(English version to follow)
JOHANNES OCKEGHEM - MISSA MI-MI
koncert na z vŘr źtyýdennˇ interpretaźnˇ dˇlny 1.-4.10.2009
1 Presque trainsi
2.Introitus - Nos autem
3.Kyrie
4. Gloria
5.Graduale - Christus factus est
6. Credo
7. Offertorium - Protege, Domine
8. Sanctus
9. Agnus Dei
10.Communio - Dominus Iesus
Zpˇvajˇ: Ensemble Guillaume a host‚
Lektoýi: Mami Irisawa, Martin Erhardt, Paul Shannon
üˇdˇ: Rebecca Stewart
Hudba Johannese Ockeghema, kterě se narodil kolem roku 1420 v St.Ghislain, symbolizuje ve vŘtçˇ mˇýe ne§ by se dalo ýˇci o kter‚mkoli z jeho souźasnˇk..., vrchol věvoje urźit‚ odno§e stýedovŘk‚ polyfonie. Jeho dˇlo, aź nenˇ rozs hl‚, je uzn v no pro dokonalost tv...rźˇho myçlenˇ. Tato kvalita, kter Ockeghema ji§ za jeho §ivota obdaýila povŘstˇ nedosti§n‚ho mistra prvnˇ generace renesanźnˇch skladatel..., se paradoxnŘ stala věchodiskem pro źasto pýijˇman‚, ale z sadnŘ chybn‚ tvrzenˇ, §e jde o skladatele, jeho§ dˇla jsou spˇçe stroh a pýˇsn ne§ expresivnˇ.
Pot‚, co byl zamŘstn n jako zpŘv k v kostele Panny Marie v Antverp ch, vstoupil Ockeghem do slu§eb francouzsk‚ho kr lovsk‚ho dvora, kde za§il vl dy Karla VII, Ludvˇka XI a Karla VIII. KromŘ funkce Mistra kr lovsk‚ kaple, zast val tak‚ titul rnˇ funkci pokladnˇka Opatstvˇ sv. Martina v Tours. Takto p...sobil souźasnŘ na kr lovsk‚m dvoýe a v Tours, kde tak‚ 6. Łnora 1497 zemýel. Mnoho skladatel... poź tku 16. stoletˇ tvrdilo, §e je Ockeghem uźil. Josquin des Prez ve sv‚m proslaven‚m lamentu Nymphes des bois zmˇnil jako sv‚ spolu§ ky Pierra de la Rue, Loyseta Comp‚rea a Antoine Brumela.
Mçe Mi-mi (v rukopisu Vat S41 nazvan Missa Quarti toni) byla dlouho pýedmŘtem spor..., aś u§ se jednalo o jejˇ n zev, jejˇ takzvanŘ abstraktnˇ charakter spoźˇvajˇcˇ v jejˇ „voln‚" kompozici a zd nliv‚m nedostatku koherentnˇho vztahu mezi textem a hudbou źi o jejˇ z hadnou sˇlu. Ned vno pýiçli dva muzikologov‚ (Don Giller a Hirayo Miyazaki) nez visle na sobŘ s tezˇ, §e mçe je zalo§ena na OckeghemovŘ trojhlas‚ bergerettŘ Presque trainsi, jejˇ§ poź teźnˇ tenorově motiv se s malěmi obmŘnami opakuje na zaź tku ka§d‚ ź sti mçe. Rebecca Stewart se domnˇv , §e Missa Mi-mi je ve sv‚ podstatŘ synt‚zou a transformacˇ źtvrt‚ho (hypofrygick‚ho) gregori nsk‚ho m˘du a Łvodnˇho motivu bergeretty. N zev mçe, jejˇ spojenˇ se zmˇnŘnou bergerettou, symbolick‚ pou§itˇ p...lt˘nov‚ho intervalu MI-FA, kterě ztŘlesĺuje „temnou modalitu" frygick‚ho m˘du IV, ji vedou k z vŘru, §e Ockeghem komponoval mçi Mi-mi jako hudebnˇ symbol Kristova ukýi§ov nˇ a jeho pýemŘnu ze syna źlovŘka v Syna Bo§ˇho - Łheln‚ho kamene kýesśansk‚ vˇry.
Biography: Rebecca Stewart
Rebecca Stewart is a singer and (ethno)musicologist. She received her doctorate in ethnomusicology from the University of California at Los Angeles (dissertation: The Tabla in Perspective, 1973) and has worked for many years in Hindusthani classical music. This training has left an indelible imprint on her understanding of and approach to the earliest traditions of Western Europe.
Since 1974 she has focused more of her attention on European vocal traditions, in recent years concentrating mostly on the period spanning the early Middle Ages and the high Renaissance.
After having taught for seventeen years in the Royal Conservatory of The Hague (as co-founder of the Baroque singing department and as theory professor) she started her own early ensemble-music department at the Fontys Conservatorium in Brabant. This is known as the Schola Cantorum Brabantiae.
As part of her work she has given concerts, workshops and lectures throughout the world. With her former ensemble, the Cappella Pratensis, she has made many CDs, mostly from the generation of Josquin des Prez. With her present ensemble, Cantus Modalis, she has extended her performance area into the 14th- and early 15th century. She has also published several articles concerning the relationship between singing and modal music. Her dream is to found a Center for Modal Music, in which the underlying principles of the living modal traditions of the non-Western world may be studied in conjunction with the long dead modal traditions of the Western world, this with the intention of reanimating the Western sense of identification with its modal roots.
