We cordially invite you to the seventh concert of the sacral subscription, where we will listen to the rich coral heritage of women's monasteries associated with the Slovenian space. Music from the monastery of the Dominicans in Radlje ob Drava will sound, as well as the songs of the Carthusians from the French Gosn / / written in manuscripts from 16. centuries kept in Pletters.
The vocal group Ana Kodelja, Christina Thaler, Barbara Tishler, Tanja Vogrin and artistic director and researcher Katarina Shter will recreate part of the musical life in these two important European monasteries with chorales and instrumental accessories.
The concert will take place on Wednesday, 26. in April 2023 at 19: 30. uri in the Ursuline Church of Sv. Trinity in Ljubljana.
There is no entrance fee, but we will be glad to volunteer contributions.
Kindly invited!
Programme:
I. He PUELLE REGIE
The jewels of Rome: the martyr Saint Ursula and the Royal youths
Nove laudis, Antiphon for the feast of the gift of Mary in the temple (Gosna)
He puelle regie, antiphon of hymns for the feast of St. Ursula (Gosna)
Istarum collegio, antiphon of hymns for the feast of St. George. Ursula (Gosna)
O Feli / Germania, antiphon of Vespers for the feast of St. Paul. Ursula (Gosna)
Benedictus es , antiphon of hymns for the feast of St. Benedict. Ursula / PS Benedictus (Gosna)
O flos campi, antiphon of Vespers for the feast of St. Peter. Ursula (Gosna)
II. AMATOR ET SPONSUS VIRGINUM
Jesus, the heavenly bridegroom, remains with US according to his promises
JOHANNES KRIEGER (1651-1735), Fantasia and d (Anmuthige Clavier-Animatbung, 1699
O Re | glorie / PS Magnificat, antiphon of the Vespers of the ascension of the Lord (Radlje)
O Re / gloriose, antiphon of the vaults for the Sunday of the passion of the Lord (Radlje)
Ego sum vestra, processional antiphon on the passion of Christ (Radlje
III. MEDIA VITA AND MORTE SUMUS
Do not leave us, orphans, in times of adversity and trials!
LUIGI ROSSI (CA. 1598-1653), Passacaille (manuscript of the Ba Alucun, CA. 1600)
Sponsa Dei Genovefa, antiphon of Vespers for the feast of STS. Genovefe (Radlje
Media vita / PS Nunc dimittis, antiphon of the quorum for the third Sunday of the quadragesima (Radlje)
IV. MA ANIMALIMA EST GLORIA CATHARINAE SENENSIS
The glory of the Dominican Order: miracles of STS. Catherine of Siena and Fr. Dominic
Virginis Catharinae, antiphon of the Vespers of the feast of St. George. Catherine Of Siena (Radlje
E / jultabunda / PS Jubilate, antiphon of hymns for the feast of St. Nicholas. Catherine Of Siena (Radlje
GIOVANNI GIROLAMO KAPSBERGER (1580-1651), Toccata II arpeggiata
(Libro primo d'intavolatura di chitarrone, 1604
Ma 6tima est Catharinae , antiphon of hymns for the feast of St. Peter. Catherine Of Siena (Radlje
Ad sedes regni, antiphon of the Vespers of the feast of St. George. Catherine Of Siena (Radlje
O virgo Ma animima, antiphon of the Vespers of the feast of St. Paul. Catherine Of Siena (Radlje
O lumen ecclesiae / PS Magnificat, antiphon of Vespers for the feast of St. Nicholas. Dominica (Radlje
The concert will present a fragment from the rich coral heritage of women's monasteries, connected with the Slovenian space. The monophonic songs recorded in the manuscripts of the Dominicans from Radelj ob Dravi (Marenberka) were created CA. in 1700 and are kept by the University Library in Graz. The image of musical and other life in this monastery is enriched by selected passages from the contemporary monastery Chronicle. Since the nuns there were also excellent instrumentalists (sources unfortunately do not speak of which repertoire they actually played), the concerto also covers some instrumental works from the wider time of the manuscripts ' creation. Manuscripts from 16. centuries with the liturgical music of the Carthusians from the French Gosna / the French Carthusians came to Pleterje in 1904, where they are kept to this day.
Antiphonaries of both orders took a long time to form and in the modern age contained chants from different periods: the so-called Gregorian chant, musical and poetic creations of the High Middle Ages and late medieval chants of more recent offices. At tonight's concert, these different chants in time will sound side by side as in the course of monastic prayers, and in the foreground will be selected chants for the most venerated saints in both monasteries. Patroness and savior of Paris St. Genovefa was an intercessor against infectious diseases. STs. Ursula, victorious over the demons of evil, traveled with royal companions to the heavenly bridegroom Jesus. STs. Catherine of Siena, a church teacher, however, was one of the most influential Saints in the history of the Church. These extremely learned and (often politically) influential Saints of noble birth, who were at the same time” brides of Christ", were models for the nuns to identify with. Last but not least, both the marenberg monastery and the gosna monastery accepted into their ranks mainly noblewomen and daughters from influential families. But the strict social hierarchy was not impenetrable, and it was music that played an important role in establishing equality between nuns.
For the translations of the texts from the marenberg Chronicle, We thank dr. Mark Motnik.
The concert is part of the project “old traditions in New Clothes: musical and textual remakes in the Performing practice of liturgical music”, funded by the ARRS (J6-1809)
The vocal ensemble was conceived as a" coral Laboratory " of the research project of the old tradition in New Clothes . The band brings together five singers who devote themselves with special love to Old, especially baroque and medieval music.
ANA KODELJA studied singing with Jerica Rudolf at the music school Vinka Vodopivec Ajdovshchina. Musically, she is mainly active as a choral singer in ensembles such as Consortium Musicum, Chamber Choir Ipavska, vocal group Vikra, mixed choir Musica Matica Ljubljana and Chamber Choir decor.
After studying comparative literature and musicology, KATARINA SHTER completed her singing studies in Kathleen Dineen's class at the Schola Cantorum Basiliensis, where she specialized in performing medieval and Renaissance music. At home and abroad he works as a soloist as in ensembles and choirs, conducts various musical ensembles and workshops and trainings in the field of Gregorian chant. She works as a researcher at ZRC SAZU (musicological Institute).
CHRISTINA THALER completed her studies in singing at the Ljubljana Academy of music in the Class of Barbara Jernejcic F Animrst, as well as specializing in the performance of Baroque music at the University of Mainz. As a soloist and a member of ensembles, she has presented herself both at home and abroad (autumn serenades, Brighton Earl Music Festival), and is now employed as a chorister at SNG opera and ballet Ljubljana.
BARBARA TI SHLER completed her studies in solopet at the Mozarteum University in Salzburg with Elisabeth 6ilke and Breda Zakotnik. In 2002, she was awarded first prize at IV. the Johann Heinrich Schmelzer international competition for baroque ensembles and soloists in Melk, in the same year she was also awarded at the AMOCIII. the Johann Sebastian Bach international competition in Leipzig. As a soloist, she has collaborated with the Slovenian Philharmonic Orchestra, the RTV Slovenia Orchestra and foreign ensembles such as the Clemencic Consort, the Leipzig Baroque Orchestra, Virtuosi sa 6oniae, the Berlin Academy of early music and Musica anti 6tua K Foulln. Now he teaches solopetje at the Music School of the St. George Institute. Stanislav.
TANJA VOGRIN first studied solopetje and harp at the University of music Graz, then baroque harp, ensemble singing and medieval music at the Schola Cantorum Basiliensis High School of Early Music. In Graz she made her debut as Dido in Purcell's opera Dido and Aeneas and appeared as Amor in Gluck's Opera Orpheus and Eurydice . He collaborates with the ensembles Austrian Baro-Modue Connection, Musicke's Pleasure Garden, recreationBAROCK, Neue Hofkapelle Graz and Concerto di Margherita. She is now a professor of baroque singing and vocal Conservatory Johann Joseph Fu FC in Graz.
Vljudno vas vabimo na sedmi koncert Sakralnega abonmaja, na katerem bomo prisluhnili bogati koralni dediščini ženskih samostanov, povezanih s slovenskim prostorom. Zazvenela bo glasba iz samostana dominikank v Radljah ob Dravi ter spevi kartuzijank iz francoskega Gosnaya, zapisanih v rokopisih iz 16. stoletja, ki jih hranijo v Pleterjah.
Vokalna skupina v zasedbi Ana Kodelja, Christina Thaler, Barbara Tišler, Tanja Vogrin ter umetniška vodja in raziskovalka Katarina Šter bo s korali in instrumentalnimi dodatki poustvarila del glasbenega življenja v teh dveh pomembnih evropskih samostanih.
Koncert bo v sredo, 26. aprila 2023 ob 19.30. uri v uršulinski cerkvi Sv. Trojice v Ljubljani.
Vstopnine ni, veseli pa bomo prostovoljni prispevkov.
Vljudno vabljeni!
PROGRAM:
I. HE PUELLE REGIE
Kölnski dragulji: mučenica sveta Uršula in kraljevske mladenke
Nove laudis , antifona za praznik Marijinega darovanja v templju (Gosnay)
He puelle regie , antifona hvalnic za praznik sv. Uršule (Gosnay)
Istarum collegio , antifona hvalnic za praznik sv. Uršule (Gosnay)
O felix Germania , antifona večernic za praznik sv. Uršule (Gosnay)
Benedictus es , antifona hvalnic za praznik sv. Uršule | PS Benedictus (Gosnay)
O flos campi , antifona večernic za praznik sv. Uršule (Gosnay)
II. AMATOR ET SPONSUS VIRGINUM
Jezus, nebeški ženin, ostaja z nami po svojih obljubah
JOHANNES KRIEGER (1651–1735), Fantasia in d ( Anmuthige Clavier-Übung , 1699)
O rex glorie | PS Magnificat , antifona večernic Gospodovega vnebohoda (Radlje)
O rex gloriose , antifona sklepnic za nedeljo Gospodovega trpljenja (Radlje)
Ego sum vestra , procesijska antifona o Kristusovem trpljenju (Radlje)
III. MEDIA VITA IN MORTE SUMUS
Ne zapusti nas, sirot, v času stisk in preizkušenj!
LUIGI ROSSI (ok. 1598–1653), Passacaille (rokopis Bayun, ok. 1600)
Sponsa Dei Genovefa , antifona večernic za praznik sv. Genovefe (Radlje)
Media vita | PS Nunc dimittis , antifona sklepnic za tretjo nedeljo kvadragezime (Radlje)
IV. MAXIMA EST GLORIA CATHARINAE SENENSIS
Slava dominikanskega reda: čudeži sv. Katarine Sienske in sv. Dominik
Virginis Catharinae , antifona večernic praznika sv. Katarine Sienske (Radlje)
Exultabunda | PS Jubilate , antifona hvalnic za praznik sv. Katarine Sienske (Radlje)
GIOVANNI GIROLAMO KAPSBERGER (1580–1651), Toccata II arpeggiata
( Libro primo d’intavolatura di chitarrone , 1604)
Maxima est Catharinae , antifona hvalnic za praznik sv. Katarine Sienske (Radlje)
Ad sedes regni , antifona večernic praznika sv. Katarine Sienske (Radlje)
O virgo maxima , antifona večernic praznika sv. Katarine Sienske (Radlje)
O lumen ecclesiae | PS Magnificat , antifona večernic za praznik sv. Dominika (Radlje)
Na koncertu bo predstavljen drobec iz bogate koralne dediščine ženskih samostanov, povezane s slovenskim prostorom. Enoglasni spevi, zapisani v rokopisih dominikank iz Radelj ob Dravi (Marenberka) so nastali ok. leta 1700 in jih hrani Univerzitetna knjižnica v Gradcu. Podobo glasbenega in siceršnjega življenja v tem samostanu bogatijo izbrani odlomki iz sočasne samostanske kronike. Ker so bile tamkajšnje nune tudi odlične instrumentalistke (viri o tem, kateri repertoar so dejansko igrale, žal ne govorijo), koncert zajema tudi nekaj instrumentalnih del iz širšega časa nastanka rokopisov. Rokopisi iz 16. stoletja z liturgično glasbo kartuzijank iz francoskega Gosnaya pa so s francoskimi kartuzijani leta 1904 prišli v Pleterje, kjer se hranijo še danes.
Antifonarji obeh redov so se oblikovali dolgo časa in so v novem veku vsebovali speve iz različnih obdobij: t. i. gregorijanski koral, glasbeno-pesniške stvaritve visokega srednjega veka in poznosrednjeveške speve novejših oficijev. Na nocojšnjem koncertu bodo ti časovno različni spevi kakor v teku samostanskih molitev zveneli eden ob drugem, v ospredju pa bodo izbrani spevi za najbolj čaščene svetnice v obeh samostanih. Zavetnica in rešiteljica Pariza sv. Genovefa je bila priprošnjica pred kužnimi boleznimi. Sv. Uršula, zmagovalka nad demoni zla, je s kraljevskimi spremljevalkami potovala k nebeškemu ženinu Jezusu. Sv. Katarina Sienska, cerkvena učiteljica, pa je bila ena najbolj vplivnih svetnic v zgodovini Cerkve. Te izjemno učene in (nemalokrat politično) vplivne svetnice plemenitega rodu, ki so bile obenem “Kristusove neveste”, so bile nunam vzornice, s katerimi so se lahko poistovetile. Nenazadnje sta tako marenberški kakor gosnayski samostan v svoje vrste sprejemala predvsem plemkinje in hčere iz vplivnih družin. A stroga družbena hierarhija ni bila neprepustna in prav glasba je pri vzpostavljanju enakosti med nunami igrala pomembno vlogo.
Za prevode besedil iz Marenberške kronike se zahvaljujemo dr. Marku Motniku.
Koncert je del projekta “Stare tradicije v novih oblačilih: glasbene in besedilne predelave v izvajalski praksi liturgične glasbe”, ki ga financira ARRS (J6-1809)
Vokalni ansambel je bil zasnovan kot „koralni laboratorij” raziskovalnega projekta Stare tradicije v novih oblačilih . Zasedba združuje pet pevk, ki se s posebno ljubeznijo posvečajo stari, predvsem baročni in srednjeveški glasbi.
ANA KODELJA se je petja učila pri Jerici Rudolf v Glasbeni šoli Vinka Vodopivca Ajdovščina. Glasbeno se udejstvuje predvsem kot zborovska pevka v zasedbah, kot so Consortium Musicum, Komorni zbor Ipavska, Vokalna skupina Vikra, Mešani zbor Glasbene matice Ljubljana in Komorni zbor Dekor.
KATARINA ŠTER je po študiju primerjalne književnosti in muzikologije zaključila študij petja v razredu Kathleen Dineen na Visoki šoli za staro glasbo Schola cantorum Basiliensis, kjer se je specializirala za izvajanje srednjeveške in renesančne glasbe. Doma in v tujini deluje tako solistično kakor v ansamblih in zborih, vodi različne glasbene zasedbe ter delavnice in izobraževanja na področju gregorijanskega korala. Kot raziskovalka deluje na ZRC SAZU (Muzikološki inštitut).
CHRISTINA THALER je na ljubljanski akademiji za glasbo v razredu Barbare Jernejčič Fürst zaključila študij petja, poleg tega pa se je na univerzi v Mainzu specializirala za izvajanje baročne glasbe. Kot solistka in članica ansamblov se je predstavila tako doma kot v tujini (Jesenske serenade, Brighton Early Music Festival), zdaj pa je zaposlena kot zboristka v SNG opera in balet Ljubljana.
BARBARA TI ŠLER je končala študij solopetja na univerzi Mozarteum v Salzburgu pri Elisabeth Wilke in Bredi Zakotnik. Leta 2002 je dobila prvo nagrado na IV. mednarodnem tekmovanju Johanna Heinricha Schmelzerja za baročne ansamble in soliste v Melku, istega leta je bila nagrajena tudi na XIII. mednarodnem tekmovanju Johanna Sebastiana Bacha v Leipzigu. Kot solistka je sodelovala z Orkestrom Slovenske filharmonije, Orkestrom RTV Slovenija in tujimi ansambli, kot so Clemencic Consort, Leipziški baročni orkester, Virtuosi Saxoniae, Berlinska akademija za staro glasbo in Musica Antiqua Köln. Zdaj poučuje solopetje na Glasbeni šoli Zavoda sv. Stanislava.
TANJA VOGRIN je najprej študirala solopetje in harfo na Univerzi za glasbo v Gradcu, nato baročno harfo, ansambelsko petje in srednjeveško glasbo na Visoki šoli za staro glasbo Schola Cantorum Basiliensis. V Gradcu je debitirala kot Dido v Purcellovi operi Dido in Enej in nastopila kot Amor v Gluckovi operi Orfej in Evridika . Sodeluje z ansambli Austrian Baroque Connection, Musicke’s Pleasure Garden, recreationBAROCK, Neue Hofkapelle Graz in Concerto di Margherita. Zdaj je profesorica baročnega petja in vokalnega Konservatoriju Johann Joseph Fux v Gradcu.