin, singing with Annie-Béatrice Lepré, and vocal
technique with Richard Miller. In addition to his choir conducting studies with Stephane
Caillat, Eric Erikson and Andrea Georgic, he studied orchestration and orchestra conducting
with Henri-Claude Fantapié. Aged 23 he become choirmaster of the Basilique du Sacré Coeur
in Paris and music director of the Maîtrise de Montmartre, holding these posts from 1978 –
1996. In 1996 he was presented the title of meritorious choirmaster of the Basilique du Sacré
Coeur. He was later engaged as choir master of the Madeleine Church in Paris and from 1987
he has been teaching choir singing and vocal technique at the Claude Debussy Conservatory.
He is also noted as a composer, mainly for his choir pieces.
French composer Gouinguené (1956) was a pupil of Maurice Durufle at the National
Conservatory in Paris, and is now director of the Meudon Conservatory in the vicinity of
Paris. Particularly noted in his output are the arrangements of old French songs for mixed and
children's choirs.
Monegasque composer Henri Crovetto (1896 - 1972) has become widely known for his
effective pieces in folk style. He mostly composed them during nineteen-thirties, masterfully
combining national melos with the music tradition of Monaco.
D. Detoni