mus print.framePrint?p print - European Broadcasting … · We will now hear the Suite No. 2 in D. The five movements are: Overture, Alla Hornpipe, Minuet, Lento and Bourrée. Handel:

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Euroradio Special Day of Christmas Music

Sunday, 21 December 2008

Coordinator: Graham Dixon, GBBBC Tel: +44 207 765 52 46 e-mail: [email protected]

Despatch date of the Season: 08/12/2008

Summary and financial conditions of the 2008-2009 Euroradio and Metropolitan Opera Seasons: http://www.ebu.ch/musd/63792.pdf

EBU No: EURO/2008-2009/N/001 Offering organization(s): ISRUV

Date of concert: Sunday 21/12/2008 - Recorded on 20 November 2008Start of concert: 09:05 GMTEnd of concert: 09:55 GMTBroadcast by satellite the 21/12/2008 from 08:35 to 09:55 GMT Channel: R Concert modified on: 24/11/2008

Entry of the parts of the works, timings of music and biographical notes 24/11/2008Email sent

04/12/2008Entry of presentation texts (Icelandic and English) 04/12/2008Email sent

Venue of concert: Langholt Church, Reykjavík

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Composer: G.F. Handel (1685-1759)

Water Music, Suite No. 2, HWV 349 008.49 min. Overture (Allegro)Alla Hornpipe

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08.12.2008http://gnvasapps:7778/pls/www_mus/mus_print.framePrint?p_print_id=586802

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MinuetLentoBourrée

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Composer: G.F. Handel (1685-1759)

Gloria 014.14 min. Gloria in excelsis DeoEt in terra paxLaudamus teGratias agimus tibiDomine DeusQui tollisQuoniam tu solus sanctusCum Sancto Spiritu

Soloist: Dominique Labelle, soprano

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Composer: J.S. Bach (1685-1750)

Orchestral Suite No. 3 in D, BWV 1068 018.25 min. OvertureAirGavotte I7IIBourréeGigue

Performers for the entire concert:

Orchestra: Iceland Symphony OrchestraConductor: Nicholas Kraemer

BIOGRAPHICAL NOTES AND DOCUMENTATION------------------------------------

Soloist: Dominique Labelle, sopranoBorn in Montreal, Dominique Labelle first came to international prominence as Donna Anna in Peter Sellars' production of Mozart’s Don Giovanni, set in Spanish Harlem, which she performed in New York, Paris and Vienna. Since then Labelle has worked with conductors from Pierre Boulez to David Zinman. Whether in opera, in concert, in recital, or in oratorio, the luminous beauty of her charismatic stage presence is unmistakable. Her many recordings, with repertory from the 17th to the 21st centuries, can be heard on Virgin, RCA and Deutsche Harmonia Mundi, and her recording of Handel’s Arminio won the 2002 Handel Prize. http://www.dominiquelabelle.com/bio.htm

Orchestra: Iceland Symphony OrchestraThe Iceland Symphony Orchestra was founded in 1950, six years after the country received its independence from Denmark. The ISO gives approximately sixty concerts each season, including subscription concerts in Reykjavík, and tours both in Iceland and abroad, with recent visits to

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PRESENTATION TEXT IN ENGLISH -------------------------------------

Scandinavia, Germany, Austria, France and North America. Over the years, numerous renowned guest artists have enriched the ISO´s music-making, including Vladimir Ashkenazy, Yehudi Menuhin, André Previn, Daniel Barenboim, Luciano Pavarotti, Anne-Sophie Mutter, Mstislav Rostropovich and Joshua Bell. The post of chief conductor has been filled by several important and influential conductors, such as Olav Kielland (Norway), Bohdan Wodiczko (Poland), Jean-Pierre Jacquillat (France), Petri Sakari and Osmo Vänska (Finland). In 2002, Rumon Gamba took the post of chief conductor and music director, and in the same year Vladimir Ashkenazy became the Orchestra´s conductor laureate. The ISO has made a number of highly acclaimed recordings, including a Sibelius cycle (Naxos), the music of the Icelandic composer Jón Leifs (BIS), and that of the English composer Malcolm Williamson (Chandos). http://sinfonia.is/default.asp?page_id=2201

Conductor: Nicholas KraemerNicholas Kraemer began his career as a harpsichordist, quickly moving from playing continuo at the back of the orchestra to directing from the harpsichord at the front. In 1978, he formed Raglan Baroque Players, with whom he made several recordings, broadcasts and concerts. From 1983 to 1985, Mr. Kraemer was Associate Conductor of the BBC Scottish Symphony Orchestra,and from 1986 to 1992 he was Artistic Director of the Irish Chamber Orchestra. He was Artistic Director of the London Bach Orchestra from 1985 to 1993. Nicholas Kraemer has appeared with many orchestras around the world, among them the Berlin Philharmonic, Rotterdam Philharmonic, St. Paul Chamber Orchestra, Bournemouth Symphony Orchestra, City of Birmingham Symphony Orchestra, the Orchestra of the Age of Enlightenment, London Mozart Players and the City of London Sinfonia. He is currently Permanent Guest Conductor of the Manchester Camerata and Principal Guest Conductor of Music of the Baroque, Chicago. Kraemer has formed a close relationship with El Sistema, the celebrated orchestral training for young musicians in Venezuela, where he will oversee the formation of a chamber orchestra to complement the Simon Bolivar Youth Orchestra. Mr Kraemer’s opera repertory ranges from Monteverdi’s L’Orfeo and L’Incoronazione di Poppea to 19th- and 20th-century works, including Strauss’s Ariadne auf Naxos and Britten’s Albert Herring. Among his most recent opera engagements are Mozart‘s The Magic Flute and Handel’s Jephtha at English National Opera. Among Nicholas Kraemer’s recordings are Vivaldi concertos with City of London Sinfonia for Naxos; Locatelli, Tartini and Pergolesi concertos with Elizabeth Wallfisch and Raglan Baroque Players for Hyperion and Handel’s Rodelinda for Virgin Classics. He has contributed to several feature films, most notably as Baroque music director for The Madness of King George. http://www.caroline-phillips.co.uk/artists/CPM_NK.htm

PRESENTATION TEXT-----------------

Euroradio signature tune Good morning, dear listeners. Today members of the European Broadcasting Union send each other Christmas greetings in the form of concerts. We begin this day-long Euroradio Christmas programme in the North, in Reykjavík, and welcome you to a concert with the Iceland Symphony Orchestra at Langholt Church. On the programme, there are three Baroque pieces: the Water Music Suite No. 2 and Gloria by George Frederic Handel, and the Orchestral Suite No. 3 in D by Johann Sebastian Bach. The conductor is the Scottish harpsichordist Nicholas Kraemer, and the soloist the Canadian soprano Dominique Labelle. Baroque music has long been an essential part of the Christmas spirit, Iceland being no exception. The history of live performance on the other hand is relatively recent in Iceland. The orchestral suites of Bach and Handel, for example, were first performed live around 1950 by the then newly formed Iceland Symphony Orchestra. Our concert begins with George Frederic Handel's Water Music Suite No. 2. The Suite is composed of pieces written for King George I's luxurious party held on the River Thames in July 1717. The King and his entourage sailed up the Thames from Whitehall to Chelsea. The music was performed by 50 musicians playing on a barge, and Handel's royal music is said to have sounded on the river all

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ORIGINAL PRESENTATION TEXT -----------------------------------

evening and throughout the night. We will now hear the Suite No. 2 in D. The five movements are: Overture, Alla Hornpipe, Minuet, Lento and Bourrée. Handel: Watermusic Suite No. 2 - 8:49 We heard the Water Music Suite No. 2 by George Frederic Handel, performed by the Iceland Symphony Orchestra conducted by Nicholas Kraemer. Next is another work by Handel. This is a first performance in Iceland, as might be the case for other countries as well with this newly discovered Gloria. The score was found in the Royal Academy of Music’s Library in the spring of 2001 by the German Professor Hans Joachim Marx. It is not known exactly when the work was composed or for what occasion, but the style of the music suggests that the work is either from the composer's last years in Hamburg or his first years in Italy, 1706-1708. Both the vocal parts and orchestration are reminiscent of two settings by Handel of the Psalm Laudate pueri, one written in Hamburg just before the composer travelled to Rome, Florence and Venice, and the other in Rome in 1707. Most scholars are of the opinion that the work was composed in Italy early in 1707 when Handel was 22 years old. It is evident in Handel’s Gloria that it was written for a talented coloratura soprano, possibly one of the castrati so popular in Rome at that time. The part of the first violin is also very important, and Handel often combines the violin and singer in a duet. On the whole, the work is considered a significant addition to Handel’s oeuvre, containing both virtuoso singing and impressive slow movements that point towards the composer's later works. Our soloist is the Canadian soprano Dominique Labelle, who was among the first to perform Handel’s Gloria when she sang the solo part in June 2001 at the International Handel Festival in Göttingen. We will now hear the Gloria by George Frederic Handel with Dominique Labelle accompanied by the Iceland Symphony Orchestra conducted by Nicholas Kraemer. Handel: Gloria - 14:14 Gloria by George Frederic Handel. Dominique Labelle was the soloist with the Iceland Symphony Orchestra conducted by Nicholas Kraemer. Our concert now comes to an end with another orchestral suite, this time by Johann Sebastian Bach, his Orchestral Suite No. 3 in D. Johann Sebastian Bach composed four orchestral suites, all preserved in manuscripts from his years in Leipzig. They are thought to have been composed around 1730 when he was conducting the student orchestra Collegium Musicum, which held weekly Friday night concerts at a local Leipzig café. The suite in D, BWV 1068, is in five movements: Ouverture, Air, Gavotte 1 and 2, Bourrée and Gigue. The Iceland Symphony Orchestra is conducted by Nicholas Kraemer. Bach: Orchestral Suite No. 3 - 18:25 The Iceland Symphony Orchestra performed the Orchestral Suite No. 3 in D by Johann Sebastian Bach; Nicholas Kraemer was the conductor. Icelandic Radio wishes listeners near and far a Merry Christmas. The Euroradio Christmas Special Day will continue in just a moment with a concert fby Austrian Radio from St. Pölten. Thank you for listening and goodbye from Reykjavík.

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EBU No: EURO/2008-2009/N/002 Offering organization(s): ATORF

Date of concert: Sunday 21/12/2008 - Recorded on 20 December 2008Start of concert: 10:00 GMTEnd of concert: 10:55 GMTBroadcast by satellite the 21/12/2008 from 10:00 to 10:55 GMT Channel: R Concert modified on: 28/11/2008

Entry of timings, German presentation text and biographical notes 28/11/2008Email sent

04/12/2008Entry of English presentation text 04/12/2008Email sent

Venue of concert: Cathedral, St Pölten

-1-

Composer: Franz Schneider (1737-1812)

Transeamus usque ad Bethlehem 003.20 min.

-2-

Composer: Johann Valentin Rathgeber (1682-1750)

Offertory 'Cum quietum silentium', for two sopranos, 005.10 min. contralto, chorus and orchestra

Soloist: Barbara Zidar, sopranoSoloist: Regina Schachenhofer, sopranoSoloist: Karin Windhör, contralto

-3-

Composer: Franz Xaver Murschhauser (1663-1738)

Aria pastoralis variata, for organ 008.50 min.

Soloist: Ludwig Lusser, organ

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Composer: Frantisek Xaver Brixi (1732-1771)

Pastores loquebantur, motet for chorus and orchestra 004.50 min.

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Composer: Johann Georg Albrechtsberger (1736-1809)

Jubilemus salvatori, gradual for chorus and orchestra 002.45 min.

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Fugue on 'Der Tag, der ist so freudenreich', for organ 003.10 min.


-7-

Composer: Franz Joseph Aumann (1728-1797)

Seid fröhlich, ihr Schäfer, for bass, chorus and orchestra 004.00 min.

Soloist: Bernhard Scharl, bass

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Composer: Giovanni Paisiello (1740-1816)

Motetto pastorale, for soprano, chorus and strings 009.00 min.

Soloist: Martina Daxböck, soprano

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Pastorale in C, for organ 002.30 min.


-10-

Composer: Franz Krenn (1816-1897)

Bone Jesu, motet for bass, chorus and strings 002.00 min.

Soloist: Lukas Kargl, bass

-11-

Composer: Joseph Haydn (1732-1809)

Parvulus filius, motet for chorus and orchestra 003.20 min.


Ensemble: Domkantorei, St PöltenOrchestra: Solamente naturali, BratislavaConductor: Otto Kargl

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Soloist: Ludwig Lusser, organGeboren 1969 in Innervillgraten/Osttirol, studierte am Konservatorium der Stadt Innsbruck Klavier/Orgel und absolvierte die Studien Katholische Kirchenmusik, Orgel-Konzertfach und IGP-Orgel an der Universität für Musik und darstellende Kunst in Wien (Orgel bei Michael Radulescu), Ludwig Lusser erhielt den Würdigungspreis des Bundesministeriums für Wissenschaft und Kunst. Lusser war einige Jahre Lehrer für Orgel, Liturgisches Orgelspiel und Improvisation am Diözesankonservatorium für Kirchenmusik der Erzdiözese Wien und unterrichtete an der Universität für Musik und darstellende Kunst in Graz (Improvisation, Liturgisches Orgelspiel, Orgel, Continuo und Orgel-Kammermusik) und als Assistent von Prof. Michael Radulescu an der Universität für Musik in Wien. 2000 bis 2006 war Ludwig Lusser Organist im Schottenstift (Wien) und seit 2006 ist er Domorganist in St. Pölten und Lehrer am Diözesankonservatorium für Kirchenmusik.

Ensemble: Domkantorei, St PöltenThe Domkantorei St. Pölten was founded in 1992 by the director of music at St. Pölten Cathedral in Lower Austria, Otto Kargl. The choir is a specialized ensemble who sings at the highest professional level and has grown with a view to stylistic authenticity, homogeneity of vocal colour, precision and intonation, even in historical vocal ranges. It has long been firmly established on the Austrian choral scene. The members of the choir, who number about twenty in total, concentrate mainly on music up to 1800, as well as contemporary choral literature. Besides their liturgical role in the services at the Cathedral of St. Pölten, the ensemble tours widely with various concert programmes. Its range encompasses a cappella repertory of the 16th century and sacred music of the 17th century. Together with the Ensemble Private Musicke, the Domkantorei has performed works such as the Musicalischen Exequien by Heinrich Schütz and the Membra Jesu Nostri by Dietrich Buxtehude. Further highlights have been its premières of contemporary composers such as Christoph Czech and Michael Radulescu, as well as radio and CD recordings with Austrian Radio (ORF). Time and time again, their interpretations of both ancient and contemporary music have attracted critical interest in the world of sacred music. Together with the cappella nova graz, the Baroque Orchestra Solamente Naturali Bratislava, and the L’Orfeo Baroque Orchestra, the ensemble has performed large scale sacred music for choir and orchestra since the end of the 1990s. Among the highlights have been the Vespro della beata Vergine by Claudio Monteverdi, J.S. Bach’s St. John and St. Matthew Passions as well as the Mass in B minor, Handel’s Messiah and Alexander’s Feast, as well as the Mozart Requiem and C minor Mass. Many of these concerts were recorded by Austrian Radio.

Orchestra: Solamente naturali, BratislavaThe early music chamber orchestra Solamente Naturali Bratislava (“Simply Natural”) was founded in 1995 by Milos Valent. Its variable formation of up to 25 musicians allows it to perform Baroque repertory from duos up to large works for orchestra and choir, much of which is unknown today. As its name suggests, its musicians place great emphasis on spontaneity and naturalness. Besides the great masterpieces of this era by Vivaldi, Handel, Purcell, Scarlatti, Lully, Rameau and Bach, the ensemble has made an effort to present the little-known works of Slovakian composers.

Conductor: Otto KarglThe Austrian choral conductor Otto Kargl was born in Gaal in Styria. Since 1992 he has held the position of Kapellmeister (Director of Music) at the Cathedral of St. Pölten, a city where he teaches Gregorian chant and choral conducting at the Conservatory of Sacred Music. Besides his studies at the University of Music and Dramatic Arts in Graz, he has participated in conducting and interpretation master classes by John Eliot Gardiner, Peter Gülke and Helmut Rilling. While still a student in 1983, he founded the cappella nova graz. In 1992 he went on to found the Domkantorei St. Pölten. In the meantime, the repertory of both ensembles, who have performed together successfully for almost a decade, has grown to encompass not only the large oratorios of Handel, Bach and Mozart, but also works of the 20th and 21st centuries. Highlights of their modern repertory have been their premières of works by Thomas Daniel Schlee, Christoph Czech and Bruno

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Strobl. As a guest conductor, Kargl has been active with the Finnish Radio Chorus of Helsinki, amongst others, and his work is attested to by numerous radio and CD recordings.


Presentation Good morning, and welcome to the Cathedral of St. Pölten in Lower Austria, from where we will hear Christmas music from South Germany, Bohemia and Austria from the 18th and 19th centuries. Roman Catholic Church music for the season of Christmas during this period had a very strong connection with authentic folk music. Among the favourite images in this genre were those of the shepherds grazing their flocks in the fields around Bethlehem, to whom the news of the Messiah’s birth was announced. The first of these Christmas pastorellas comes from Franz Schneider, the organist and music director at the Abbey of Melk. Transeamus usque ad Bethlehem was written in 1790 for choir and strings with organ concertante. This will be followed by Valentin Rathgeber‘s offertorium, Cum quietum silentium, in which two vocal soloists evoke the nocturnal ambiance of the shepherds‘ fields. The Cathedral organist Ludwig Lusser will then switch over to the main organ to play variations on a shepherd song by the Alsatian Franz Anton Murschhauser, a contemporary of Bach. We will hear the Domkantorei St. Pölten and the Ensemble Solamente Naturali Bratislava, and Ludwig Lusser, organ, conducted by Otto Kargl. The vocal soloists are Barbara Zidar, Regina Schachenhofer and Karin Windhör. 1.30 Franz Schneider (1737-1812): Transeamus usque ad Bethlehem - 3.20 Johann Valentin Rathgeber (1682-1750): Offertorium "Cum quietum silentium", for soprano, contralto, choir and orchestra - 5.10 Franz Anton Murschhauser (1663-1738): Aria pastoralis variata (organ solo) - 8.50 Presentation We heard two Christmas pastorellas by Franz Schneider and Johann Valentin Rathgeber, followed by organ variations by Franz Anton Murschhauser. Franz Xaver Brixi was born in 1732, the same year as Joseph Haydn, and was active as organist and master of the chapel at the Cathedral of St. Vitus in his native Prague. His many sacred works were very popular and widely known. The pastoral motet Pastores loquebantur is a highly original and varied treatment of the common genre of shepherd songs with their typical vertical harmonic structure in triads. Johann Georg Albrechtsberger was born in Klosterneuburg just outside Vienna and trained as an organist there. His impact as a music theoretician and teacher was quite considerable, and he enjoyed a productive career as court organist and master of the chapel at St Stephen’s Cathedral in Vienna. His Christmas motet, Jubilemus Salvatori, intended for use as a gradual, has all the simplicity of a folksong. It is followed by his fugue on motifs from the Christmas carol, Der Tag, der ist so freudenreich. Once again, here are the Domkantorei St. Pölten and the Ensemble Solamente Naturali Bratislava, and Ludwig Lusser, organ, conducted by Otto Kargl. - 1.25 Franz Xaver Brixi (1732-1771): Pastores loquebantur - motet for choir and orchestra - 4.50 Johann Georg Albrechtsberger (1736-1809): a) Jubilemus Salvatori – Gradual for choir and orchestra - 2.45 b) Fugue on "Der Tag, der ist so freudenreich" (organ solo) - 3.10 Presentation

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We heard works by Franz Xaver Brixi and Johann Georg Albrechtsberger, finishing with an organ fugue based on a Christmas carol. Franz Joseph Aumann was for many years the Regens chori (master of the choir and chapel) at St. Florian, an Augustinian cloister church in Upper Austria. His pastoral chorus Seid fröhlich, ihr Schäfer is a musical conversation between a shepherd and the angels come to announce the good news, and closely resembles an Alpine folksong. The southern Italian composer Giovanni Paisiello was primarily known throughout Europe for his operas, but he also wrote a large body of instrumental and sacred music, even receiving commissions from Emperor Joseph II. His pastoral motet has a definite Italian flavour and a particularly expressive melody. The vocal soloists are Bernhard Scharl und Martina Daxböck. This set of musical numbers then concludes with Johann Georg Albrechtsberger's Pastorale in C, played on the organ of St. Pölten Cathedral. 1.10 Franz Joseph Aumann (1728-1797): Seid fröhlich, ihr Schäfer - for bass, chorus and orchestra - 04.00 Bass solo: Bernhard Scharl Giovanni Paisiello (1740-1816): Motetto Pastorale, for soprano, chorus and strings - 09.00 Soprano solo: Martina Daxböck Johann Georg Albrechtsberger: Pastorale in C (organ solo) - 2.30 Presentation Franz Joseph Aumann and Giovanni Paisiello were the composers of the pastorellas just performed, followed by Ludwig Lusser in an organ pastorale by Johann Georg Albrechtsberger. Franz Krenn is the most recent composer featured in today’s programme. A native of Krems in Lower Austria, he was a reputed church musician and teacher, whose students included Gustav Mahler and Hugo Wolf. His Christmas motet Bone Jesu is followed by a pastorella attributed to Joseph Haydn, Parvulus filius, which includes a concertante part for organ and charming variations on this well-known shepherd’s pipe melody, which can be heard in both the vocal and instrumental parts. The bass soloist Lukas Kargl and Domkantorei St. Pölten are accompanied by the Ensemble Solamente Naturali Bratislava, conducted by Otto Kargl. 1.05 Franz Krenn (1816-1897): Bone Jesu - 2.00 Joseph Haydn (1732-1809): Parvulus filius, motet for chorus and orchestra - 3.20 Presentation From the Cathedral in St. Pölten, we have brought you an hour-long concert of 18th- and 19th-century Christmas music. Our programme, which concluded with pastoral motets by Franz Krenn and Joseph Haydn, featured the musicians of the Domkantorei St. Pölten and the Ensemble Solamente Naturali Bratislava, conducted by Otto Kargl. Ludwig Lusser was at the organ. This Euroradio Christmas Special day now continues with a broadcast by Portuguese Radio. ORF, Radio Österreich 1, and Gustav Danzinger wish you a blessed Christmas season. 0.25 Total presentation duration: 5.35 Total duration: 54.30

Moderation Grüß Gott und Willkommen in der Domkirche von St. Pölten in Niederösterreich. Weihnachtliche Musik aus dem süddeutschen, böhmischen und österreichischen Raum aus der zweiten Hälfte des 18. Jahrhunderts wird in der folgenden Stunde erklingen. Die katholische Kirchenmusik zur Weihnacht hatte da eine sehr starke Beziehung zur bodenständigen Volksmusik und die bevorzugten Bilder waren jene von den Hirten auf den Weiden vor Bethlehem, denen die Geburt des Messias gekündet wird.

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Die erste dieser so genannten Pastorellen stammt von Franz Schneider, Organist und Musikdirektor des Stiftes Melk. „Transeamus usque ad Bethlehem“ entstand 1790, zu Chor und Streichern tritt noch die konzertierende Orgel. Danach erklingt Valentin Rathgebers Offertorium „Cum quietum silentium“, in dem auch zwei Solostimmen die nächtliche Stimmung auf den Schafweiden nachempfinden. Domorganist Ludwig Lusser wechselt anschließend zur großen Orgel und spielt dort Variationen über ein Hirtenlied des aus dem Elsass stammenden Bach-Zeitgenossen Franz Anton Murschhauser. Es musizieren die Domkantorei St.Pölten und das Ensemble Solamente Naturali Bratislava, Ludwig Lusser, Orgel; Leitung: Otto Kargl. Vokalsoli: Barbara Zidar, Regina Schachenhofer und Karin Windhör. 1.30 Franz Schneider (1737-1812): Transeamus usque ad Bethlehem 3.20 Johann Valentin Rathgeber (1682-1750): Offertorium "Cum quietum silentium" für Sopran, Alt, Chor und Orchester - 5.10 Franz Anton Murschhauser (1663-1738): Aria pastoralis variata (Orgel solo) 8.50 Moderation Das waren zwei weihnachtlich Pastorellen von Franz Schneider und Johann Valentin Rathgeber sowie Orgelvariationen von Franz Anton Murschhauser. Franz Xaver Brixi wurde im selben Jahr wie Joseph Haydn, 1732, in Prag geboren, und war als Organist und Kapellmeister am dortigen St. Veits-Dom tätig. Seine vielen Kirchenmusikwerke waren sehr beliebt und weit verbreitet. Die Pastoralmotette „Pastores loquebantur“ ist eine originelle und variantenreiche Abhandlung der verbreiteten Formen von Hirtenmelodien mit ihren typischen Dreiklangzerlegungen. In Klosterneuburg vor den Toren Wiens wurde Johann Georg Albrechtsberger geboren und zum Organisten ausgebildet. Als Musiktheoretiker wie als Lehrer war er hochbedeutend, als Hoforganist und Kapellmeister am Wiener Stephansdom sehr fruchtbar. Die als Graduale bezeichnete Weihnachtsmotette „Jubilemus Salvatori“ ist von volksliedhafter Schlichtheit. Anschließend hören wir seine Fuge über Motive aus dem Weihnachtslied „Der Tag, der ist so freudenreich“. Es singen und spielen wieder: die Domkantorei St.Pölten und das Ensemble Solamente Naturali Bratislava, Ludwig Lusser, Orgel; Leitung: Otto Kargl. 1.25 Franz Xaver Brixi (1732-1771): Pastores loquebantur - Motette für Chor und Orchester - 4.50 Johann Georg Albrechtsberger (1736-1809): a) Jubilemus Salvatori - Graduale für Chor und Orchester - 2.45 b) Fuge über "Der Tag, der ist so freudenreich" (Orgel solo) - 3.10 Moderation Wir hörten Kompositionen von Franz Xaver Brixi und Johann Georg Albrechtsberger; zuletzt eine Orgelfuge über ein Weihnachtslied. Im oberösterreichischen Augustinerstift St. Florian war Franz Joseph Aumann lange Jahre als Regens chori tätig. Sein Chorus pastoralis „Seid fröhlich, ihr Schäfer“ ist die Vertonung eines Gesprächs zwischen den Verkündigungsengeln und einem Hirten. Dieses Stück kommt einem alpenländischen Volkslied sehr nahe. Der süditalienische Komponist Giovanni Paisiello wurde in erster Linie europaweit durch seine Opern bekannt, doch schuf er auch viel Instrumental- und Kirchenmusik, unter anderem als Auftrag von Kaiser Joseph II. für Wien. Seine Pastoralmotette hat italienisches Flair und besonders ausdrucksvolle Melodik. Die Vokalsoli dieser beiden Werke singen Bernhard Scharl und Martina Daxböck. Zum Abschluss dieser Gruppe erklingt dann von der großen Orgel des St. Pöltner Domes Johann Georg Albrechtsbergers Pastorale in C. 1.10 Franz Joseph Aumann (1728-1797): Seid fröhlich, ihr Schäfer - für Bass, Chor und Orchester - 4.00 Giovanni Paisiello (1740-1816): Motetto Pastorale - 9.00

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Johann Georg Albrechtsberger: Pastorale in C (Orgel solo) - 2.30 Moderation Franz Joseph Aumann und Giovanni Paisiello waren die Komponisten der eben musizierten Pastorellen. Zuletzt spielte Ludwig Lusser eine Orgelpastorale von Johann Georg Albrechtsberger. Franz Krenn ist der jüngste Komponist dieses Konzertes, er stammt aus dem niederösterreichischen Krems und war ein bedeutender Kirchenmusiker und Lehrer. Zu seinen Schülern zählten Gustav Mahler und Hugo Wolf. Auf seine Weihnachtsmotette „Bone Jesu“ folgt eine Pastorella, die vermutlich von Joseph Haydn stammt: „Parvulus filius“ enthält einen konzertierenden Orgelpart und reizvolle Varianten der bekannten Hirtenhornmelodik, die in den Singstimmen wie auch für die Begleitinstrumente verwendet wird. Es musizieren Basssolist Lukas Kargl, die Domkantorei St.Pölten und das Ensemble Solamente Naturali Bratislava, Leitung: Otto Kargl. 1.05 Franz Krenn (1816-1897): Bone Jesu - 2.00 Joseph Haydn (1732-1809): Parvulus filius - Motette für Chor und Orchester - 3.20 Moderation Aus dem Dom von St. Pölten kam eine Konzertstunde mit weihnachtlicher Musik aus dem späten 18.Jahrhundert. Zuletzt erklangen Pastoralmotetten von Franz Krenn und Joseph Haydn. Es musizierten die Domkantorei St.Pölten und das Ensemble Solamente Naturali Bratislava, Leitung: Otto Kargl. An der Orgel war Ludwig Lusser. Der ORF, Radio Österreich 1, und Gustav Danzinger wünschen damit eine gesegnete Weihnachtszeit! 0.25 Gesamtzeit Moderation: 5.35 Gesamtzeit: 54.30

EBU No: EURO/2008-2009/N/003 Offering organization(s): PTRTP


Change of programme 12/11/2008Email sent

04/12/2008Entry of Portuguese presentation text 04/12/2008Email sent


Venue of concert: Belem Cultural Centre, Lisbon

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Composer: Anonymous

Sibila singing according to Braga tradition, Christmas Eve 006.00 min.

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Composer: Anonymous

Saint Paul's Epistle to Titus, with trope 'Gaudeamus', 006.30 min. from the Mass of the Vigil

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Composer: Anonymous

Ad cantus leticie - discantus in two parts, Cistercian 002.00 min. version (17th century)

-4-

Composer: Anonymous

Catholicorum concio - organum in two vocal parts 005.00 min. Aquitaine, 17th centuryCistercians of Hauterive, 18th centuryCistercians of Las Huelgas, 14th century

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Composer: Guillaume Dufay (~1400-1474)

Interlude: J'ay mis mon cuer, from Oporto Public Library 002.00 min. Codex 714

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Composer: Anonymous

Helas n'array ie jamais mieux, from Oporto Public Library 004.00 min. Codex 714

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Composer: Anonymous

Interlude: A Florence/Ellas la fille 001.50 min.

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Composer: Robertus de Anglia (fl. 1450)

O fallaze e ria fortuna, from Oporto Public Library Codex 002.00 min. 714

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Composer: Anonymous

Na fonte está Lianor, from Masson Songbook, early 16th 002.00 min. century (Bibliothèque de l'Ecole des Beaux-Arts, Paris)

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Composer: Anonymous

Minina dos olhos verdes, from Masson Songbook (Bibliothèque 002.00 min. de l'Ecole des Beaux-Arts, Paris)

-11-

Composer: Diego Ortiz (~1510-~1570)

Interlude: Recercada prima 002.00 min.

-12-

Composer: Miguel de Fuenllana (?-1578)

Endechas de Canarias: Si los delfines 003.30 min.

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Composer: Luys Milán (~1500-~1560)

Interlude: Fantasia 002.30 min.

-14-

Composer: Anonymous

Benedicamus Domino, from Lorvão processions 000.30 min.

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Composer: Anonymous

Dalha den cima del cielo, Christmas song from Masson 002.00 min. Songbook (Bibliothèque de l'Ecole de Beaux-Arts, Paris)

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Composer: Anonymous

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Christmas Villancico 'negro': Sã qui turo zente pleta 003.00 min.


Ensemble: Vozes AlfonsinasMaria Repas Gonçalves, sopranoSusana Conde Teixeira, mezzo-sopranoGonçalo Pinto Gonçalves, tenorSérgio Peixoto, tenorVictor Gaspar, baritoneMadalena Cabral, rebecPedro Sousa Silva, recorderNuno Torka Miranda, lute, Renaissance guitar

Director: Manuel Pedro Ferreira

Christmas chants, European Renaissance songs and Iberian villancicos (15th-17th centuries) 'Amores divinos e profanos' (Secular and sacred love songs)


Ensemble: Vozes AlfonsinasSince their first appearance at Leiria Castle in central Portugal in June 1995, Vozes Alfonsinas has become one of Portugal’s most creative musical groups with a solid reputation. In 1998 they released their first recording in Spain, with Martin Codax melodies. The year before, the group had recorded a CD devoted to Renaissance villancicos, released by EMI-Classics in 2001. At the same time their new CD ‘O Tempo dos Trovadores’ (The Time of the Troubadours) (with King Dinis, Santa Maria and Andalusian-Arabic Songs), released by Strauss/ PortugalSom, was considered by an expert as “a landmark in Portuguese discography”, with “great stylistic awareness” (Público) and a “sound of great clarity” (Expresso). The Online Guide Classics Today stated that this was “an exquisite work, recommended to anyone interested in medieval music or simply looking for something very ancient and different”. In 2000, the group also recorded some northern Portugal liturgical music from Braga (Saint Geraldo Divine Office and Christmas carols). The CD “Mon seul plaisir” from Oporto Public Library’s Codex 714 came out in 2002 before this year’s new recording, an Anthology of Medieval and Renaissance Music in Portugal, released along with a liturgical music CD. Vozes Alfonsinas have appeared at leading concert venues in Portugal, doing live recordings for Portuguese Radio and Television, and participating in many festivals, such as Leiria, Lisbon, Atlantic (Azores), Medieval Music of Sesimbra and Estoril. In 1999, the group made a well-received international debut at the Sipario Ducale Festival, in Pesaro, Italy. In January 2003, it gave a concert with considerable success in the series De Zuilen van Hercules in Amsterdam. Three years later Vozes Alfonsinas sang at the Smithsonian Institute in Washington, giving five acclaimed concerts of Renaissance music. In September 2008, they made their Spanish debut at the Caceres Ancient Music Festival.


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Welcome to the Belem Cultural Centre in Lisbon, Portugal. The Portuguese contribution to this Euroradio Christmas Special Day is based on the most representative feeling of the season: love - not only the divine love related to Christmas and dedicated to God and the humble, but also secular love, connected with passion and romance. Vozes Alfonsinas (Alfonse Voices) will be on stage for the next 55 minutes. This ensemble led by Manuel Pedro Ferreira has become one of Portugal’s most creative and highly rated musical groups. Their newest CD, ‘Tempo dos Trovadores’ (Troubadour’s Time), was considered by the online guide Classics Today as “an exquisite work”. Vozes Alfonsinas will begin this concert with an example of Sibyl Chant (Sibila singing). It refers to a prophecy by a priestess, Eritrea, who predicts the end of the world and a series of apocalyptic disasters destroying mankind. We’ll hear the short version that used to be sung at Braga Cathedral in northern Portugal on Christmas Eve, to evoke a gloomy atmosphere contrasting with the redeeming light of Jesus' birth. Composer: Anonymous Sibila Singing according to Braga tradition, from Christmas Eve - 6’ The Portuguese ensemble Vozes Alfonsinas gave an example of Sibyl chant according to the tradition of northern Portugal's Braga Cathedral. The next work in the Portuguese contribution to the Euroradio Christmas Special Day is an excerpt from Midnight Mass. Saint Paul's Epistle to Titus, with its moral recommendations to Christians, is combined here with a poem on the joy of Christmas and the miraculous wonder of the birth of God made man. Composer: Anonymous Saint Paul's Epistle to Titus with trope Gaudeamus (Matthew’s Missal), from Midnight Mass - 6’30’’ After this excerpt from Midnight Mass, sung by the Portuguese ensemble Vozes Alfonsinas, we continue with a festive carol for Christmas Day, quite common about eight centuries ago. The two parts refer to Cistercian nuns celebrating Christmas at Hauterive Monastery in Switzerland. Composer: Anonymous (12th century) Ad cantus leticie – discantus in 2 parts, version from the Order of Cistercians - 2’ The next piece, also in two vocal parts, is another celebration of Christmas. This work originated in southern France, but afterwards spread throughout Europe. The style evolved over time. First, we'll hear the 12th-century work from Aquitaine, then the 13th-century Cistercian version from Hauterive, and finally the Las Huelgas Monastery version from Burgos, from the early 14th century. To sing all three pieces, here once again is the Portuguese ensemble Vozes Alfonsinas. Composer: Anonymous Catholicorum concio – organum in 2 vocal parts - 5’ Aquitaine, 12th century Cistercians of Hauterive, 13th century Cistercians of Las Huelgas, 14th century We heard a Christmas song in three versions from the 12th, 13th and 14th centuries sung by the Portuguese ensemble Vozes Alfonsinas. We continue with a group of pieces referring to another kind of love, quite different from the divine variant: secular and suffering love. We'll hear an instrumental piece by Guillaume Dufay in a group of three works from an Italian manuscript, today preserved at Oporto’s Public Library (northern Portugal). One of the pieces in this sequence is sung in French, another in Italian, and one of the authors is English. The second instrumental piece is anonymous. Composer: Guillaume Dufay (~1400-1474) Interlude: J'ay mis mon cuer, from Oporto Public Library’s Codex 714 - 2’ Composer: Anonymous Helas n'array ie jamais mieux, from Oporto Public Library’s Codex 714 - 4’ Composer: Anonymous Interlude: A Florence/Ellas la fille - 1’50’’ Composer: Robertus de Anglia (fl. 1450) O fallaze e ria fortuna, from Oporto Public Library’s Codex 714 - 2’ We just heard two secular songs performed by the Portuguese ensemble Vozes Alfonsinas. The next sequence includes three songs and two instrumental Iberian Renaissance pieces. The first one depicts Lianor, a beautiful barefooted woman standing by a fountain, evoked by the late 16th-century

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and highly respected Portuguese poet: Luis de Camões. These rarely heard miniatures deal with the subjects of longing and the pain of separation. Composer: Anonymous Na fonte está Lianor (Lianor at the fountain), Bibliothèque de l'Ecole des Beaux-Arts de Paris, Masson (Masson Songbook) - 2’ Composer: Anonymous Minina dos olhos verdes (Green eyed little girl), Bibliothèque de l'Ecole des Beaux-Arts de Paris, Masson (Masson Songbook) - 2’ Composer: Diego Ortiz (~1510-~1570) Interlude: Recercada prima - 2’ Composer: Miguel de Fuenllana (?-1578) Endechas de Canarias: Si los delfines - 3’30’’ Composer: Luys Milán (~1500-~1560) Interlude: Fantasia - 2’30’’ After that evocation of secular love in these three Iberian songs, the Portuguese ensemble Vozes Alfonsinas returns again to divine love. After a brief processional chant, we’ll hear a Christmas Carol with a Spanish text, now preserved at the Fine Arts School of Paris. Composer: Anonymous Benedicamus Domino, from Lorvão processions - 3’ Composer: Anonymous Dalha den cima del cielo, Christmas song, Bibliothèque de l'Ecole des Beaux-Arts de Paris, Masson (Masson Songbook) - 2’ The ensemble Vozes Alfonsinas will end this Portuguese contribution to the Euroradio Christmas Special Day with a Christmas villancico from 1643. The text refers to the joy surrounding Jesus, his mother Virgin Mary and his father Joseph, but in a Creole dialect typically associated with black slaves in the 17th century. The piece also shows some affinity with African syncopated rhythms, surely testifiying to some cultural blending for the first time in Portugal. “Sã Qui Turo Zente Pleta” means “We are all black people here”. Composer: Anonymous Christmas Villancico 'negro': Sã qui turo zente pleta - 3’ That was a Portuguese Christmas villancico quite popular during the Age of Discoveries, sang by the ensemble Vozes Alfonsinas led by Manuel Pedro Ferreira. This concert took place at the Belem Cultural Centre in Lisbon. That concludes the Portuguese contribution to this year’s Euroradio Christmas Special Day. Antena 2, Radio and Television of Portugal, wish you a nice holiday and a Happy Christmas. The Euroradio Special Day now continues with a broadcast by Bulgarian Radio.

Bem-vindo ao Centro Cultural de Belém em Lisboa, Portugal. A contribuição portuguesa para este Dia Especial de Natal da União Europeia de Radiodifusão remete para o mais desejado dos sentimentos nesta época do ano: o amor. Não apenas o amor divino, relacionado com a quadra, com a dedicação a Deus e aos mais necessitados, mas também o amor profano, da paixão e das palpitações do coração. As Vozes Alfonsinas vão estar em palco nos próximos 55 minutos. O grupo dirigido por Manuel Pedro Ferreira tem-se afirmado ao longo da última década como um dos mais criativos e sólidos conjuntos musicais em Portugal. O seu mais recente CD intitulado "O Tempo dos Trovadores" foi considerado pelo site Classics Today um trabalho primoroso. As Vozes Alfonsinas,

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neste concerto, começam por nos desvendar o chamado Canto da Sibila. Esta é uma profecia posta nos lábios duma sacerdotisa: a sibila Eritreia prevê o fim do mundo e uma série de desgraças apocalípticas que se abaterão sobre os homens. A versão abreviada que aqui se apresenta era cantada na Sé de Braga nas vésperas de Natal, de modo a induzir um ambiente tenebroso em contraste com a luminosidade salvadora do nascimento de Jesus. Composer: Anonymous Sibila Singing according to Braga tradition, from Christmas’ Eve - 6’ O grupo português Vozes Alfonsinas interpretou o Canto da Sibila segundo a tradição da Sé de Braga. A próxima etapa do contributo português para este dia especial de Natal da União Europeia de Radiodifusão é um excerto da Missa do Galo. A Epístola de S. Paulo a Tito recomenda elevação moral aos cristãos e neste caso cruza-se com um poema cantado em coro, alusivo à alegria do Natal e à maravilha que é o nascimento milagroso de Deus feito homem. Composer: Anonymous Saint Paul Epistle to Titus with tropo Gaudeamus (Matthew’s Missal), from Midnight Mass - 6’30’’ Depois deste excerto da Missa do Galo, cantada pelo agrupamento português Vozes Alfonsinas, prosseguimos com um Cântico Festivo para o dia de Natal, concebido há cerca de 8 séculos. As duas vozes evocam monjas cistercienses celebrando o Natal, numa versão do Mosteiro de Hauterive na Suiça. Composer: Anonymous (12th century) Ad cantus leticie – discantus in 2 voices, version from the Order of Cistercians - 2’ A próxima peça a duas vozes abre com um texto festivo relacionado com o Natal. Esta obra foi composta no sul de França, mas espalhou-se depois por toda a Europa. O seu estilo foi modificando com o tempo. Ouviremos primeiro a versão mais antiga, da Aquitânia do século 12. Depois uma versão cisterciense de Hauterive do século 13. E finalmente a versão do Mosteiro de Huelgas, em Burgos, do início do século 14. A interpretação é do grupo português Vozes Alfonsinas. Composer: Anonymous Catholicorum concio – organum in 2 voices - 5’ Aquitani’s version, 12th century Cistercians of Hauteriv version, 13th century Cistercians of Las Huelgas monastery, 14th century Ouvimos uma Canção de Natal nas versões dos séculos 12, 13 e 14 interpretada pelo agrupamento português Vozes Alfonsinas. Prosseguimos com peças que reflectem um outro tipo de amor, bem diferente da adoração divina: o amor profano. Ouviremos a seguir uma peça instrumental inserida num conjunto de três peças pertencentes a um manuscrito italiano, que hoje se encontra na Biblioteca do Porto, em Portugal. Uma das particularidades desta sequência é a presença duma peça cantada em francês e outra em italiano, sendo um dos autores inglês. A temática roda em torno do sofrimento amoroso. O primeiro excerto instrumental tem a assinatura de Guillaume Dufay. Composer: Guillaume Dufay (~1400-1474) Interlude: J'ay mis mon cuer, from Oporto Public Library’s Codex 714 - 2’ Composer: Anonymous Helas n'array ie jamais mieux, from Oporto Public Library’s Codex 714 - 4’ Composer: Anonymous Interlude: A Florence/Ellas la fille - 1’50’’ Composer: Robertus de Anglia (fl. 1450) O fallaze e ria fortuna, from Oporto Public Library’s Codex 714 - 2’ Ouvimos duas canções profanas interpretadas pelo agrupamento português Vozes Alfonsinas. A próxima sequência inclui três canções e duas peças ibéricas do renascimento. A primeira canção retrata Leonor, uma bela mulher descalça junto a uma fonte, evocada no final do século 16 pelo mais universal dos poetas portugueses: Luis de Camões. A temática da distância e da saudade ocupa um lugar central nestas miniaturas raramente escutadas. Composer: Anonymous

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Na fonte está Lianor (Lianor at the fountain), from ‘Cancioneiro da Biblioteca de Ècole des Beaux-Arts de Paris, Masson’ (Masson songbook) - 2’ Composer: Anonymous Minina dos olhos verdes (Green eyed little girl), from ‘Cancioneiro da Biblioteca de Ècole des Beaux-Arts de Paris, Masson’ (Masson songbook) - 2’ Composer: Diego Ortiz (~1510-~1570) Interlude: Recercada prima - 2’ Composer: Miguel de Fuenllana (?-1578) Endechas de Canarias: Si los delfines - 3’30’’ Composer: Luys Milán (~1500-~1560) Interlude: Fantasia - 2’30’’ Depois da evocação do amor profano nestas três canções ibéricas, o agrupamento português Vozes Alfonsinas mergulha de novo no amor divino. Depois dum curto cântico concebido para uma procissão, ouviremos uma Canção de Natal com um texto espanhol, hoje conservado na Escola de Belas Artes de Paris. Composer: Anonymous Benedicamus Domino, from Lorvão processions - 3’ Composer: Anonymous Dalha den cima del cielo, Christmas song from ‘Cancioneiro da Biblioteca de Ècole des Beaux-Arts de Paris, Masson’ (Masson songbook) - 2’ O agrupamento Vozes Alfonsinas termina a participação portuguesa neste Dia Especial de Natal da União Europeia de Radiodifusão com um vilancico de Natal estreado em 1643. O texto evoca a alegria em torno do menino Jesus, da Virgem Maria e de São José, sempre no linguajar crioulo dos escravos negros do século 17. A peça revela ainda o gosto por ritmos sincopados de origem africana, no que será um dos primeiros testemunhos da mestiçagem cultural ocorrida em Portugal. “Sã Qui Turo Zente Pleta” significa “Aqui é tudo gente negra”. Composer: Anonymous Christmas Vilancico 'negro': Sã qui turo zente pleta - 3’ Ouvimos um vilancico português de natal da época dos descobrimentos, interpretado pelo agrupamento Vozes Alfonsinas dirigido por Manuel Pedro Ferreira. Um concerto no Centro Cultural de Belém, em Lisboa. Termina assim a participação portuguesa neste Dia Especial de Natal da União Europeia de Radiodifusão. A Antena 2, Rádio e Televisão de Portugal, deseja a todos uma boa jornada e um feliz Natal.

EBU No: EURO/2008-2009/N/004 Offering organization(s): BGBNR

Date of concert: Sunday 21/12/2008 - Live transmissionStart of concert: 12:00 GMTEnd of concert: 12:55 GMTBroadcast by satellite the 21/12/2008 from 12:00 to 12:55 GMT Channel: R Concert modified on: 20/11/2008

Entry of venue, timings and title of work 3 20/11/2008Email sent

05/12/2008Entry of Bulgarian presentation text Programme updated 05/12/2008Email sent

08/12/2008Entry of English presentation text

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08/12/2008Email sent

Venue of concert: Studio 1, Bulgarian National Radio, Sofia

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Composer: Dobri Hristov (1875-1941)

Bogovitsa on the Shelf 001.10 min.

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Composer: Petko Staynov

A Bright Star is Shining 002.20 min.

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Composer: Hristo Nedyalkov

Song of the Christmas Tree 003.50 min.

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Composer: Atanas Kosev

Winter is coming 003.10 min.

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Composer: Angel Bukoreshliev

Hey Christmas, My Christmas 001.00 min.

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Composer: César Franck (1822-1890)

Panis Angelicus 004.00 min.

Soloist: Ioana Pekova

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Composer: Traditional Arranger: Peter Boyadjiev

Three Carols from the Silistra Region 002.15 min.

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At the Slide 002.05 min.

Soloist: Svetlina Stoyanova

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Composer: Traditional

O Tannenbaum (O Christmas Tree) 003.15 min.

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Composer: Alexander Raichev

Snow Joy 003.20 min.

-11-

Composer: Peter Boyadjiev

Carol Singers 001.35 min.

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Composer: Joseph Moor Text: Franz Xaver Gruber (1787-1863)

Stille Nacht, heilige Nacht (Silent Night) 003.25 min.

Soloist: Ioana Pekova

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Christmas Stars 002.15 min.

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Composer: Adolphe Adam (1803-1856)

O Holy Night 003.50 min.

Soloist: Svetlina Stoyanova

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Winter Song 002.20 min.

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Ensemble: Bulgarian National Radio Children's ChoirDirector: Hristo Nedyalkov

Children's Christmas songs from the Choir's rich repertory


A Bright Star is Shining A bright star is shining over three roads. Shepherds and their little sheep with curved horns are walking along the first road. On the second road, merry people are walking with wheat. On the third are winegrowers with sparkling red wine. All of them are going to the manger in Bethlehem to present gifts to the Holy Infant.

Ensemble: Bulgarian National Radio Children's ChoirAccompanist: Svetlana Ananievska


Ladies and gentlemen, Hello from Sofia, from the Studio of Bulgarian National Radio, where this holiday concert is about to begin. We would like to send our Christmas wishes to our guests here in the Studio and to listeners in Europe and North America as part of this Euroradio Special Day. We greet you with a concert by the Bulgarian National Radio Children's Choir and we happily say to you – Merry Christmas! In Bulgaria we call Christmas “the most domestic оf holidays”. There is nothing more homey to us than that pleasant hubbub before Christmas Eve, when the Christmas tree is decorated, Advent fare is cooked and the fireplace is prepared. It seems as though children are the most important on that day – we Bulgarians are especially attached to them. Our traditions are evoked to survive through them, and they are truly our living sensation for faith, hope and love. I am Adelina Alexandrova. It is my pleasure to be with you at a time when the messengers of this great day are the young people themselves. Here now is the Radio Children's Choir, conducted by Hristo Nedyalkov, with Svetlana Ananievska at the piano. On Christmas Eve, one of the most eagerly anticipated moments, rich in symbolism, is the ritual bread. A “lucky token” is hidden inside the “bogovitsa” (the round Christmas bread). Children are especially curious as to whom the “luck” will go and who will be the “chosen one” to bring happiness

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and wealth to the home. Let us listen to “Bogovitsa on the Shelf”, the first song in the concert, and may it bring health and luck to every home. It was composed by Dobri Hristov and the lyrics are by Pencho Slaveykov. “Bogovitsa on the Shelf” – Dobri Hristov (1975–1941) - 1.10 Across the Bulgarian lands, Christmas is related not only to the birth of Christ, but the coming of the New Solar Year. Many ancient rituals and customs are entwined into the Christian rites, adding originality to the Bulgarian Christmas. One typically Bulgarian custom, for example, is “Koleduvane”. Only the men and boys in the village take part in it. At midnight on Christmas Eve, the koledari gather in groups, sing carols and visit every home in the village to bless its hosts, and in return they are presented with coins, corn, walnuts and ring-shaped Christmas buns. Another popular Bulgarian custom, preserved to this day, is “Survakane” – a wish for health, long life and rich harvest, and performed with decorated dogwood branches. “Survakane” is done on the first day after the New Year by children only. Probably our experience has shown that it is children's wishes which reach the “ears of God”. Why am I telling you all this? Because there is evidence of the miraculous power of these customs! We could feel it a little while ago with Dobri Hristov's music. It is incredible, but his fate as a composer was as if predestined the day he earned his first pennies through “Survakane”. The boy bought himself the small flute on which he learned to play. We must believe in miracles! This belief is made stronger by the music of another Bulgarian composer – Petko Staynov. At the age of eleven, he lost his sight, but succeeded in continuing his education and graduated in piano and composition from the Dresden Conservatory. The Bulgarian National Radio Children's Choir will now sing “A Bright Star Is Shining” – a song composed by Petko Staynov to traditional lyrics. “A Bright Star Is Shining” – Petko Staynov (1896–1977) - 2.20 Dear guests, dear listeners, this is the Christmas concert with the participation of the "Big Little Voices" of BNR – the Children’s Radio Choir. Founded in 1960, the Choir occupies a prestigious place on the Bulgarian music scene. Over the years, it has given concerts on four continents. The Choir has enjoyed great success at famous concert halls in New York, Washington, Tokyo, London, Paris, Berlin, Moscow, and many other cities in almost 30 countries. The conductor of the Choir since its founding is the renowned Bulgarian personality and pedagogue, Doctor Honoris Causa of the Tokai University of Japan, Maestro Hristo Nedyalkov. We will now listen to Hristo Nedyalkov’s “Song of the Little Christmas Tree”, with lyrics by Dimiter Spassov, and “On the Eve of Winter”, composed by Atanas Kossev with lyrics by Kiril Hristov. “Song of the Little Christmas Tree” – Hristo Nedyalkov (1932) - 3.50 “On the Eve of Winter” – Atanas Kossev (1934) - 3.10 “Hey, Christmas, My Christmas” – it is with these words that most of the Christmas carols begin, when the doors of homes open for the blessing of the “koledari”. “Hey, Christmas, My Christmas” was composed by one of the most renowned Bulgarian folklore experts, Angel Bukureshtliev. Pencho Slaveykov is the author of the lyrics. “Hey, Christmas, My Christmas” – Angel Bukureshtliev(1870–1950) - 1.00 “Merry Christmas! Merry and Blessed!” – we will translate this universal wish to all Christians to the language of music through César Franck’s song “Panis angelicus”. Soloist: Ioana Pekova “Panis angelicus” – César Franck (1822–1890) - 4.00

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We now return to the musical environment of Bulgarian folklore with “Three Christmas Carols from the Silistra Region”, arranged by Peter Boyadjiev. “Three Carols from the Silistra Region” – Peter Boyadjiev (1883–1961) - 2.15 The BNR Children’s Choir wishes everybody a Merry Christmas with this concert. May it be joyful and happy, in the same way that children are joyful and happy in their winter games. “On the Slide” – music by Hristo Nedyalkov, lyrics by Ivan Trenev. Soloist: Svetlina Stoyanova “On the Slide” – Hristo Nedyalkov - 2.05 “O Christmas Tree” (O Tannenbaum), the popular German song, is the next classical piece in our Christmas concert. After that we will listen to “Snow Joy” by the composer Alexander Raichev with lyrics by Yordan Drumnikov. “O Tannenbaum” – a popular German song - 3.15 “Snow Joy” – Alexander Raichev - 3.20 The Children’s Radio Choir was conducted by Hristo Nedyalkov! The song “Koledari”, composed by Peter Boyadjiev and lyrics by Pencho Slaveykov, is yet another musical picture of folk customs – young men from the village in their Sunday best, singing and blessing, spread the happy news about the birth of the Son of God. “Koledari” – Peter Boyadjiev - 1.35 “Silent Night, Holy Night” – composed by Josef Mohr and Franz Gruber. Soloist: Ioana Pekova. "Silent Night, Holy Night" (Stille Nacht, Heilige Nacht) - 3.25 The stars come down from the sky to shine on the birch trees. This is our hope that our dreams will come true. “Christmas Stars” – Hristo Nedyalkov - 2.15 May Christmas be merry and may all our dreams come true! That is what the little singers of the BNR Children’s Radio Choir wish for us. And now let us listen to their next performance: “O Holy Night” by Adolphe Adam. Soloist: Svetlina Stoyanova. “O Holy Night" (Cantique de Noël) – Adolphe Adam - 3.50 It is my sincere belief that the Christmas and New Year wishes of children for health and luck really come true. Here is the last musical Christmas wish by the Children’s Radio Choir - for more joy and fun! “Winter Song”, composed by Hristo Nedyalkov, lyrics by Dimiter Spassov. “Winter Song” – Hristo Nedyalkov - 2.20 Once again, Merry Christmas on behalf of Bulgarian National Radio and the Children’s Radio Choir, conducted by Hristo Nedyalkov. Svetlana Ananievska accompanied on the piano. Script – Doroteya Petrova. Presenter – Adelina Alexandrova. The Euroradio Christmas Day will continue with a concert from Finland. We wish you joyful and happy Christmas holidays from the BNR Studio in Sofia.

Bulgarian script: http://www.ebu.ch/musd/73071.pdf

EBU No: EURO/2008-2009/N/005 Offering organization(s): FIYLE

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Date of concert: Sunday 21/12/2008 - Live transmissionStart of concert: 13:05 GMT Music duration: 038.45 MinutesEnd of concert: 13:55 GMTBroadcast by satellite the 21/12/2008 from 13:05 to 13:55 GMT Channel: R

Venue of concert: Kallio Church, Helsinki

-1-

Composer: Leos Janácek (1854-1928)

Graduale 002.00 min.

-2-

Composer: Bohuslav Martinu (1890-1959)

Zvestovani (The Annunciation) 002.00 min.

-3-

Composer: Johannes Brahms (1833-1897)

Der englische Jäger 002.00 min.

-4-

Composer: Jean Sibelius (1865-1957)

Nyt seimelle pienoisen lapsen (Now, beside the manger of 001.45 min. the little one)

-5-

Composer: Matthew Whittall

In the bleak mid-winter 002.30 min.

-6-

Composer: Selim Palmgren (1878-1951)

Rauhanruhtinas (Prince of Peace) 001.30 min.

-7-

Composer: Leevi Madetoja (1887-1947)

Arkihuolesi kaikki heitä (Cast off thy everyday cares) 001.30 min.

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-8-

Composer: Jacobus Gallus (1550-1591)

Mirabile mysterium 003.15 min.

-9-

Composer: Jonathan Harvey (* 1939)

The Angels 004.00 min.

-10-

Composer: Tomás Luis de Victoria (1548-1611)

O magnum mysterium 004.00 min.

-11-

Composer: Toivo Kuula (1883-1918)

Rukous (Prayer) 003.45 min.

-12-

Composer: Einojuhani Rautavaara (* 1928)

New work to be announced (Première) 005.00 min.

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Composer: Francis Poulenc (1899-1963)

Videntes stellam 003.15 min.

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Composer: Francis Poulenc (1899-1963)

Hodie Christus natus est 002.00 min.


Ensemble: Helsinki Chamber ChorusDirector: Nils Schweckendiek

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Finnish and international Christmas carols



EBU No: EURO/2008-2009/N/006 Offering organization(s): USAPM


=> One piece added to the programme => Entry of venue, recording date and original script 14/11/2008Email sent

Venue of concert: Memorial Church, Stanford University, Palo Alto, California

-1-

Virga Jesse floruit, Gregorian chant 003.00 min.

-2-

Composer: Perotinus (fl. ~1200)

Ex semine rosa 003.00 min.

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Composer: Michael Praetorius (1571-1621)

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In dulci jubilo 003.00 min.

-4-

Composer: Mateo Flecha (el Viejo) (~1481-~1553)

El Jubilate 006.30 min.

-5-

Composer: Gaspar Fernández (~1575-1629)

Xiocochi xicochi conetzintle

-6-

Composer: Juan García de Zéspedes (~1619-1678)

Convidando está la noche 004.30 min.

-7-

Composer: Arvo Pärt (* 1935)

O Spross aus Isais Wurzel, from 'Seven Magnificat 001.30 min. Antiphons'

-8-

Composer: Vytautas Miskinis (* 1954)

O Radix Jesse, from 'Seven O-Antiphons' 003.30 min.

-9-

Composer: William J. Kirkpatrick (1838-1921)

Away in a manger 003.00 min.

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Composer: Mykola Leontovych (1877-1921)

Carol of the Bells 002.30 min.

-11-


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Arranger: Joseph Jennings

Medley of Christmas Spirituals 011.00 min. Everywhere I GoOh, What A Pretty Little BabyOh, Jerusalem in the Morning


Ensemble: ChanticleerDirector: Joseph H. Jennings


Ensemble: Chanticleerhttp://www.chanticleer.org Jesse Antin, Eric S. Brenner, Dylan Hostetter, Timothy Maguire, Clifton Massey, soprano and alto Justin Montigne, Matthew D. Oltman, Fraser L. Walters, tenor Eric Alatorre, John Bischoff, Ben Johns, Mark Sullivan, baritone and bass The twelve men of Chanticleer, one of America's premiere vocal ensembles, have been called an orchestra of voices. The group is especially celebrated for their holiday programs, in concert and on three best-selling CDs. For 2004, NPR will present a program with Chanticleer at the Metropolitan Museum of Art in New York city, showcasing the group's Grammy Award-winning style in everything from Renaissance Christmas hymns to Music Director Joseph Jennings' own close-harmony arrangements of holiday classics.


http://www.ebu.ch/musd/72135.pdf

EBU No: EURO/2008-2009/N/007 Offering organization(s): DKDR

Date of concert: Sunday 21/12/2008 - Live transmissionStart of concert: 15:00 GMTEnd of concert: 15:55 GMTBroadcast by satellite the 21/12/2008 from 15:00 to 15:55 GMT Channel: R

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Concert modified on: 10/11/2008Programme update 10/11/2008Email sent

04/12/2008Entry of Danish presentation text For time reasons, work No. 9 was withdrawn from the programme 04/12/2008Email sent


08/12/2008Small correction in the paragraph, line 2, right after the first piece of music: => Danish text Wrong: J.A.P. Schultz der har skrevet teksten Correct: J.A.P. Schulz der har skrevet musikken => English text Wrong: J. A. P. Schultz wrote the text Correct: J. A. P. Schultz wrote the music 08/12/2008Email sent

Venue of concert: Søborg Church, near Græsted, Northern Zealand http://www.holbo.dk/historie/midalder/midalder/soborg/k_index.htm

-1-

Composer: J.A.P. Schulz (1747-1800)Text: H.A. Brorson (1694-1764)Arranger: Michael Bojesen (* 1960)

Her kommer Jesus, dine små (Jesus, here come thy little 004.00 min. ones)

(procession and soprano soloist)

Soloist: Nina Fischer, soprano

-2-


Singet dem Herrn 013.00 min.

-3-


Ich steh' an deiner Krippe hier 003.00 min.

-4-

Composer: Niels la Cour (* 1944)

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Three Latin Motets 007.00 min. Hodie Christus natus estAve MariaLaudate Dominum

-5-

Composer: Morten Lauridsen (* 1943)

O magnum mysterium 007.00 min.

-6-

Composer: Benjamin Britten (1913-1976)

Hymn to the Virgin 003.15 min.

Soloist: Klaudia KidonSoloist: Lars Pedersen

-7-

Composer: Trond Kverno (* 1945)

Corpus Christi Carol 004.00 min.

Soloist: Klaudia KidonSoloist: Lars Pedersen

-8-

Composer: Franz Xaver Gruber (1787-1863)Text: B.S. Ingemann Arranger: Michael Bojesen (* 1960)

Glade jul (Silent Night) 004.00 min.


Ensemble: Danish National Vocal EnsembleDirector: Michael Bojesen


Ensemble: Danish National Vocal Ensemblehttp://www.dr.dk/Orkestre/DR+RK+og+VE/index.htm

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Director: Michael Bojesenhttp://www.ewh.dk/Default.aspx?TabId=2449&State_2955=2&composerId_2955=1951


Welcome to our concert from Søborg Church featuring the Danish National Vocal Ensemble/DR. We are celebrating Yuletide: odd, really, when everything has been getting steadily darker and colder. But what we are celebrating is that today this changes: the light and warmth return and everything starts all over again. We celebrate change and rebirth: the old returns in a new way. The works in today’s programme are all about change and the mystery of rebirth, our hopes of the new and our expectations of what is yet to come. We will be roaming far and wide in time and space, from the legendary Bach to the contemporary Danish-American composer Morten Lauridsen; from the Dane Niels la Cour to Norway's Trond Kverno and Britain's Benjamin Britten. Music changes and is reborn as time goes by, but our hopes and expectations remain the same. The central event is, of course, the Nativity and the baby in his crib, but the story is far, far greater than that, and stretches from the stable in Bethlehem all the way to heaven and eternity. Perhaps we will hear the singing from there if we close our eyes and listen hard ... (1’20) Procession: Her kommer Jesus - ca 4 minutes Brorson's lovely hymn Her kommer Jesus dine små took us all the way from Bethlehem to heaven. J. A. P. Schultz wrote the music, and Michael Bojesen arranged the hymn for the ensemble. Michael Bojesen is today's conductor for the Danish National Vocal Ensemble/DR, who has now taken up itsposition in Søborg Church. The soloist was Nina Fischer. How did Bach celebrate Christmas? In December 1727 he must have spent some of the time in an exclusive room attached to the celebrated Thomasschule in Leipzig. It may have been snowing outdoors, while indoors he was able to keep warm at the huge desk between the floor-to-ceiling bookshelves stuffed with sheet music and books. This room was Bach’s Komponirstube (composing room), a perk that came with the post of cantor. Just before Bach arrived, the Stube was refurbished for the astronomical sum of 100 thaler, and the wooden shelves were probably still dazzlingly empty! Perhaps it was at the great desk that Back wrote his motet “Singet dem Herr ein neues Lied – Sing tothe Lord a new song”. It was written for a city festival in Leipzig and the occasion must have been a cheerful one, for in the four parts of the motet Bach captures moments of intense rapture and joy. He is hailing renewal and change: Sing to the Lord a NEW song, with the emphasis on NEW. To leave us in no doubt, the phrase is repeated almost 50 times in 13 minutes! Danish National Vocal Ensemble/DR and Michael Bojesen: Bach’s Singet dem Herrn ein neues Lied. (2’00) J.S. Bach: Singet deM Herrn - 13 minutes J.S. Bach: Ich steh’ an deiner Krippen hier - 3 minutes Take my spirit, my mind, my heart, soul and courage: all this you have given me. Thus Paul Gerhardt concludes the words which Bach took for a chorale in his Christmas Oratorio, Ich steh an deiner Krippen hier – I am standing by your crib. Before that, we heard Bach’s motet Singet dem Herrn ein neues Lied. We are now going to move a couple of centuries forward – and a couple of centuries backward at the same time. The Danish composer Niels la Cour wrote his three Latin motets in 1982, but he was

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inspired by Gregorian chant – the old hymns that monks have chanted and hummed since the 7th or 8th century. This is where the history of Western European music begins: in the chanting of the monks that spread across Europe as the monks moved from monastery to monastery. It is the beginning of this great span of history that fascinates Niels la Cour. He says of Gregorian chant: “The music is a distillation of centuries of life and experience, and of the most powerful manifestation of sanctity – it is elemental and highly cultivated, simple and wise”. The Danish National Vocal Ensemble/DR will now sing three Latin motets by Niels la Cour: Hodie Christus Natus est, Ave Maria and Laudate Dominum. (1’10) Niels la Cour: - 3 Motetti latini - 7’ Old music in new guises. Niels la Cour: 3 Motetti latini, Hodie Christus Natus est, Ave Maria and Laudate Dominum. The Danish National Vocal Ensemble/DR sang and Michael Bojesen conducted. The Christmas story is one of change and rebirth. And, of course, it is the story of the baby born in a stable in Bethlehem. That is where we are going now – into the darkness where the animals are quietly studying the miracle that has taken place. Morten Lauridsen’s O magnum mysterium (O great mystery), is one of the greatest hits of modern church music. The American composer is even called “a choral hit man”! His music has won several Grammy Awards, and with the current season upon us it doesn’t hurt matters that he actually looks like Santa Claus, with a great bushy beard and amiable eyes. Morten Lauridsen’s music is of the mystical kind: music that is seen to provide answers to questions that have never been asked. It is eternal music that embraces the moment and the great unity of which it is part. The star shines above the stable in Bethlehem. Inside it is quiet as the animals watch Mary and the infant child. (1:15) Morten Lauridsen: O magnum mysterium - 7’ The Danish National Vocal Ensemble/DR sang and Michael Bojesen conducted Morten Lauridsen's O magnum mysterium , about Mary and the infant child in the crib. It probably wasn’t as snug in the stable as the music indicates; in fact, it was probably cold and damp. And with the birth of a baby to boot ... No wonder the Virgin Mary has come to symbolize generosity and self-sacrifice, and that it is to her we turn to pray for grace and mercy. That is what we are going to hear now: Benjamin Britten’s Hymn to the Virgin, written when he was only 16 years old. His mother also played an important part in music history because she was a pianist and more than anything else extraordinarily ambitious on her son’s behalf. It is said that Britten wanted to be the “fourth great B” after Bach, Beethoven and Brahms, but it was probably his mother Edith who kept pushing. However, it was not Edith Britten he wrote this piece for! Christmas begins with a birth but we know very well where it ended: on the Cross, where death took over – initially at least. In the Norwegian composer Trond Kverno’s fine Corpus Christi Carol, we follow a falcon which flies into a dead orchard. In the orchard is a bed. In the bed there is a wounded knight. Beside the bed there is a Virgin, weeping. There is a stone beside them and on it it says Corpus Christi – the Body of Christ. First, Britten Hymn to the Virgin (1’40) Benjamin Britten: Hymn to the Virgin - 3’15 Trond Kverno: Corpus Christi Carol - 4’ The Danish National Vocal Ensemble/DR sang Benjamin Britten’s Hymn to the Virgin and Trond Kverno’s Corpus Christi Carol. The soloists were Klaudia Kidon and Lars Pedersen. There is another special story about Christmas night. It took place at St Nicholas' Church in the

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village of Oberndorf, Austria. The priest, Josef Mohr, met the church organist, Franz Gruber. Mohr had written a short poem which he wanted Gruber to have a look at. He asked if Gruber would write a modest setting for piano and guitar. That evening, Christmas Eve, the congregation was able to hear the result: the two men sang, Gruber played the piano, and Mohr the guitar; the chorus repeated the last lines. That was the very first time that Stille Nacht, Heilige Nacht (Silent Night) resounded in the Christmas darkness. Fr. Gruber/text: B.S. Ingemann Arranged by: Michael Bojesen: Glade Jul, dejlige Jul (Silent Night) - 4’ And that means Christmas has come! The Danish National Vocal Ensemble/DR sang Glade jul, dejlige jul, arranged by its conductor Michael Bojesen. The great Danish hymn-writer Ingeman provided a Danish translation; Stille Nacht, Hellige Nacht exists in more than 300 translations around the world, so I hope our listeners elsewhere in Europe sang along too! That is the end of this broadcast from Denmark. This Euroradio Special Day continues with Christmas music from a concert in the Czech Republic by the Collegium Marianum in Prague. We wish you a Merry Christmas! (0:50)

Velkommen til koncert her i Søborg kirke med DR Vokalensemblet. Vi fejrer jul, siger vi. Underligt egentlig, når nu alt bare er blevet støt mørkere og koldere. Men vi fejrer netop at det ændrer sig. At lyset og varmen kommer tilbage og det hele starter forfra. Vi fejrer forandringen eller fornyelsen - at det gamle vender tilbage på en ny måde. Værkerne i dagens koncert kredser alle om forandringen og fornyelsens mysterium, om håbet om det nye og forventningen til det der skal komme. Vi skal vidt omkring både i tid og rum, lige fra gamle Bach til den højst nulevende dansk-amerikanske komponist Morten Lauridsen; fra danske Niels la Cour til norske Trond Kverno og engelske Benjamin Britten. Musikken forandrer og fornyer sig undervejs, men håbet og forventningen er den samme. Hovedbegivenheden er selvfølgelig fødslen og det lille barn i krybben, men historien er langt, langt større og strækker sig fra stalden i Betlehem hele vejen til Himmerig og evigheden. Måske kan vi høre sangen derfra hvis vi lukker øjnene og virkelig lytter efter ... (1’20) Procession: Her kommer Jesus - cirka 4 minutter Så kom vi hele vejen fra Betlehem til Himmerig i Brorsons fine Her kommer Jesus dine små. Det er J.A.P. Schulz der har skrevet musikken, og Michael Bojesen havde arrangeret. Michael Bojesen er dirigent i dag foran DR Vokalensemblet som nu er kommet på plads her i Søborg kirke. Solist var Nina Fischer. Hvordan fejrede Bach jul? I december 1727 tilbragte han helt sikkert en del af tiden i et eksklusivt værelse knyttet til den navnkundige Thomasschule i Leipzig. Udenfor har det måske sneet, indenfor har han kunnet lune sig ved det store skrivebord mellem gulv til loft-reolerne proppet med noder og bøg. Værelset var Bachs Komponir-Stube – et frynsegode som hørte med til stillingen som kantor. Lige inden Bach kom til var ”Stuben” blevet sat i stand for den svimlende sum af 100 Thaler – og træet i reolerne har sikkert stadigt skinnet blankt! Måske var det ved det store skrivebord herinde at Bach skrev motetten Singet dem Herrn ein neues Lied – Syng Herren en ny sang. Den er vistnok skrevet til en by-fest i Leipzig. Man er ikke sikker, men anledningen MÅ næsten have været glædelig, for i den fire satser lange motet fanger Bach øjeblikke af intens lykke og begejstring. Det er fornyelsen og forandringen han besynger: Syng Herren en NY sang, med tryk på NY. For at der ikke skal være nogen bliver strofen gentaget hen ved 50 gange på de 13 minutter satsen varer.

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DR Vokalensemblet og Michael Bojesen i Bachs Singet dem Herrn ein neues Lied. (2’00) J.S. Bach: Singet den Herrn - 13 minutter J.S. Bach: Ich steh’ an deiner Krippen hier - 3’ Tag min ånd, forstand, hjerte, sjæl og mod. Alt det du har givet mig. Sådan slutter Paul Gerhardt tekst som Bach brugte i en koral i sit Juleoratorium, koralen: „Ich steh an deiner Krippen hier“, Jeg står her ved din krybbe. Inden da hørte vi Bachs motet Singet dem Herrn ein neues Lied. Vi skal nu et par århundreder frem – og på samme tid et par århundreder tilbage. Den danske komponist Niels la Cour skrev sine 3 latinske motetter i 1982, men inspirationen fandt han i den gamle gregorianske sang – i de gamle hymner som munkene har messet og nynnet siden 8-900-tallet. Det er her historien om den vesteuropæiske musik begynder: I munkesangen som blev spredt rundt i Europa når munkene rejste fra kloster til kloster. Det er netop begyndelsen til den lange historie der fascinerer Niels la Cour. Han fortæller om den gregorianske sang: Musikken er et destillat af århundreders liv og erfaring, og er et af de stærkeste udtryk for hellighed – den er elementær og højkultiveret, enkel og vis. DR Vokalensemblet synger nu 3 latinske motetter af Niels la Cour: Hodie Christus Natus est, Ave Maria og Laudate Dominum. (1’10) Niels la Cour: 3 motetti latini - 7’ Gammel musik i ny forklædning. Niels la Cours ”3 latinske motetter”, Hodie Christus natus est, Ave Maria og Laudate Dominum. DR Vokalensemblet sang og Michael Bojesen dirigerede. Historien om julen er historien om forandring og fornyelse. Og så er det selvfølgelig historien om barnet der bliver født i en krybbe i Betlehem. Det er der vi skal hen nu - ind i den mørke stald hvor dyrene stille betragter det under der er sket. Morten Lauridsens O magnum mysterium, O store under er et af den nyere kormusiks største hits. Den amerikanske komponist kaldes ligefrem ”A choral hit-man”! - hans musik har vundet flere grammyer, og i dagens anledning gør det jo heller ikke noget at Morten Lauridsen faktisk ligner julemanden, med stort busket skæg og venlige øjne. Morten Lauridsens musik er af den mystiske slags, musik som synes at give svar på et aldrig formuleret spørgsmål. Det er evig musik, der på en gang favner det nærværende og den store sammenhæng det er en del af. Her lyser stjernen over stalden i Betlehem. Indenfor er der stille mens dyrene betragter Maria og det lille barn. (1’15) Morten Lauridsen: - O magnum mysterium - 7’ DR Vokalensemblet dirigeret af Michael Bojesen i Morten Lauridsens O Magnum Mysterium, om Maria og det lille barn i krybben. Det har sikkert ikke været så hyggeligt i stalden som musikken giver indtryk af - nok snarere temmelig koldt og fugtigt, og læg så en fødsel oveni ... Ikke underligt er Jomfru Maria er blevet symbol på uselviskhed og selvopofrelse, og det er hende man kan vende sig til med en bøn om nåde og barmhjertighed. Det skal vi høre nu: engelske Benjamin Brittens Hymn to the Virgin, Hymne til jomfruen, som Britten skrev da han var bare 16 år gammel. Hans mor spiller nu også en vigtig rolle i historien, for hun var pianist og sanger og frem for alt umådelig ambitiøs på sin søns vegne. Man siger at Britten gerne ville være ”det fjerde store B”, efter Bach, Beethoven og Brahms - men det var nok også mor Edith der skubbede på. men det er altså ikke hende Britten har skrevet sin hymne til ...

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Julen begynder med en fødsel, men vi ved jo godt hvor det hele ender: På korset hvor døden endelig indfinder sig - i hvert fald i første omgang. I den norske komponist Trond Kvernos fine Corpus Christi Carol følger vi en falk der flyver ind i en uddød frugthave. I haven står en seng, i sengen liggeren såret ridder og ved siden af sengen sidder en jomfru og græder. Der står en sten ved siden af, og på den står Corpus Kristi - Kristi legeme. Nu først Britten Hymn to the Virgin – Hymne til jomfruen. (1’40) Benjamin Britten: Hymn to the Virgin - 3’15 Trond Kverno: Corpus Christi Carol - 4’ DR Vokalensemblet sang Benjamin Brittens Hymn to the virgin og Trond Kvernos Corpus Christi Carol. Solisterne var Klaudia Kidon og Lars Pedersen. Der går en historie om julenat. Den finder sted i landsbyen Oberndorf i Østrig, i St. Nikolas-kirken. Her mødtes præsten Josef Mohr med kirkens organist, Franz Gruber. Mohr havde skrevet et lille digt han gerne ville have Gruber til at se på. Og han spurgte om Gruber ikke kunne skrive et lille arrangement for klaver og guitar. Samme aften, juleaften, kunne menigheden høre resultatet: De to mænd sang, Gruber spillede klaver, Mohr guitar og koret gentog de sidste linjer. Det var allerførste gang Stille Nacht, Heilige Nacht klang i julemørket. På dansk kalder vi den Glade jul. (0’50) Fr. Gruber/text: B.S. Ingemann arr: Michael Bojesen: Glade jul (Silent Night) - 4’ Så blev det jul! DR Vokalensemblet sang Glade jul i et arrangement af dirigent Michael Bojesen. Det er Ingeman der har skrevet den danske tekst til Glade jul. Stille Nacht findes i hen ved 300 oversættelser, så jeg håber lytterne rundt omkring i Europa har sunget med! Herfra slutter radiotransmissionen fra Danmark. Mens vi fortsætter koncerten her i kirken, kan de europæiske lyttere glæde sig til julemusik fra en koncert i Tjekkiet med barokensemblet Collegium Marianum. God fornøjelse og glædelig jul til dem. (0’50)

EBU No: EURO/2008-2009/N/008 Offering organization(s): CZCR

Date of concert: Sunday 21/12/2008 - Live transmissionStart of concert: 16:00 GMTEnd of concert: 16:55 GMTBroadcast by satellite the 21/12/2008 from 16:00 to 16:55 GMT Channel: R Concert modified on: 09/09/2008

Some programme details added New venue: Clementinum in Prague instead of Theresian Hall, Monastery, Brevnov 09/09/2008Email sent

21/11/2008Entry of new programme and Czech presentation text 21/11/2008Email sent


Venue of concert: Mirror Chapel, Clementinum, Prague http://www.prague.net/clementinum/ http://www.nkp.cz/_en/pages/page.php3?nazev=Klementinum's_History&submenu2=37

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-1-

Composer: Johann David Heinichen (1683-1729)

Pastorale 003.00 min.

-2-

Composer: Václav Karel H. Rovenský (1644-1718)

Two works:Mary, noble fertile field 002.30 min. Mary, will you please allow 002.00 min.

-3-

Composer: Johann J.I. Brentner (1689-1742)

Pastorella 005.00 min.

-4-

Composer: Jan Dismas Zelenka (1679-1745)

Alma redemptoris Mater 014.00 min.

-5-

Composer: Simon Brixi (1693-1735)

Alma redemptoris Mater 006.00 min.

-6-

Composer: Antonio Caldara (~1670-1736)

Aria 'Quel pargoletto' (Vaticini di pace) 004.50 min. (excerpt from the Christmas Cantata)

(That Little Child - Prophets of Peace)

-7-

Composer: Václav Karel H. Rovenský (1644-1718)

Excerpts (Capella Regia musicalis, 1693)To Jesus, that sweet little babe 003.00 min. Sleep, sleep, dear budding bloom 003.00 min. A charming child to us is born 002.20 min.


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Soloist: Hana Blazíková, sopranoSoloist: Kamila Sevcíková, sopranoSoloist: Tomás Král, baritoneEnsemble: Collegium Marianum

Jana Semerádová, Baroque fluteDagmar Valentová, Baroque violinVojtech Semerád, Baroque violinFrantisek Kuncl, Baroque violaHana Fleková, Baroque celloOndrej Balcar, Baroque double bassMonika Knoblochová, harpsichordJan Krejca, theorbo

Director: Jana Semerádová

'Advent and Christmas in Baroque Bohemia'


Ensemble: Collegium Marianumhttp://www.collegiummarianum.cz/cz/ensemble/soubor.php


Ladies and gentlemen, radio listeners, we wish you a pleasant Advent evening. In today’s Euroradio programme of Christmas music, it is now time for the contribution of Czech Radio Three Vltava, and we would like to invite you to hear a concert entitled 'Advent and Christmas Music in Baroque Prague'. Here in the Chapel of Mirrors at Prague’s Clementinum, the Collegium Marianum ensemble and its soloists under its artistic director Jana Semerádová will be performing Czech Baroque sacred songs. They form one of the chief features of national culture in the time of the Thirty Years War when the first manuscript and printed hymnals appeared. Churches and religious brotherhoods commissioned hymn collections, which contained songs for the Mass throughout the church year, for singing before sermons, for processions and pilgrimages. The hymnbooks were intended for cantors and church choirs but also for „the pleasure and spiritual benefit of each and every one“. One of the most beloved Baroque hymnals printed in Prague, Holan Rovenský‘s Capella regia musicalis, along with older songs taken from earlier collections, also contains a vast number of more demanding strophic songs, which Rovenský artfully composed to be accompanied by instruments. Few people today are familiar with the beautiful Advent and pre-Christmas songs that echoed through those chilly churches and warmed Baroque hearts throughout the period of preparations for Christmas. It is in fact with Advent that the church year begins. It used to be a time of gathering one’s thoughts and meditating on the mysteries which preceded the birth of Jesus Christ, as we shall now hear in Rovenský’s Advent songs, as performed by Hana Blažíková and Tomáš Král to the accompaniment of the Collegium Marianum. /02:00/ Johann David Heinichen: Pastorale - 03:00

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Václav Karel Holan Rovenský: „Maria pole vznešené“ (Mary, noble fertile field) - 02:30 „Maria dej dovolení“ (Mary, will you please allow) - 02:00 Jan Josef Ignác Brentner: Pastorella - 05:00 Heininchen, Rovenský and Brentner were the composers of these works, with which the Collegium Marianum ensemble and its soloists Hana Blažíková and Tomáš Král have just opened this Advent concert in the Chapel of Mirrors. This hall is one part of the extensive complex of the Clementinum, built in Early Baroque times to serve as Jesuit residence quarters. After the abolition of the Jesuit order, the Clementinum was used by Charles University, and today it serves as the main centre of the National Library. Another favourite Prague composer was Jan Dismas Zelenka, even if he lived and worked in Prague in the service of Count Hartig for only a short time and spent the better part of his life at the Dresden court. Among Zelenka’s oldest preserved compositions we find Sepolcro immisit Dominus pestilentiam, which was was written in Prague for the Jesuit residence hall in the Clementinum. The composer maintained his contacts with Prague music circles and in particular with the Jesuits even after his departure for Dresden; at the same time, however, through his mediation, music was brought from Prague for the choir of the Dresden Roman Catholic Court Church. Among the noteworthy documents illustrating how church music was spread is the Missa sapientiae by Antonio Lotti. One of the sources for this composition has been preserved in Prague among the music manuscripts in Saint Vitus' Cathedral, and from it Zelenka copied this Mass that he later reworked in Dresden; the copy of Zelenka’s arrangement of Lotti’s Mass was eventually preserved in the music library of Johann Sebastian Bach. Zelenka set the Advent antiphon Alma redemptoris Mater to music more than once, and yet only in one case did he use two flutes. In the next few minutes we shall have the rare occasion to hear this antiphon in its modern première as performed by Kamila Ševčíková and the Collegium Marianum. /02:00/ Jan Dismas Zelenka: „Alma redemptoris Mater“- 14:00 Šimon Brixi: „Alma redemptoris Mater“- 06:00 Alma redemptoris Mater by Šimon Brixi as performed by the Collegium Marianum ensemble and baritone Tomáš Král. There is no denying the influence of Antonio Vivaldi on Šimon Brixi’s oeuvre, but at the same time he preserves his own personal style. His joyful music often contains melodies taken from Czech popular sacred music. In the early 18th century, Prague’s choirlofts rang out not only with the music of Brixi, Reichenauer and Brentner, but first and foremost with the Masses and sacred works of Antonio Caldara. In his function as Viennese court composer and assistant Kapellmeister, he also took part in the coronation ceremonies in Prague in 1723, when among other works, he introduced his opera La contesa de' numi (The Quarrel of the Gods), composed in honour of the birthday of Charles VI. In the pastoral-like tones of the aria „Quel pargoletto“ from Caldara’s Christmas cantata Vaticini di pace (Prophets of Peace), we hear a sweet siciliana as performed by Hana Blažíková and the Collegium Marianum. /01:00/ Antonio Caldara: Aria „Quel pargoletto“ (Vaticini di pace) (That Little Child – Prophets of Peace) 04:50 Václav Karel Holan Rovenský: „K Ježíškovi, miláčkovi“ (To Jesus, that sweet little babe) - 03:00 „Usni, usni ctné poupátko“ (Sleep, sleep, dear budding bloom) - 03:00 „Děťátko rozkošné nám se narodilo“ (A charming child to us is born) - 02:20 (Capella Regia musicalis, 1693) Antonio Caldara’s aria „Quel pargoletto“ and three songs by Václav Karel Holan Rovenský from the collection Capella Regia musicalis as performed by soloist Hana Blažíková and her Collegium Marianum ensemble have concluded today’s programme from Czech Radio Three Vltava for the Euroradio Christmas Special Day. On the programme in this concert of Christmas music from the Czech Baroque performed in the Chapel of Mirrors of the Clementinum in Prague, we heard the soloists Hana Blažíková, soprano; Kamila Ševčíková, alto and Tomáš Král, baritone, as well as the Collegium Marianum ensemble with its artistic director Jana Semerádová. Czech Radio Three Vltava bids you goodbye and makes way for our Norwegian colleagues in Oslo, who will continue today’s broadcast of the Euroradio Christmas Special Day. /01 :00/

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Hezký adventní podvečer, dámy a pánové, vážení rozhlasoví posluchači, do programu dnešního Vánočního dne Euroradia vstupuje svým příspěvkem Český rozhlas 3 Vltava a dovoluje si Vás pozvat k poslechu koncertu s titulem Advent a vánoce v barokní Praze. V Zrcadlové kapli pražského Klementina přednese soubor Collegium Marianum se svými sólisty a uměleckou vedoucí Janou Semerádovou duchovní písně českého baroka. Ty představují jeden z hlavních fenoménů národní kultury v období po třicetileté válce, kdy začaly vznikat první rukopisné i tištěné zpěvníky. Kostely a zbožná bratrstva si pořizovaly kancionály, které zahrnovaly písně ke mši pro celý církevní rok, ke zpěvům před kázáním, k procesím a poutím. Kancionály byly určeny kantorům a kostelním kůrům, ale také „jednomu každému k potěšení a prospěchu duchovnímu.“ Jeden z nejoblíbenějších barokních kancionálů tištěných v Praze, Capella regia musicalis Holana Rovenského, obsahuje vedle starších přejatých zpěvů též nespočet pěvecky náročnějších strofických písní, které Rovenský umně zkomponoval s doprovodem nástrojů. Málokdo již dnes zná krásné adventní a rorátní písně, které rozeznívali promrzlé chrámy a rozehřívali barokního člověka po celou dobu příprav na vánoce. Adventem se fakticky počínal církevní rok. Bývala to doba usebrání a rozjímání nad tajemstvím, které předcházelo narození Ježíše Krista, tak jak to uslyšíme v Rovenského adventních písních v podání Hany Blažíkové a Tomáše Krále za doprovodu souboru Collegium Marianum. /02:00/ Johann David Heinichen: Pastorale - 03:00 Václav Karel Holan Rovenský: „Maria pole vznešené“ - 02:30 „Maria dej dovolení“ - 02:00 Jan Josef Ignác Brentner : Pastorella - 05:00 Heininchen, Rovenský a Brentner byli autory skladeb, jimiž otevřel soubor Collegium Marianum se sólisty Hanou Blažíkovou a Tomášem Králem adventní koncert v Zrcadlové kapli. Ta je součástí rozsáhlého komplexu Klementina vybudovaného v období raného baroka pro účely jezuitské koleje. Po zrušení řádu jezuitů využívala Klementinum Karlova univerzita a dnes je sídlem Národní knihovny. Oblíbeným pražským autorem byl také Jan Dismas Zelenka, i přesto, že v Praze působil jen krátce ve službách hrabě Hartiga a větší část života prožil u drážďanského dvora. K Zelenkovým nejstarším dochovaným skladbám patří sepolkro Immisit Dominus pestilentiam, jež bylo zkomponováno v Praze pro jezuitskou kolej v Klementinu. Skladatel udržoval kontakty s pražským prostředím a především s jezuity i po svém odchodu do Drážďan, zároveň však byla jeho prostřednictvím na kůru drážďanského katolického dvorního kostela provozována hudba pocházející z Prahy. K pozoruhodným dokladům o šíření duchovní hudby patří Missa sapientiae Antonia Lottiho. Jeden z pramenů této skladby se dochoval v Praze mezi hudebninami svatovítské katedrály, z tohoto exempláře si skladbu opsal Zelenka, který ji v Drážďanech přepracoval; opis Zelenkovy úpravy Lottiho mše se konečně dochoval v hudební knihovně Johanna Sebastiana Bacha. Adventní antifonu Alma redemptoris Mater zhudebnil Zelenka nejednou, nicméně pouze v jednom případě použil dvě flétny. A v následujících minutách máme vzácnou příležitost uslyšet tuto antifonu v novodobé premiéře v podání Kamily Ševčíkové a souboru Collegium Marianum. /02:00/ Jan Dismas Zelenka: „Alma redemptoris Mater“- 14:00 Šimon Brixi: „Alma redemptoris Mater“- 06:00 ... Alma redemptoris Mater od Šimona Brixiho v podání souboru Collegium Marianum a barytonisty Tomáše Krále. Ve skladatelská tvorbě nezapře Šimon Brixi vliv Antonia Caldary, ale zároveň si uchovává osobitý styl. Jeho radostná hudba obsahuje často melodie převzaté z české lidové duchovní písně. Začátkem 18. století zněla z pražských kůrů nejen hudba Brixiho, Reichenauera nebo Brentnera, ale především mše a duchovní skladby Antonia Caldary. Ve funkci vídeňského dvorního skladatele a místokapelníka se také zúčastnil korunovačních slavností v Praze roku 1723, kdy mimo jiné uvedl svůj Spor bohů, komponovaný k oslavě narozenin Karla VI. V pastorálně laděné árii Pace (Pokoj) z Caldarovi vánoční kantáty Vaticini di Pace uslyšíme sladkou sicilianu v podání Hany Blažíkové a souboru Collegium Marianum. /01:00/

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Antonio Caldara: Aria „Quel pargoletto“ (Vaticini di pace) - 04:50 Václav Karel Holan Rovenský: „K Ježíškovi, miláčkovi“ - 03:00 „Usni, usni ctné poupátko“ - 03:00 „Děťátko rozkošné nám se narodilo“ - 02:20 (Capella Regia musicalis, 1693) Árie Antonia Caldary „Quel pargoletto“ a 3 písně Václava Karla Holana Rovenského ze sbírky Capella Regia musicalis v podání sólistky Hany Blažíkové a souboru Collegium Marianum uzavřely dnešní program Českého rozhlasu 3 Vltava pro Vánoční den Euroradia. V programu koncertu z vánoční hudby českého baroka konaného v Zrcadlové kapli Klementina v Praze účinkovali sólisté Hana Blažíková – soprán, Kamila Ševčíková – alt a Tomáš Král – baryton soubor Collegium Marianum s uměleckou vedoucí Janou Semerádovou. Český rozhlas 3 Vltava se s vámi loučí a předává slovo norským kolegům do Osla, kteří budou ve vysílání dnešního Vánočního dne Euroradia pokračovat. /01 :00/

EBU No: EURO/2008-2009/N/009 Offering organization(s): NONRK


Programme added 21/10/2008Email sent

21/11/2008Entry of timings 21/11/2008Email sent

28/11/2008Programme update (works 3 and 4) 28/11/2008Email sent

Venue of concert: Concert Hall, Oslo

-1-

Composer: Michael Praetorius (1571-1621)Arranger: Gaute Storaas Text: Per Hognestad

Det hev ei rose sprunge 003.00 min.

-2-


Jauchzet, frohlocket, excerpt from the 'Christmas Oratorio' 007.30 min.

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Composer: Jean Sibelius (1865-1957)

Karelia Suite, op. 11 015.00 min.

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Composer: Geirr Tveitt (1908-1981)

Excerpts from '100 Folk Tunes from Hardanger'Uppskoka (Consecration of the new beer) 002.20 min. Langeleiklåt (Norwegian Peasant Harp) 001.45 min. Hardingøl (Hardanger Ale) 003.20 min. To juletoner frå Hardanger (Two Christmas songs from Hardanger) 003.00 min.

-5-

Composer: Traditional Arranger: Gaute Storaas Text: H.A. Brorson (1694-1764)

Mitt hjerte alltid vanker (My Heart Always Wanders), 003.30 min. Nordic folksong

-6-

Composer: Lars Søraas Arranger: Gaute Storaas Text: Jacob Sande

Det lyser i stille grender (It shines in the silent 002.00 min. streets)

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Composer: Felix Mendelssohn (1809-1847)

Vom Himmel hoch 005.00 min.

-8-

Composer: Traditional Arranger: Terje Kvam

Deilig er jorden, Old Pilgrim Song 003.00 min.


Ensemble: Oslo Philharmonic ChorusOrchestra: Oslo Philharmonic OrchestraConductor: Peter Szilvay

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Christmas in compositions by Bach, Mendelssohn and Sibelius, combined with popular Norwegian Christmas carols



EBU No: EURO/2008-2009/N/010 Offering organization(s): HUMR


Programme update Entry of timings and performers 18/11/2008Email sent

25/11/2008=> Programme revised + soloists' names entered for work 4 => Entry of Hungarian presentation text 25/11/2008Email sent


Venue of concert: Cathedral, Pécs

-1-

Composer: Gábor Lisznyai Szabó (1913-1981)

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Two Hungarian Pastorales 006.00 min. A kis Jézus megszületett (The little Jesus has been born)Ne féljetek pásztorok (Don’t be afraid, shepherds)

Soloist: Szabolcs Szamosi, organ

-2-

Composer: Zoltán Kodály (1882-1967)

Three choral works:The Voice of Jesus 003.00 min. Hymn to King Stephen 003.20 min. Evening Song 003.00 min.

Ensemble: Bartók Men's ChorusDirector: Tamás Lakner

-3-

Composer: Jószef Karai (* 1927)

Hodie Christus natus est 002.00 min.

Ensemble: Bartók Men's ChorusDirector: Tamás Lakner

-4-

Composer: Aurél Tillay (* 1931)

Tüke Mass - Benedictus and Agnus Dei 010.00 min.

Soloist: Alíz Komáromi, sopranoSoloist: Timea Tillai, contraltoSoloist: István Horváth, tenorSoloist: Szabolcs Bognár, bassSoloist: Bernadette Laki, fluteSoloist: Ildikó Janzsó, celloSoloist: Péter Solymosi, trumpetSoloist: Sándor Balatoni, organEnsemble: Pécs Chamber ChorusDirector: Aurél Tillay

-5-

Composer: Franz Xaver Gruber (1787-1863)Arranger: Ferenc Gergely (1914-1998)

Stille Nacht (Silent Night) 003.00 min.


-6-

Composer: Anonymous

Three exceprts from the 'Eperjes' Gradual, 1635 004.20 min. Dícsérjed, áldjad lelkem az Úristent mindenekben (Praise theLord)

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Mikor Krisztus születék,szent Angyalok örülék (When Christ was born, the Angels were glad)Mindez világ örvendezzen (Rejoice, all nations, over thebirth of Christ)

Ensemble: UniCum Laude Vocal EnsembleDirector: Csaba Kutnyánszky

-7-

Composer: Lajos Bárdos (1899-1986)

Christmas Lullaby 002.00 min.


-8-

Composer: Kálmán Nádasdy (1904-1980)

Az angyal énelkel (The Angel is singing) 001.45 min.


-9-


Three Hungarian Christmas Carols: 003.40 min. Mennyből az angyal (Angel from Heaven)Dicsőség, mennyben az Istennek (Glory be to God on high)Kiskarácsony (Little Christmas)


-10-

Composer: István Koloss (* 1932)

Hungarian Christmas 005.00 min.




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Dear listeners, welcome to the Cathedral of Pécs, in southern Hungary, the venue for this concert in the Euroradio Christmas Special Day. The origins of the Cathedral date back to the Roman Empire. At our concert, the Béla Bartók Men's Choir of Pécs, Concert Choir of Pécs, UniCum Laude Vocal Ensemble and the organist Szabolcs Szamosi will perform. For this festive occasion, our programme has been compiled under the sign of the mysterious number three. A symbolic meaning was attributed to this number already in the Middle Ages as the symbol of perfection and the unity of the Holy Trinity. The performance of the three choirs is framed – at the beginning, in the middle and at the end of the programme - by the organ playing of Szabolcs Szamosi. The number three thus has not only a musical, but also a theological meaning in this concert. We not only celebrate the birth of Jesus Christ on Christmas Day, but in a wider sense, his death and Resurrection, and the coming of the Holy Spirit. Of course, today’s programme consists exclusively of Christmas music. French music had a significant influence on the outstanding Hungarian composer of sacred music, Gábor Lisznyay Szabó, as with many other 20th-century Hungarian composers. This influence can be also felt in his colourful and inventive Two Hungarian Pastorales, the opening piece on today’s programme. Szabolcs Szamosi is at the organ. (1.25 min.) Gábor Lisznyay Szabó: Two Hungarian Pastorales (Szabolcs Szamosi) - 06.00 min. The Two Hungarian Pastorales, an organ piece by Gábor Lisznyay Szabó, was played by Szabolcs Szamosi on the Angster organ of the Cathedral of Pécs. This concert will allow you to admire the excellent acoustics of the cathedral founded by King Stephen of Hungary, but rebuilt several times over the centuries. We will hear the programme of the Béla Bartók Men's Choir starting with Zoltán Kodály's choral work, The Voice of Jesus, based on an old Hungarian sacred folk song with the same title. The number three also characterizes this canon-like piece. "The Voice of Jesus three times a year…” – these are the opening words of the piece, which refer to the three greatest feasts of the Church: Christmas, Easter and Whitsun. Kodály’s typical harmonies are used in his setting of the text. Here is the Béla Bartók Men's Choir, conducted by Tamás Lakner. (0.55 min) Zoltán Kodály: The Voice of Jesus - 03.00 min. From among the ten compositions written by Kodály for male choirs, we have just heard The Voice of Jesus, sung by the Béla Bartók Men's Choir . While this work evoked the magic of religious feasts with its gentle tone, the next piece, entitled Hymn to King Stephen, calls to mind our saintly king, founder of the Hungarian State, through its more powerful accents, emphasizing the King’s important historical role. Once again, the Béla Bartók Men's Choir, conducted by Tamás Lakner. (0’30”) Zoltán Kodály: Hymn to King Stephen - 03.20 min. Like the Hymn to King Stephen by Kodály, which we have just heard, the next composition is also based on an old Hungarian folk song, which has been arranged several times and numbers among the most popular Hungarian choral works. The never monotonous, intimate atmosphere of the Evening Song is created by Kodály through his marvellous elaboration of this tune of delicate beauty. The Béla Bartók Men's Choir is led by Tamás Lakner. (0.30 min.) Zoltán Kodály: Evening Song - 03.00 min. After Zoltán Kodály’s touching Evening Song, the Béla Bartók Men's Choir will sing Hodie Christus natus est (Christ was born today) by József Karai. Karai is known not only as a composer but also as

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a choir master. The abundance of his choral music is surely related to the fact that he was long the director of several choruses in Budapest time. We will hear his inspired work Hodie Christus natus est in a rendition by the Béla Bartók Men's Choir, conducted by Tamás Lakner. (0.30 min.) József Karai: Hodie Christus natus est - 02.00 min. For its last work on the programme, the Béla Bartók Men's Choir, conducted by Tamás Lakner, sang József Karai’s Hodie Christus natus est. Today, on the last Sunday of Advent, we are broadcasting a concert from the Cathedral of Pécs, in anticipation of the feast of Christmas. As I have already mentioned, the Cathedral of Pécs was founded by King Stephen, but this does not mean that Christianity was introduced here at that time. Pécs, then known as Sopianae, was, already in the late 3rd century, the provincial centre of Lower Pannonia (Valeria). The architectural remains prove that Christian communities existed here already in this period. The burial vaults of Pécs, extremely rich in monuments, have been listed as a UNESCO World Heritage site since 2001. After that short historical interlude, we will now hear the Pécs Chamber Choir led by Aurél Tillai, in the Benedictus and Agnus Dei from the Tüke Mass. At one time, "tüke" referred to a vine-stock in the vicinity of Pécs. But the word can mean other thing as well. A "tüke of Pécs" is a person closely connected to the city in one way or another, e.g. was born here, works here, or his or her ancestors are from Pécs. In 1997, the Tüke Foundation was set up, and every year since 2004, on 21 January, the Tüke Prize has been awarded. The Tüke Mass of Aurél Tillai was composed for the awards ceremony of 2007. Here now are two movements from it. (1.30 min) Benedictus and Agnus Dei from the Tüke Mass - 10.00 min. That was the Pécs Chamber Choir singing the Benedictus and Agnus Dei from the Tüke Mass, conducted by Aurél Tillai. Silent Night will now follow, with Szabolcs Szamosi at the organ. (0.16 min.) Silent Night by Franz Xaver Gruber, arranged by Ferenc Gergely - 03.00 min. Szabolcs Szamosi played Franz Xaver Gruber’s Silent Night, arranged by Ferenc Gergely, a legendary organist closely connected with the Cathedral of Pécs. Our programme continues with vocal music. The UniCum Laude Vocal Ensemble, led by Csaba Kutnyánszky, will perform three movements from the Eperjesi Gradual, from the mid-17th century. The three movements are: Praised and blessed be our Lord Jesus Christ When Christ was born, holy angels rejoiced The whole world rejoices at the birth of Christ (0.35 min) Three Movements from the Eperjesi Gradual - 04.20 min. We heard three songs from the Eperjesi Gradual, performed by the UniCum Laude Vocal Ensemble. They continue their programme with the Christmas Lullaby by Lajos Bárdos, a prominent 20th-century Hungarian composer of sacred music. (0.15 min.) Lajos Bárdos: Christmas Lullaby (002.00 min.) The UniCum Laude Vocal Ensemble, conducted by Csaba Kutnyánszky, sang Lajos Bárdos’ Christmas Lullaby. Now they will perform Kálmán Nádasdy’s piece entitled The Angel is Singing. (0.12 min.) Kálmán Nádasdy: The Angel is Singing - 01.45 min. The Angel is Singing –that was Kálmán Nádasdy’s choral work, in a rendition by the UniCum Laude Vocal Ensemble. The members of the vocal group now say good-bye to you at this concert from the Cathedral of Pécs with three well-known Hungarian Christmas songs: The Angel from Heaven

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Glory Be to God in Heaven Small Christmas (0.20 min) Three Hungarian Christmas Songs - 03.40 min. Three Christmas Songs performed by the UniCum Laude Vocal Ensemble, conducted by Csaba Kutnyánszky. Now we will hear the last piece on the programme of this Christmas concert broadcast from the Cathedral of Pécs. As mentioned in our introduction, we finish with organ music from the Hungarian venue of the Special Day. As Szabolcs Szamosi plays István Koloss’ organ piece, Hungarian Christmas, our imaginary sleigh will bring us to our Swedish friends, at Berwaldhallen in Stockholm. (0’35”) István Koloss: Hungarian Christmas - 05.00 min.

Kedves Hallgatóink! Köszönjük önöket Dél-Magyarországról az Eurorádió karácsonyi special day magyar helyszínéről a pécsi székesegyházból, amelynek eredete a római birodalom korába nyúlik vissza. Koncertünkön a város Bartók Béla Férfikara, a Pécsi Kamarakórus, az UniCum Laude énekegyüttes, valamint Szamosi Szabolcs orgonaművész lép fel. A műsort a hármas szám bűvölete hatja át. Azé a számé, amelynek már a középkorban is szimbolikus jelentést tulajdonítottak; a perfekció megtestesülését látták benne, a Szentháromság egységét, hiszen Szamosi Szabolcs orgonajátéka – a program elején, közepén és végén – ad keretet a három kórus produkciójának. A hármas számnak ebben az esetben azonban nem csak zenei, hanem teológiai vonatkozása is van. Nem „csak” Jézus Krisztus születését ünnepeljük ugyanis Karácsony napján, hanem tágabb értelemben ide tartozik az ő halála és feltámadása, valamint a Szentlélek eljövetele is. A mai műsorban, természetesen, kizárólag karácsonyi zenék szerepelnek. A kiváló magyar egyházzenész Lisznyai Szabó Gáborra, mint több 20. századi magyar komponistára, nagy hatással volt a francia muzsika – érződik ez színes, invenciógazdag Két magyar pasztorálján is, amelyekkel mai programunk kezdődik. Szamosi Szabolcs orgonál. (1’25”) Lisznyay Szabó Gábor: Két magyar pasztorál (Szamosi Szabolcs) Lisznyay Szabó Gábor Két magyar pasztorál című orgonaművét Szamosi Szabolcs játszotta a Pécsi Székesegyház Angster orgonáján. A következő percekben megtapasztalhatják, milyen csodálatos akusztikájú a Szent István király által alapított, azonban a történelem során többször átépített székesegyház. A Bartók Béla férfikar műsora következik, melynek nyitószáma Kodály Zoltán kompozíciója. A Jelenti magát Jézus című kórusmű egy azonos kezdetű régi magyar egyházi népéneken alapul. A kánonszerű darabra is jellemző a bevezetőben említett hármasság. „Jelenti magát Jézus háromszor esztendőben…” kezdődik a mű, s utal az Egyház három legnagyobb ünnepére, a Karácsonyra, a Húsvétra és a Pünkösdre. A jellegzetes kodályi harmóniavilág adja a szépséges népének foglalatát. A Bartók Béla Férfikar énekel, vezényel Lakner Tamás. (0’55”) Kodály Zoltán: Jelenti magát Jézus Kodály jó tíz férfikari kompozíciója közül az előző percekben a Jelenti magát Jézus kezdetűt énekelte a Bartók Béla Férfikar. Míg az imént hallott mű a maga lágyságával varázsolta elénk az egyházi ünnepeket, addig a most következő, az „Ének Szent István királyhoz” című, határozottságával jeleníti meg az államalapító szent királyt, és érezteti a magyar történelemben elfoglalt helyének fontosságát. A Bartók Béla férfikart hallják, dirigense Lakner Tamás (0’30”) Kodály Zoltán: Ének Szent István királyhoz Miként az imént hallott Ének Szent István királyhoz című Kodály-kórus, a most következő kompozíció is régi magyar népdalon alapul. A számos feldolgozásban ismert tétel a magyar kórusirodalom egyik legnépszerűbb darabja. Megunhatatlan az Esti dal meghitt-bensőséges atmoszférája, amit azzal ért

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el Kodály, hogy a törékeny szépségű dallamot varázslatos harmónia-kísérettel látta el. A Bartók Béla férfikar énekel, karigazgató: Lakner Tamás. (0’30”) Kodály Zoltán: Esti dal Kodály Zoltán megkapó szépségű Esti dala után a Bartók Béla férfikar Karai József: Hodie Christus natus est kezdetű kórusművét énekli: Ma született Krisztus. Karai nemcsak zeneszerzőként ismert, hanem kóruskarnagyként is. Gazdag kórusmű-termése minden bizonnyal összefügg azzal, hogy évekig több budapesti kórusnak volt a karigazgatója. Ihletett művét, a Hodie Christus natus est címűt a Bartók Béla férfikartól hallják, Lakner Tamás vezényletével. (0’30”) Karai József: Hodie Christus natus est Karai József: Hodie Christus natus est című kórusával búcsúzott a Bartók Béla férfikar. Lakner Tamás vezényelt. Ma, Ádvent utolsó vasárnapján a Pécsi Székesegyházból közvetítünk hangversenyt, megelőlegezve a négy nap múlva beköszöntő Karácsony ünnepét. Mint már említettem, a Pécsi Székesegyház alapítása Szent Istvánnak köszönhető, de ez korántsem jelenti azt, hogy a kereszténység ekkor jelent volna meg itt. Pécs, egykori nevén Sopianae már a III. század végétől Alsó-Pannónia (Valeria) tartományi székhelye. Építészeti emlékek tanúsága szerint abban az időben is működtek itt keresztény közösségek. A műemlékekben leggazdagabb városaink közé tartozó Pécs sírkamrái 2001-től a világörökség részei. A rövid történelmi kitérő után a Tillai Aurél által vezetett Pécsi Kamarakórus produkciója következik, mégpedig a Benedictus és az Agnus Dei tétel a Tüke miséből. Tükének hajdan a szőlőtőkét nevezték Pécs környékén. A kifejezés azonban Pécsett ennél többet és mást is jelent. Pécsi tüke az, akinek kötődése van a városhoz - kötődés lehet, ha valaki itt született, pécsiek az ősei, vagy akit ideköt a munkája, tevékenysége. 1997-ben hozták létre Pécsett a Tüke Alapítványt és 2004-től minden év január 21-én kerül átadásra a Tüke- díj. A 2007-es díjátadásra készült Tillai Aurél Tüke miséje, melyből most két tételt hallanak. (1’30”) Benedictus és Agnus Dei a Tüke-miséből A Pécsi Kamarakórus előadásában hallottuk a Tüke-mise Benedictus és Agnus Dei tételét. A Tillai Aurél által vezetett kórus éneke után Gergely Ferenc Csendes éj című feldolgozása csendül fel orgonán, Szamosi Szabolcs tolmácsolásában. (0’16”) Gergely Ferenc feld.: Csendes éj Gergely Ferenc: Csendes éj című feldolgozását Szamosi Szabolcs szólaltatta meg. Az orgonamű szerzője, a legendás hírű orgonaművész sok szállal kötődött a Pécsi Székesegyházhoz. Műsorunk vokális muzsikával folytatódik. A Kutnyánszky Csaba vezetésével működő UniCum Laude énekegyüttes a 17. század közepéről való Eperjesi Graduál tételei közül szólaltat meg hármat: Dicsérjed, áldjad lelkem az Úristent mindenekben, Mikor Krisztus születék, szent Angyalok örülék, Mindez világ örvendezzen Krisztus születésén. (0’35”) Eperjesi Graduál három tétele Az Eperjesi graduálból hallottak három éneket az UniCum Laude énekegyüttes előadásában. A 20. század egyik legjelentősebb magyar egyházzenészének, Bárdos Lajosnak egyik karácsonyi kompozíciójával folytatják műsorukat, a Karácsonyi bölcsődallal. (0’15”) Bárdos Lajos: Karácsonyi bölcsődal Kutnyánszky Csaba vezényletével az UniCum Laude énekegyüttes Bárdos Lajos Karácsonyi bölcsődalát adta elő. Most Nádasdy Kálmán művét szólaltatják meg: Az angyal énekel. (0’12”) Nádasdy Kálmán Az angyal énekel Az angyal énekel. Ez a címe Nádasdy Kálmán most elhangzott kórusműnek, amit az Uni Cum Laude énekegyüttes tolmácsolásában hallottak. A pécsi székesegyházban rendezett koncerten három ismert magyar templomi karácsonyi énekkel búcsúznak: Mennyből az angyal, Dicsőség mennyben az Istennek, Kiskarácsony. (0’20”)

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Három karácsonyi ének Befejezésül három karácsonyi éneket hallottunk az UniCum Laude énekegyüttestől, művészeti vezetőjük, Kutnyánszky Csaba vezényletével. És ezzel el is érkeztünk a Pécsi Székesegyházból közvetített karácsonyi hangverseny utolsó műsorszámához. Mint bevezetőnkben ígértük, orgonaszóval ér véget a koncert a Special day magyar helyszínén, a Pécsi Székesegyházban. Miután Szamosi Szabolcs eljátssza Koloss István Magyar Karácsony című orgonaművét, svéd barátainkhoz repül képzeletbeli szánunk, Stockholmba, a Berwald-terembe. (0’35”) Koloss István: Magyar Karácsony

EBU No: EURO/2008-2009/N/011 Offering organization(s): SESR

Date of concert: Sunday 21/12/2008 - Recorded on 18 December 2008Start of concert: 19:00 GMT Music duration: 045.30 MinutesEnd of concert: 19:55 GMT Total duration: 047.30 MinutesBroadcast by satellite the 21/12/2008 from 19:00 to 19:55 GMT Channel: R Concert modified on: 11/11/2008

Entry of complete programme 11/11/2008Email sent

04/12/2008Entry of Swedish presentation text 04/12/2008Email sent


Venue of concert: Berwaldhallen, Stockholm

-1-

Composer: Wilhelm Stenhammar (1871-1927)

Midwinter, op. 24 (1907), Swedish Rhapsody for chorus and 014.00 min. orchestra

-2-

Composer: Karin Rehnqvist (* 1957)

Var inte rädd för mörkret (Don´t be afraid of the darkness) 003.00 min.

-3-

Composer: Pererik Moraeus Text: Py Bäckman

Koppången 004.30 min.

Soloist: Fredrik Lycke, vocals

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Composer: Traditional Arranger: Ingvar Karkoff (* 1958)

En Dalajul (Christmas from Dalecarlia) 006.30 min.

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Composer: Traditional Arranger: Gunnar Hahn (1908-2001)

Bereden väg för Herran (Prepare the Way, O Zion!) 002.30 min.

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Composer: Adolphe Adam (1803-1856)Arranger: Martin Östergren (* 1971)

O helga natt (O Holy Night) 004.00 min.

Soloist: Fredrik Lycke, vocals

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Composer: Franz Xaver Gruber (1787-1863)Arranger: Ingvar Karkoff (* 1958)

Stille Nacht (Silent Night) 003.30 min.

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Composer: Benjamin Britten (1913-1976)

Men of Goodwill: Variations on 'God rest ye merry 008.00 min. Gentlemen'


Ensemble: Swedish Radio ChorusOrchestra: Swedish Radio Symphony OrchestraConductor: Andreas Hanson


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Welcome to this Christmas concert from Berwaldhallen in Stockholm, Sweden, and to Swedish Radio’s contribution to the Euroradio Special Day of Christmas music. The Swedish Radio Chorus and Swedish Radio Symphony Orchestra are waiting on stage ready to take us on a leisurely journey through the Christmas music of several countries. We begin in Sweden with Wilhelm Stenhammar and his Midwinter, a rhapsody for orchestra and chorus that he wrote in Florence in 1907, but with the snow and ice of a Swedish winter in mind and inspired by Swedish folk tunes. Our conductor this evening is Andreas Hansson, whom we now welcome on stage. Wilhelm Stenhammar: Midwinter - c. 14’00 After Wilhelm Stenhammar’s opening piece, Midwinter, the Swedish Radio Chorus gives us food for thought with Erik Blomberg’s contemplative poem, Don’t be afraid of the darkness, set to music by Karin Rhenqvist. This is followed by Pererik Moraeus’ Koppången, which describes a moment of quiet on the way to church early one Christmas morning, as the snowflakes fall silently in a winter paradise. In this song, the Swedish Radio Symphony Orchestra is joined by the singer Fredrik Lycke. Karin Rehnqvist: Don’t be afraid of the darkness - c. 3’00 Pererik Moraeus: Koppången - c. 4’30 Two songs: Don’t be afraid of the darkness by Karin Rehnqvist to words by Erik Blomberg, and Koppången by Pererik Moraeus with lyrics by Py Bäckman. Both songs emphasize the importance of slowing down, of allowing ourselves a moment of peace in the midst of the Christmas preparations – a message which we truly need to hear in these times of stress, surrounded by machines that inexorably increase the pace of life. The next piece on the programme, Christmas from Dalecarlia, is an orchestral arrangement by Ingvar Karkoff of six folk dances from a region of Sweden particularly famous for its folk music. This is followed by a hymn, Prepare the Way, O Zion, which every Swede learns in early childhood since it is always sung in schools and churches during Advent. Ingvar Karkoff: Christmas from Dalecarlia - c. 6’30 Trad. arranged by Gunnar Hahn: Prepare the Way, O Zion - c. 2’30 Christmas from Dalecarlia, Ingvar Karkoff’s arrangement of six Dalecarlian folk dances, and Gunnar Hahn’s arrangement of Prepare the Way, O Zion, with the Swedish Radio Symphony Orchestra and Swedish Radio Chorus conducted by Andreas Hansson. The French composer Adolph Adam studied music against the wishes of his parents – fortunately for us! His Cantique de Noël (O Holy Night) is an ardent reminder of that magic night when the Son of God came down to Earth to save us sinners. And here once again, the Orchestra will be joined by Fredrik Lycke, after which the Orchestra and Chorus are combined for Ingvar Karkoff’s arrangement of Franz Gruber’s Silent Night – a far larger ensemble, in other words, than the first time the song was heard with two solo voices and guitar accompaniment, when the organ broke down one Christmas Eve long ago in a village church in Austria! Adolph Adam: Cantique de Noël - c. 4’00 Franz Gruber arr. Ingvar Karkoff: Silent Night - c. 3’30 Two classic Christmas songs: Adolph Adam’s Cantique de Noël with Fredrik Lycke as soloist and Franz Gruber’s Silent Night in an arrangement by Ingvar Karkoff for chorus and orchestra. The last piece on our programme is an orchestral work by the versatile English composer Benjamin

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Britten, who among other things was interested in weaving early music into his compositions. Britten’s Men of Goodwill is a series of variations on the English Christmas carol “God rest ye merry, gentlemen” and was composed in 1947 for a radio programme with the title “A Christmas Journey across the World” that was broadcast on Christmas Day the same year. Benjamin Britten: Men of Goodwill - c. 8’00 Our Christmas concert ended with Benjamin Britten’s Men of Goodwill, a set of variations on the ancient Christmas carol “God rest ye merry, gentlemen”, performed here this evening at Berwaldhallen in Stockholm by the Swedish Radio Symphony Orchestra conducted by Andreas Hansson. Earlier in the concert we also heard the Swedish Radio Chorus and the singer Fredrik Lycke. And that brings to an end this broadcast from Sweden. This Euroradio Special Day continues now with a programme broadcast from Warsaw by Polish Radio.

Godafton & välkomna till BwH i Stockholm och till denna julkonsert, önskar jag, Niklas Lindblad. Radiokören, Sveriges Radios Symfoniorkester och musikalartisten Fredrik Lycke ska ta oss på en vindlande färd genom julmusik från ett flertal länder. Vi börjar i Sverige med Wilhelm Stenhammar och en folkmusikinspirerad rapsodi, ”Midvinter” som han komponerade i Florens 1907, med vita snövidder och kyla i tankarna. Välkommen kvällens dirigent, Andreas Hansson!!! STENHAMMAR: MIDVINTER Efter Wilhelm Stenhammars inledande ”Midvinter” ger oss Radiokören Erik Blombergs eftertänksamma ord i Karin Rhenqvists ”Var inte rädd för mörkret” och därefter en stilla stund i snöfallet på väg till Julottan i ”Koppången” av Pererik Moraeus med Fredrik Lycke som solist. RHENQVIST: VAR INTE…/MORAEUS: KOPPÅNGEN Två sånger om vikten av att sakta in, att vänta in, inte bara julen utan kanske mest av allt oss själva i vår jäktade maskintid. ”Var inte rädd för mörkret” av Karin Rehnqvist och ”Koppången” av Pererik Moraeus. Gustaf Nordqvists saltstänkta ”Till havs” sjungs oftast av triumferande tenorer, så här års passar hans ”Jul, jul, strålande jul” som hand i handsken. Så ett arrangemang av en gammal folkvisa från Dalarna, kallad ”En Dalajul” följt av den julpsalm vi alla sjöng i skolan, ”Bereden väg för Herran”. TILL HAVS /JUL, JUL/ BEREDEN VÄG Ingvar Karkoff och Gunnar Hahn hade arrangerat ”En Dalajul” respektive ”Bereden Väg”. Ni lyssnar till en julkonsert som kommer från Berwaldhallen i Stockholm med Radiokören, Sveriges radios symfoniorkester och solisten Fredrik Lycke, allt under ledning av Andreas Hansson. Fransmannen Adolph Adam studerade mot föräldrarnas vilja musik och hans ”Helga natt” berättar så innerligt om stunden då gudamänskan till jorden steg ned för att försona världens brott och synder. Solist är Fredrik Lycke. Och när kören sedan sjunger Franz Grubers ”Stilla natt” kan vi minnas att den hördes första gången i en illa uppvärmd kyrka, med två soloröster, kör och gitarrackompanjemang, eftersom orgeln hade kapsejsat. ADAM: HELGA… / GRUBER: STILLA… Två riktiga julklassiker, Adams ”O Helga natt” och Grubers ”Stilla natt”. De följs av ett orkesterstycke av den mångproduktive Benjamin Britten, som bland mycket annat intresserade sig för hur han kunde använda sig av äldre musik och bygga in den i sin egen. Här tar han den gamla julsången ”God rest ye merry Gentlemen” som utgångspunkt för sina variationer som han kallar ”Men of Goodwill”. BRITTEN: MEN OF GOODWILL

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Sist i den här julkonserten från Berwaldhallen i Stockholm hörde vi Benjamin Brittens ”Men of Goodwill”, variationer över den gamla julvisan ”God rest ye merry gentlemen”. Medverkande har varit Radiokören, Sveriges Radios symfoniorkester och solisten Fredrik Lycke. Mu.prod.: Mu. Tekn.: Pres: NL, som säger på återhörande från BwH.

EBU No: EURO/2008-2009/N/012 Offering organization(s): PLPR

Date of concert: Sunday 21/12/2008 - Recorded earlier on same dayStart of concert: 20:00 GMTEnd of concert: 20:55 GMTBroadcast by satellite the 21/12/2008 from 20:00 to 20:55 GMT Channel: R Concert modified on: 02/12/2008

Change of programme Entry of new programme and biographical notes 02/12/2008Email sent

05/12/2008Entry of Polish presentation text 05/12/2008Email sent

Venue of concert: Witold Lutoslawski Concert Hall, Polish Radio, Warsaw

-1-

Composer: Aldebrando Subissati (1606-1677)

Exortum est, Sonata XIV, from 'Sonate per violino solo et 004.00 min. basso continuo', MI 0034

Soloist: Agata Sapiecha, violinSoloist: Lilianna Stawarz, chamber organSoloist: Anna Kowalska, theorbo

-2-

Polish Carols 025.00 min.

Ensemble: Polish Radio ChorusDirector: Wlodzimierz Siedlik

-3-

Composer: Bartlomiej Pekiel (?-~1670)

Magnum nomen Domini

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Arranger: Feliks Raczkowski (1906-1989)

Aniol pasterzom mówil (The Angel said unto the Shepherds)

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Composer: Traditional Arranger: Feliks Raczkowski (1906-1989)

Narodzil sie Jezus Chrystus (Jesus Christ is born)

-6-

Composer: Traditional Arranger: Stanislaw Niewiadomski (1859-1936)

Gdy sie Chrystus rodzi (When Christ is born)

-7-

Composer: Traditional Arranger: Tadeusz Dobrzanski (1916-1996)

W zlobie lezy (He lies in a Manger)

-8-

Composer: Traditional Arranger: Henryk Botor (* 1960)

Gdy sliczna Panna (When the Lovely Virgin Mary)

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Composer: Traditional Arranger: Jerzy Kurczewski (1924-1995)

Przybiezeli do Betlejem (They hastened to Bethlehem)

-10-

Composer: Maciej Malecki (* 1940)

Niemowlatko na slomie (The Tiny Child on Straw)

-11-

Composer: Traditional Arranger: Jerzy Kolaczkowski (1907-1995)

Jam jest dudka (I am just a fiddler)

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Composer: Andrzej Koszewski (* 1922)

Chrystus Pan sie narodzil (Christ the Lord is born)

-13-

Composer: Traditional Arranger: Jan Maklakiewicz (1899-1954)

Z narodzenia Pana (Since Our Lord is Born)

-14-

Composer: Traditional Arranger: Feliks Nowowiejski (1877-1946)

Dzisiaj w Betlejem (Today in Bethlehem)

-15-

Composer: Traditional Arranger: Feliks Nowowiejski (1877-1946)

Noc cicha we snie (Silen Night in the Dream)

-16-

Composer: Traditional Arranger: Stefan Stuligrosz (* 1920)

Lulajze Jezuniu (Lullaby, Sweet Jesus)

-17-

Composer: Traditional Arranger: Wlodzimierz Siedlik (* 1963)

Bóg sie rodzi (The Lord is born)

-18-

Composer: Anonymous

Symphonia de Nativitate (18th century) 007.00 min.

Ensemble: Il TempoDirector: Agata Sapiecha

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-19-

Composer: Adam Jarzebski (~1590-~1648)

Two pieces:Concerto a due 001.30 min. Concerto a due 002.30 min.

Ensemble: Il TempoDirector: Agata Sapiecha


Soloist: Agata Sapiecha, violinSoloist: Lilianna Stawarz, chamber organSoloist: Anna Kowalska, theorbo

60th Anniversary of the Polish Radio Chorus


Soloist: Agata Sapiecha, violinAfter studies at the Warsaw Academy of Music and practice at the Moscow Conservatory she frequently participated in international courses of early music interpretation. In 1993-97 she studied at the Dresdner Akademie für Alte Music (with Simon Standage). She works with many Polish and foreign ensembles and soloists and appears at major festivals at home and abroad. She makes recordings for radio and television. She has recorded over ten albums with the ensemble “Il Tempo”. Since 1992 she has been conducting her own programs on Polish Radio 2. In 1996 she became head of the Interdepartmental College of Early Music at the Warsaw Academy of Music, where she also runs a baroque violin class. She is the founder and artistic director of the ensemble “Il Tempo”. She plays solo and with the group “Ars Nova”, performing early music on medieval and folk predecessors of the violin. She is the author of a project aimed to reconstruct lost voices. She writes music arrangements for “Il Tempo” and has arranged a set of Sephardic songs for the play “W Drodze” (On a Journey) by Hanna Chojnacka. She has been commissioned by Polish Radio to record improvisations inspired by Polish violin folk music and performed on copies of medieval instruments. Agata Sapiecha works with Simon Standage, the Kammerenensemble und Barockorchester der Dresdner Akademie für Alte Musik and the Haydn Sinfonietta in Vienna. She frequently serves on the juries of Polish and international early and chamber music competitions. She is vice-president of the Warsaw branch of the Polish Early Music Society. She is the founder, director and lecturer at the International Summer Academy of Early Music held in Wilanow.

Soloist: Lilianna Stawarz, chamber organAfter studying harpsichord under Władysław Kłosiewicz at the Warsaw Music Academy, she graduated with honours in 1988. In 1990 she received a degree from the Conservatoire National de Region de Rueil-Malmaison where she studied in the class of Huguette Dreyfus. She won second prize at the first All-Polish Wanda Landowska Harpsichord Competition and a prize at the Polish Piano Music Festival in Słupsk. She was also a finalist in the International Harpsichord Competition in Paris. She has participated in numerous master classes in Baroque music interpretation (Innsbruck, Villecrose, Cracow, Accademia Musicale in Siena). Since 1991 Lilianna Stawarz has been associated with the Warsaw Chamber Opera, where she performs as a chamber musician, as well as conducting from her harpsichord larger instrumental and vocal-instrumental works, such as Bach’s St Mark Passion, Purcell’s Dido and Aeneas, Scarlatti’s Thetis on Scyros, works of Polish 18th century composers - Songs and Arias, or a cycle of six concertos by Marcin Mielczewski. She also participated in the recording of six compact discs of 17th century music (Mielczewski’s Opera Omnia)

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and of an album of Polish Baroque music by Damian Stachowicz. Together with Jean-Claude Malgoire she collaborated in the preparation of and performed in the operas: Alceste by Lully (1997), Catone in Utica by Vivaldi (1998), The Return of Ulysses by Monteverdi, Tancrede by Campra. In the field of chamber music Lilianna Stawarz has worked with such artists as Małgorzata Wojciechowska, Artur Stefanowicz, Olga Pasichnyk, Marta Boberska, Dorota Lachowicz, Simon Standage. She often gives concerts, at home and abroad, with the early music ensemble “Il Tempo” (Bruges, Brussels, Moscow, New York, New Brunswick, Rome, Berlin), with whom she has recorded several albums. Since 1993 she has coached at the International Summer Academy of Early Music in Wilanów, where she also performs in numerous concerts. Since 2003 she has taught harpsichord at the Białystok branch of the Warsaw Music Academy.

Soloist: Anna Kowalska, theorboShe studied lute with Toyohiko Satoh and Nigel North at the Royal Conservatory in The Hague, The Netherlands. Having been educated as a classical guitarist as well Anna has covered a vast repertoire from the Renaissance to late Baroque including 19th century repertoire for historical guitar. Her solo programs include mostly works of French and German baroque lute composers such Gaultier, Du Fault, Gallot, Weichenberger, Weiss. Anna pays great attention to solo works of J.S. Bach, including her own transcriptions for baroque lute of sonatas and partitas for solo violin and an unaccompanied cello. As a continuo player she recently worked with Emma Kirkby, Teodor Kurentsis, Wladyslaw Klosiewicz and Tytus Wojnowicz (oboe), Marek Toporowski (harpsichord, “Concerto Polacco”), Anna Mikolajczyk (soprano, Nazar Kozhuhar (“The Pocket symphony”), Anatoly Grindenko and Viktor Sobolenko (viola da gamba). Anna is currently concentrating on the lute and baroque guitar as both a soloist and continuo player. Searching for genuine sounding of the works of J.S. Bach and S.L. Weiss, Anna recently combines her interpretation with the use of unique technology, playing on purely gut string instrument as was used in the time of the Baroque.

Ensemble: Polish Radio Chorushttp://polskieradio.pl/chor/default_en.aspx

Ensemble: Il TempoThe ensemble “Il Tempo” was established in 1990 by Agata Sapiecha and has been led by her since. The core of the group are two violins (Agata Sapiecha, Maria Dudzik), viola da gamba (Marcin Zalewski) and harpsichord (Lilianna Stawarz). “Il Tempo” performs instrumental and vocal music from the early Baroque to the Classical period in formations of varying size (from two to a dozen players). It collaborates with Polish and foreign musicians who play on historical instruments and continue the performance practices of early music. This work together has led to regular concerts and recordings with Simon Standage. ”Il Tempo” is interested in Polish music and its relics surviving in Polish libraries. The group also appears in programs featuring combination of early music and dance. ”Il Tempo” has appeared at major early music festivals in Europe and North America. The group has participated in numerous CD, radio and television recordings and broadcasts. It has also had the honour of performing for Queen Elizabeth II during her visit to Poland. The name of the group is not derived from the historical tradition, as is often the case with similar ensembles. Each meaning of this ambiguous Italian word (“time”, “moment”, “tempo”, “weather”) refers to the character of the ensemble and its activity. One may say: we are but a moment in the present while art is timeless. We try to convey its aura, which to us exists al tempo dei tempi.


Dzień Specjalny Euroradia - Muzyka na Boże Narodzenie - koncert Chóru Polskiego Radia w Krakowie, dyr. Włodzimierz Siedlik, oraz zespołu Il Tempo, kier. Agata Sapiecha

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Przed mikrofonem Marek Zwyrzykowski. Witam serdecznie słuchaczy Dwójki oraz wszystkich zgromadzonych w Studiu koncertowym Polskiego Radia imienia Witolda Lutosławskiego. Pozdrawiam także słuchaczy w innych krajach odbierających transmisję naszego koncertu w ramach dnia specjalnego Euroradia poświęconego Muzyce na Boże Narodzenie. Są to .......................................................................................... . . . . . Wystąpią: świętujący w tym roku 60 rocznicę powstania Chór Polskiego Radia w Krakowie kierowany przez Włodzimierza Siedlika oraz zespół Il Tempo Agaty Sapiechy. W programie XIV Sonata ze zbioru Sonate per violino solo e basso continuo Aldebrando Subissatiego, utwór Magnum nomen Domini Bartłomieja Pękiela, kolędy polskie w opracowaniu wielu kompozytorów reprezentujących okres od końca XIX wieku do czasów współczesnych, anonimowa osiemnastowieczna Symphonia de Nativitate oraz dwa Concerti a due Adama Jarzębskiego - wybitnego przedstawiciela polskiego wczesnego baroku. Aldebrando Subissati (1606 - 1677) należący do odkrywanych dopiero kompozytorów włoskiego baroku, karierę rozpoczął w ojczyźnie i w ojczyźnie zakończył, miał jednak także trwający w przybliżeniu 5 lat epizod polski zakończony w 1654 roku. Pierwsze dokumenty potwierdzające działalność w kapeli króla Jana Kazimierza w Warszawie datowane są na rok 1650. W 1654 roku, z listem podpisanym 25 września owego roku przez króla Jana Kazimierza, kompozytor udał się do Włoch. Podobno miał wrócić do Warszawy, jednak z powodu najazdu w 1655 roku na Polskę wojsk szwedzkich od planu odstąpił. Osiadł w rodzinnej miejscowości Fossombrone. Przed przyjazdem do Polski miał już bardzo wysoką pozycję w Rzymie - uchodził za mistrza gry na skrzypcach, prawdziwego znawcę tego instrumentu. Po powrocie do Włoch oddawał się z zapałem pracy dydaktycznej, a także komponował, o czym świadczy zbiór dwudziestu sonat z lat 1675 - 76, ukończony zatem rok przed śmiercią. Utwory z okresu polskiego niestety nie zachowały się. Śladem jest jedynie wzmianka w inwentarzu dzieł muzycznych kościoła Karmelitów w Krakowie, dotycząca sonaty na skrzypce solo oraz dwóch arii na dwoje skrzypiec. My wysłuchamy sonaty pochodzącej ze wspomnianego późnego zbioru włoskiego kompozytora, ostatnio przywracanego naszej pamięci przez polskiego muzykologa Piotra Wilka. XIV Sonatę - Exortum est ze zbioru Sonate per violino solo e basso continuo Aldebrando Subissatiego grają Agata Sapiecha - skrzypce, Lilianna Stawarz - organy kameralne i Anna Kowalska - teorban. ca’ 19.04 - 19.08 -1- Composer: Aldebrando Subissati (1606-1677) Sonata XIV “Exortum est” from “Sonate per violino solo e basso continuo”, MI 0034 -004.00 min. Soloist: Agata Sapiecha, violin, Soloist: Lilianna Stawarz, chamber organ, Soloist: Anna Kowalska, theorbe Była to XIV Sonata - Exortum est ze zbioru Sonate per violino solo e basso continuo Aldebrando Subissatiego. Grali: Agata Sapiecha - skrzypce, Lilianna Stawarz - organy kameralne i Anna Kowalska - teorban. Na estradzie Studia imienia Witolda Lutosławskiego pojawi się teraz świętujący w tym roku 60 rocznicę powstania Chór Polskiego Radia w Krakowie kierowany przez Włodzimierza Siedlika. Zwyczaj śpiewania kolęd w okresie Świąt Bożego Narodzenia i Nowego Roku jest w Polsce stary, sięgający późnego średniowiecza. Kolędy ubarwiały organizowane przez kościoły przestawienia jasełkowe. Szczególną aktywnością na tym polu wyróżniali się Franciszkanie, którym przypisuje się zwyczaj budowania szopek, oddających realistycznie stajenkę betlejemską, z Panem Jezusem, Maryją, Józefem, oraz zwierzętami - osłem i wołem. Bardzo wiele kolęd śpiewanych do dziś powstało w XVI i XVII wieku. W większości przypadków nie znamy autorów ich słów i melodii. Bardzo często skomponowane jako pieśni kościelne stawały się z czasem częścią tradycji ludowej, która wprowadzała do nich elementy świeckie, a także nutę żartobliwą. Z tego powodu niektóre z nich oficjalnie nie były wykonywane w kościołach. Nie było natomiast żadnych przeszkód by śpiewać je podczas biesiad i zabaw, a także chodzenia od zagrody do zagrody z przedstawieniami jasełkowymi. Orszakowi licznych postaci i zwierząt, między innymi niedźwiedzia, kozy, tura, wilka, towarzyszyły

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takie rekwizyty jak szopka i gwiazda. Słowa wielu kolęd naznaczone są typowo polskim kolorytem. W Encyklopedii staropolskiej Zygmunt Gloger pisze, iż największym wdziękiem kolęd, samą ich istotą, jest „poufałość naiwna z jaką mówią o narodzeniu Pana Jezusa i Jego Matce... Ci pasterze zbudzeni przez aniołów i śpieszący do owej szopy, to są polskie parobki, ta szopa jest taka sama, jak każda stajnia prze wiejskiej naszej zagrodzie, i ktoby dzieje Nowego Testamentu znał tylko z kolęd, ten mógłby myśleć, że Pan Jezus urodził się gdziekolwiek w Polsce, w pierwszej lepszej wsi, bo każda jest podobna jak dwie krople wody do tego Betlejem, jakie jest w kolędach...” Tyle Zygmunt Gloger w Encyklopedii staropolskiej. Najważniejszymi dziewiętnastowiecznymi źródłami kolęd polskich są zbiory księdza Michała Marcina Mioduszewskiego oraz Oskara Kolberga - wybitnego etnografa, zajmującego się także kompozycją. Należący do Zgromadzenia Misjonarzy św. Wincentego à Paulo w Krakowie ksiądz Michał Marcin Mioduszewski (1787-1868) opublikował Śpiewnik kościelny, czyli pieśni nabożne z melodiami w Kościele katolickim używane (1838) oraz przeznaczone (jak to zaznaczył w podtytule) do wykonywania poza kościołem, Pastorałki i kolędy, czyli piosenki wesołe ludu po domach śpiewane (1843). Do zbiorów obu badaczy sięgali kompozytorzy drugiej połowy XIX wieku, a także dwudziestowieczni, w tym współcześni (m.in. Witold Lutosławski). Ich opracowania świadczą o ciągle żywej tradycji kolędowania w Polsce. Dziś przypomnimy kolędy polskie opracowane przez wielu autorów - współczesnych nam, oraz już nieżyjących: Feliksa Rączkowskiego, Stanisława Niewiadomskiego, Tadeusza Dobrzańskiego, Henryka Botora, Jerzego Kurczewskiego, Macieja Małeckiego, Jerzego Kołaczkowskiego, Andrzeja Koszewskiego, Jana Maklakiewicza, Feliksa Nowowiejskiego i Stefana Stuligrosza. Poprzedzi je kolęda do tekstu łacińskiego Magnum nomen Domini, wybitnego przedstawiciela polskiego baroku Bartłomieja Pękiela. Śpiewa Chór Polskiego Radia w Krakowie pod dyrekcją swojego szefa artystycznego Włodzimierza Siedlika. 19.12 - 19.37 -2- Polish Carols - 025.00 min. Composer: Bartłomiej Pękiel (? – c.1670) Magnum nomen Domini Composer: Traditional Arranger: Feliks Rączkowski (1906-1989) Anioł pasterzom mówił /The Angel said unto the Shepherds/ Composer: Traditional Arranger: Feliks Rączkowski (1906-1989) Narodził się Jezus Chrystus /Jesus Christ is born/ Composer: Traditional Arranger: Stanisław Niewiadomski (1859-1936) Gdy się Chrystus rodzi /When Christ is born/ Composer: Traditional Arranger: Tadeusz Dobrzański (1916-1996) W żłobie leży /He lies in a Manger/ Composer: Traditional Arranger: Henryk Botor (* 1960) Gdy śliczna Panna /When the lovely Virgin Mary) Composer: Traditional Arranger: Jerzy Kurczewski (1924-1995) Przybieżeli do Betlejem /They hastened to Bethlehem/ Composer: Maciej Małecki (* 1940) Niemowlątko na słomie /The Tiny Child on Straw/ Composer: Traditional Arranger: Jerzy Kołaczkowski (1907-1995) Jam jest dudka /I am just a fiddler/ Composer: Andrzej Koszewski (* 1922) Chrystus Pan się narodził /Christ the Lord is born/

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Composer: Traditional Arranger: Jan Maklakiewicz (1899-1954) Z narodzenia Pana /Since Our Lord is born/ Composer: Traditional Arranger: Feliks Nowowiejski (1877-1946) Dzisiaj w Betlejem /Today in Bethlehem/ Composer: Traditional Arranger: Feliks Nowowiejski (1877-1946) Noc cicha we śnie /Silent Night in the Dream/ Composer: Traditional Arranger: Stefan Stuligrosz (* 1920) Lulajże Jezuniu /Lullaby, Sweet Jesus/ Composer: Traditional Arranger: Włodzimierz Siedlik (* 1963) Bóg się rodzi /The Lord is born/ Ensemble: Polish Radio Chorus Conductor: Włodzimierz Siedlik Kolędy polskie śpiewał Chór Polskiego Radia w Krakowie pod dyrekcją Włodzimierza Siedlika. Na początku wykonana została kolęda do łacińskiego tekstu Magnum nomen Domini Bartłomieja Pękiela przedstawiciela polskiego baroku. Autorami opracowań kolęd polskich byli Feliks Rączkowski, Stanisław Niewiadomski, Tadeusz Dobrzański, Henryk Botor, Jerzy Kurczewski, Maciej Małecki, Jerzy Kołaczkowski, Andrzej Koszewski, Jan Maklakiewicz, Feliks Nowowiejski i Stefan Stuligrosz. Na estradzie Studia koncertowego Polskiego Radia imienia Witolda Lutosławskiego pojawi się teraz kierowany przez Agatę Sapiechę zespół Il Tempo, w którego wykonaniu usłyszymy anonimową, pochodzącą z XVIII wieku kompozycję Symphonia de Nativitate. W komentarzu do wydania utworu Anna i Zygmunt Szweykowscy napisali: „W zachowanym rękopisie anonimowy utwór datowany jest na 1759 rok i należy do najstarszych zabytków muzyki instrumentalnej związanej z obchodami Bożego Narodzenia. [......] ‘Symfonia de Nativitate’ napisana w oryginale na dwoje skrzypiec z towarzyszeniem continuo mogła być zrealizowana w warunkach wykonawczych najprostszych. [....] Istotne dla kompozycji jest przede wszystkim podanie materiału melodycznego. Jest to najpewniej zestaw popularnych wówczas melodii związanych z obchodami Bożego Narodzenia. Dziś pierwsza melodia pierwszej części kojarzy się z kolędą ‘Przybieżeli do Betlejem’”. [...] Gra zespół Il Tempo prowadzony od smyczka przez Agatę Sapiechę. 19.39 - 19.46 -3- Composer: Anonymous Symphonia de Nativitate (18th century) - 007.00 min. Ensemble: Il Tempo Agata Sapiecha, art. dir. Anonimową, pochodzącą z XVIII wieku kompozycję Symphonia de Nativitate wykonał zespół Il Tempo, prowadzony od smyczka przez Agatę Sapiechę. W interpretacji tego zespołu, na zakończenie koncertu posłuchamy dwóch Concerti a due Adama Jarzębskiego ze zbioru Canzoni e Concerti. Kompozytor, zarazem królewski budowniczy Władysława IV, był znamienitą postacią Warszawy pierwszych dekad XVII wieku, która stosunkowo niedawno, bo w 1596 roku stała się stolicą Polski. Pozostawił m.in. rodzaj przewodnika po Warszawie, sławny « Gościniec, albo krótkie opisanie Warszawy ». Jest jednak przede wszystkim autorem reprezentującego najwyższy europejski poziom zbioru utworów instrumentalnych Canzoni e concerti. Dwa Concerti a due z tego zbioru gra zespół Il Tempo Agaty Sapiechy. 19.48 - 19.52 -4- Composer: Adam Jarzębski (before 1590-1648/49)

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Concerto a due - 001.30 min. Concerto a due - 002.30 min. Ensemble: Il Tempo Agata Sapiecha, art. dir. Były to dwa Concerti a due Adama Jarzębskiego. Grał zespół Il Tempo, prowadzony od smyczka przez Agatę Sapiechę. W studiu Polskiego Radia imienia Witolda Lutosławskiego dobiegła końca część pierwsza koncertu należącego do Dnia Specjalnego Euroradia, poświęconego, jak zwykle w ostatnią niedzielę przez Bożym Narodzeniem, muzyce związanej z tymi świętami. Najlepsze życzenia zdrowych i pogodnych Świąt od Polskiego

EBU No: EURO/2008-2009/N/013 Offering organization(s): DESR

Date of concert: Sunday 21/12/2008 - Live transmissionStart of concert: 21:00 GMT Music duration: 054.00 MinutesEnd of concert: 21:55 GMTBroadcast by satellite the 21/12/2008 from 21:00 to 21:55 GMT Channel: R Concert modified on: 20/11/2008

=> Duration of music: 54 min. => Running order: 21:00 GMT Welcoming announcement 21:02 GMT La Nativité du Seigneur - 54.00 21:56 GMT Closing announcement 21:57 GMT End of transmission => Uplink via ARD STERN 20/11/2008Email sent

Venue of concert: Stiftskirche (Collegiate Church), St Arnual

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Composer: Olivier Messiaen (1908-1992)

La Nativité du Seigneur 054.00 min.


Soloist: Jörg Abbing, organ


PRESENTATION TEXT

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EBU No: EURO/2008-2009/N/014 Offering organization(s): CASRC


Change of programme and performers, the originally proposed High Mass by Gilles Vigneault being too short to fill the 55-minute slot. 13/11/2008Email sent

20/11/2008Entry of recording date, venue and instrumental ensemble 20/11/2008Email sent

02/12/2008=> Work 2 withdrawn from the programme (Charpentier: In nativitatem Domini canticum) => Dupuy: this will be excerpts from 'Au milieu de la nuit' - details to follow 02/12/2008Email sent

05/12/2008Entry of biographical notes, timings of music and original presentation text 05/12/2008Email sent

Venue of concert: Palais Montcalm, Raoul-Jobin Hall, Quebec

-1-

Composer: Michel Richard Delalande (1657-1726)

Symphonies de noëls 006.00 min.

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Composer: Bernard-Aymable Dupuy (1707-1789)

Au milieu de la nuit (excerpts) 015.00 min. 1. Overture6. Air gracieux et léger9. Gavotte (soprano and chorus)

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10. Deux airs14. Air gai (bass and chorus)

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Composer: Marc-Antoine Charpentier (1643-1704)

Messe de minuit pour Noël, H. 9 023.00 min.


Soloist: Shannon Mercer, sopranoSoloist: Tracy Smith Bessette, sopranoSoloist: Jeremy Budd, tenorSoloist: Antonio Figueroa, tenorSoloist: Alexandre Sylvestre, bass-baritoneEnsemble: Les Violons du RoyEnsemble: La Chapelle de QuébecDirector: Bernard Labadie

Beginning in the Middle Ages, the Christmas season in Europe brought a little warmth to the depths of winter—with cold weather and snow hampering everyday activities, peasants and city-dwellers alike prepared to celebrate the birth of Jesus as the solstice approached. As early as the 9th century, the common people expressed their faith in songs about the Nativity sung in the vernacular language. The repertoire was especially extensive in France, and was given new impetus in the 16th century by the introduction of printed music. The Bible des noëls of 1554, for example, contained traditional carols such as “Or nous dites Marie” and “Joseph est bien marié” that were to prove a rich source of inspiration for Baroque composers. One of the notable features of these carols, often adapted from secular songs, was their “rural and pastoral nature, matching the simplicity of the words and of the shepherds who supposedly sang them as they travelled to pay homage to the Infant Jesus in his manger,” as related by Jean-Jacques Rousseau in his Dictionnaire de musique (1768). At the court of the Sun King, Christmas was celebrated magnificently at four masses, the most popular of which was Midnight Mass, and the indispensable noëls featured ever more prominently in variations for organ as well as in motets, cantatas and mass settings.


Composer: Michel Richard DelalandeParisian composer Michel Richard de Lalande initially trained as a violinist, organist and harpsichordist before entering the royal chapel at Versailles in 1683 as deputy master of music; he went on to hold many prestigious positions at the courts of Louis XIV and Louis XV, who raised him to the nobility. His music offers a skilful synthesis of French and Italian elements and includes 70 large-scale motets as well as numerous ballets and divertimentos for orchestra, including around a dozen ceremonial suites known as Symphonies pour les soupers du Roy and Symphonies de noëls. The manuscript of the Simphonies de noëls specifies that they were “played in the King’s chapel on Christmas Eve” and that “as many noëls were performed as there was time between the end of Mattins and the stroke of midnight”. At the time, in France, a “symphonie” was either an instrumental ensemble, or any piece intended for performance by an orchestra of any size. The work performed tonight is related to both the French suite and the Italian concerto grosso. It begins with a noble and elegant overture in C major, with an ongoing dialogue between the strings and winds. Next, a Trio with variations incorporating the tune of “Où s’en vont ces gais bergers” is followed by a joyful movement in ternary metre that brings this refined music to a close.

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Composer: Bernard-Aymable DupuyRediscovered just in time for the tricentennial of his birth, Toulouse composer Bernard-Aymable Dupuy worked for 44 years in his native town as master of music at the church of Saint-Sernin. Dupuy, esteemed by his contemporaries as a singer and composer, described as “renowned for his genius and taste”, composed around sixty mainly sacred works, including this Noël from 1749. A cantata in the French language, this motet for double chorus and small instrumental ensemble is based on a dialogue between the shepherds and the angels. A French overture prepares the scene for the shepherds’ fright on beholding the “swirls of fire” that light up the night sky. An angel and chorus reply. The Air for violins and continuo leads into the Récit tendre celebrating the birth of the “marvellous child”. An elaborate chorus denounces Satan, the “monster who thwarted all mortal happiness”. The joy of the shepherds is mirrored in a gracious vocal Gavotte and two instrumental Airs in the purest ballet style of the period. After a stern warning for humanity from the angel, the shepherds sing their adoration in a virtuoso aria, a duo and a double chorus.

Composer: Marc-Antoine CharpentierBetween 1670 and 1700, three French composers, Guillaume Minoret (a future colleague of Delalande at the royal chapel), Marc-Antoine Charpentier and Sébastien de Brossard each wrote a mass setting based on old carols, returning to the tradition of the “parody” masses of the Renaissance based on secular or Gregorian themes. Charpentier’s Messe de minuit de Charpentier, for five soloists, chorus, recorders, strings and continuo, is the best-known of the three. It appears to have been composed around 1694 for the Jesuits, and uses the typically French technique of a dialogue between the “great” and “small” chorus, the latter comprising a group of soloists. After the first Kyrie and for the Offertory, the composer left room for the organist to play or improvise Christmas variations. In fact, the entire work offers a compendium of Christmas tunes, since the mass includes eleven easily recognized French carols: Joseph est bien marié, Or nous dites Marie and Une jeune pucelle during the Kyrie, Les bourgeois de Châtre (or “de Chastres”) during the Laudamus te and Où s’en vont ces gais bergers (Quoniam) during the Gloria, with a profound first chorus invoking peace on earth and a gracious concluding “Amen”. The Credo uses the carol Vous qui désirez sans fin (Deum de Deo) and a solo trio offers a variant of Joseph est bien marié, Voici le jour solennel de Noël (Crucifixus). After a quick flurry of notes evoking Christ’s ascension into heaven, the Holy Spirit is venerated in À la venue de Noël for three high solo voices and instruments. In the Sanctus, Charpentier cites from O Dieu que n’étais-je en vie, first presented nobly by the orchestra and then repeated by the chorus. The dance-like Agnus Dei is based on À minuit fut fait un réveil. Not wishing to emphasize the sacrifice of the Lamb, Charpentier chooses to celebrate the long-awaited birth in an outburst of joy. Irène Brisson

Soloist: Shannon Mercer, sopranoHer voice has been described as luminous, dazzling and shining and her acting witty, delightful, and feisty. Shannon Mercer is taking on the opera world as one of Canada's most promising young stars. Critically acclaimed by the international press for her musical artistry, she has been hailed as “one of Canada’s most promising young sopranos” and a “Leader of Tomorrow” (Maclean's). An alumnus of San Francisco Opera’s prestigious Merola Opera Summer Program, Shannon Mercer began her operatic career as a member of the Canadian Opera Company (COC) Ensemble Studio Program. She has since gone on to perform major roles with the COC (Despina in Così fan tutte, Sesto in Sartorio’s Giulio Cesare in Egitto, a Madrigalist in Henze’s Venus and Adonis, Xenia in Boris Godunov, Oscar in Un Ballo in Maschera and Elvira in L’Italiana in Algeri), Opéra de Québec, Opera Lyra Ottawa (Nanetta in Falstaff, Rosina in Il Barbiere di Siviglia), Opera Ontario, Opera Atelier (Médée) and the Toronto Operetta Theatre. In July 2006 she made her London debut under the auspices of the Covent Garden Royal Opera House in The Midnight Court with Toronto's Queen of Puddings Music Theatre. Recent highlights include performances in Not the Messiah by Eric Idle in Toronto and at New York’s Caramoor Festival and her highly acclaimed French debut with the Opera de Montpellier in the title role of Marin Marais's Sémélé, released on CD. Shannon Mercer has released three CDs for Analekta: Bach and the Liturgical Year, Mondonville with harpsichordist Luc Beauséjour and English Fancy with Montréal's Masques ensemble. Her next recording for this label features a collection of Welsh songs. Shannon Mercer also starred in TV broadcast Alexina Louie’s Gemini-nominated comic opera Burnt Toast, now on DVD.

Soloist: Tracy Smith Bessette, sopranoPraised for “her poise, wealth of expressive nuance and fine projection” (Opera News), Canadian soprano Tracy Smith Bessette has inspired audiences all over the world and is sought after for both

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the concert and the opera stages. A busy 2008-09 season includes a baroque Christmas concert with Philippe Magnan, a benefit concert with Les Idées heureuses featuring Graupner’s La Costanza vince l’Inganno, L’Incoronazione di Poppea with Opera Atelier in Toronto, French baroque cantatas with Notturna Ensemble in Montréal and Handel’s Acis and Galatea with Calgary’s Early Music Voices. On the operatic stage, past seasons performances have included Pamina (Die Zauberflöte), Adina (L’Elisir d’amore), Belinda (Dido and Aeneas), Venus (Venus and Adonis), Madame Herz (Der Schauspieldirektor), Poppea (L’Incoronazione di Poppea), Marie (La Fille du régiment), Despina (Così fan tutte), Frasquita (Carmen), and Najade and Echo (Ariadne auf Naxos). As active on the concert stage and in recital, Mrs. Smith Bessette’s oratorio performances include St. John’s Passion with La Chapelle de Montréal, Israel in Egypt with Les Violons du Roy, Bach’s Magnificat and Mozart’s Requiem with the Choeur et Orchestre des Grandes Écoles in Paris, Fauré’s Requiem, Vivaldi’s Gloria, Mozart’s Coronation Mass and Handel’s Messiah. Educated at the University of Calgary and the University of Toronto, Tracy Smith Bessette also studied at the prestigious Tanglewood Festival and the Santa Barbara’s Music Academy of the West. She then trained with the Atelier lyrique de l’Opéra de Montréal. In the fall of 2002, she began a two-year engagement with the Centre de formation lyrique of the Opéra national de Paris. The following season brought her mainstage debuts with this company on both the Opera Bastille and the Palais Garnier stages, singing Fünfte Magd (Elektra) and Feklusha (Katya Kabanova). With Toronto’s Aradia Ensemble, Tracy Smith Bessette has recorded two volumes of Christmas motets by Charpentier, and one volume of Vivaldi’s sacred music, all on the Naxos label.

Soloist: Jeremy Budd, tenorJeremy Budd is a former Head Chorister of St Paul’s Cathedral. As a treble soloist he performed extensively both at home and abroad, including performances at the Royal Opera House, Covent Garden, and with the London Symphony Orchestra. Recordings include Hear My Prayer at St Paul’s Cathedral, A Play of Passion with Michael Chance and Fretwork, and Paul McCartney’s Liverpool Oratorio with Carl Davis. Jeremy Budd is a graduate of the Royal Academy of Music. He regularly performs with many of the UK’s leading choirs, including the Monteverdi Choir, Gabrieli Consort, King’s Consort, European Voices, the Choir of the Age of Enlightenment, Cardinall’s Musick, Ex Cathedra, and Tenebrae. He is also member of The Sixteen. Jeremy Budd made his London debut in 2000 as a tenor, singing Pilatus in Arvo Part’s Passio in Westminster Cathedral. Performances include the Evangelist in Bach’s St John Passion in St James' Piccadilly, Handel’s Messiah and Mozart’s Requiem in St Martin-in-the-Fields, and Rossini’s Petite messe solennelle and the Roasting Swan in Carmina Burana for Birmingham Royal Ballet and Jersey Philharmonic. He also enjoys privileged collaboration with Sir John Eliot Gardiner, with whom he has sung Mozart’s Requiem and Mass in C Minor in San Francisco and New York, the countertenor part in Purcell’s Ode on St Cecilia’s Day in Paris and at the Barbican Centre, and excerpts from Bach’s St John Passion. Conductor Paul McCreesh is another frequent and successful partnership: performances have included Handel’s Acis and Galatea, Mendelssohn’s Elijah and Haydn’s Creation, and again Purcell’s Ode on St Cecilia’s Day with the Gabrieli Consort in Beaune and the Concertgebouw. Operatic engagements include a fully staged St John Passion in Paris and Orfeo in Lille with Emmanuelle Haïm, the role of Pilade in Handel’s Oreste at the Linbury Studio Theatre, a fully staged performance of Purcell's Dido and Aeneas with English Country Garden Opera, and Chabrier’s L’Étoile at the Opéra Comique in Paris with Gardiner.

Soloist: Antonio Figueroa, tenorHolder of a Master’s Degree from Montréal University and continuing his vocal studies under the direction of Cesar Ulloa, thanks to a grant from the Jacqueline Desmarais Foundation, Antonio Figueroa is seeking more and more attention from North American and European scenes. Appreciated for his deep musicality and winner of multiple awards and prizes, the young Montrealer was honored in the summer of 2006 with the Silverman Prize for his remarkable interpretation of Belmonte (The Abduction from the Seraglio) at the International Vocal Art Institute in Tel-Aviv. The multi-lingual tenor starred as Nemorino in L’Elisir d’amore in Tours and in Pescara (Italy), as Tybalt in Gounod’s Roméo et Juliette in Toulon, was heard as Hérisson in Chabrier’s L’Étoile at the Opéra de Montréal, as Nadir in Les Pêcheurs de perles in Avignon, and as Quint in The Turn of the Screw with the Atelier lyrique de l’Opéra de Montréal. The current season has seen him again as Nadir in Montreal, as well as in Così fan tutte, Fra Diavolo, La Traviata and The Barber of Seville in France and in Belgium. In concert, Antonio Figueroa has sung Messiah for the Grand Philharmonic Choir of Kitchener and the Bach Elgar Choir of Hamilton, Bach’s St. John Passion in Montreal and Carlyle Sharpe’s Proud Music of the Storm with the Washington Chorus in D.C. Following an engagement with the San Antonio Symphony in Messiah, he will sing in Bach’s Mass in B minor with the Oratorio Society of New York.

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Antonio Figueroa remains strongly engaged to Quebec’s and Canada’s scenes. After having participated in numerous popular events designed to reach the general public with the Atelier lyrique de l’Opéra de Montréal, he has appeared for Les Escales improbables, Les Journées de la Culture, and was the Chef d’expédition in L’Arche, an opera for children co-produced with the Nouvel Ensemble Moderne.

Soloist: Alexandre Sylvestre, bass-baritoneA native of Lanaudière, Alexandre Sylvestre studied at the Conservatoire de musique de Montréal where he successfully obtained a First Prize “avec grande distinction”. He has been awarded bursaries from l’Association de Repentigny pour l’avancement de la musique, the Wilfrid-Pelletier Foundation, and the Jeunesses Musicales of Canada. In February of 2006, he was a winner at the Ottawa New Discoveries Auditions, and in November of the same year, he tied for Second Prize in the vocal category of the Montreal Symphony Orchestra Competition. An alumnus of the Atelier lyrique de l’Opéra de Montréal, Alexandre Sylvestre made his official debut with the Montreal Opera in 2005 in the roles of Zalzal and the Police Chief in Chabrier’s L’Étoile, and was later invited to appear in the Opera’s gala in December 2006. His roles at the Conservatoire de musique de Montréal were Count Almaviva in The Marriage of Figaro, Paquiro in Granados’s Goyescas and the title role in Puccini’s Gianni Schicchi. With the Conservatoire Orchestra he was heard in Verdi’s Requiem, Bach’s Magnificat, and Handel’s Messiah. Highlights of the last season included the Duke of Verona in Roméo et Juliette and Prince Yamadori in Madama Butterfly at the Montreal Opera. Mr. Sylvestre also took part in the premiere of a work based on the writings of Jacques Cartier as part of Quebec City’s 400th anniversary celebrations. During the summer of 2007, he sang the roles of Figaro in The Marriage of Figaro with the Opera Centre in Sulmona, Italy, and of Pausanias in Chabrier’s Une éducation manquée with the Canadian Vocal Arts Institute. In 2008-2009, the young bass-baritone sings Jack Wallace in La Fanciulla del West and Nourabad in Les Pêcheurs de perles for the Montreal Opera, as well as featured roles in The Magic Flute both for Pacific Opera Victoria and in London, Ontario. He will be heard again with Les Violons du Roy next June in Haydn’s Stabat Mater.

Ensemble: Les Violons du RoyThe chamber orchestra Les Violons du Roy borrows its name from the renowned string orchestra of the court of the French kings. The group, which has a core membership of fifteen players, was brought together in 1984 by music director Bernard Labadie and specializes in the vast repertoire of music for chamber orchestra, performed in the stylistic manner most appropriate to each era. Although the ensemble plays on modern instruments, its approach to the works of the Baroque and Classical periods has been strongly influenced by current research into performance practice in the 17th and early 18th centuries; in this repertoire Les Violons du Roy uses copies of period bows. The orchestra has been widely acclaimed for the exceptional energy, brilliance and vitality of its performances. In recent seasons, under the leadership of first guest conductor Jean-Marie Zeitouni, the orchestra has begun to explore 19th and 20th century repertoire in more depth. A pillar of the musical scene in Québec City, and well known throughout Canada and United States for its concerts and its recordings broadcast by Radio-Canada, CBC and NPR in the United States, Les Violons du Roy has, since 1988, made over a hundred concert appearances in Germany, England, Austria, Belgium, Ecuador, Spain, France, Morocco, Mexico, Norway, and the Netherlands. On summer 2007, Les Violons du Roy returned to Europe with US mezzo-soprano Vivica Genaux for concerts at Saint-Jacques-de-Compostelle, the Concertgebouw in Amsterdam and the Rheingau Festival in Germany. The eighteen recordings made by Les Violons du Roy have been acclaimed by critics and earned various distinctions and awards at the national and international levels. Of twelve CDs released by Dorian, two won Juno Awards for classical album of the year - vocal or choral performance (Apollo e Dafne by Handel and Requiem by Mozart). Since 2004, the association with the Québec label ATMA has led to four CDs, including the critically-acclaimed Water Music, recorded in the Raoul Jobin hall in the Palais Montcalm and winner of a Félix Award in 2008 for classical album, orchestra and large ensemble, Piazzolla, conducted by Jean-Marie Zeitouni and winner of a Juno Award in 2006 for classical album of the year - solo or chamber ensemble, and Bartόk, also directed by Jean-Marie Zeitouni and released in fall 2008. The group’s first collaboration with the multinational Virgin Classics label led to the release in fall 2006 of a CD of cantata arias by Handel and Hasse with US mezzo-soprano Vivica Genaux.

Ensemble: La Chapelle de QuébecLa Chapelle de Québec, founded by Bernard Labadie in 1985, is a nationally-based chamber choir of professional singers recruited mainly in Québec City, but also throughout Québec and Canada. It assembles for two or three concerts each season to join Les Violons du Roy in major works from the repertory for choir and orchestra, especially from the 18th century. Its performances of cantatas,

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ORIGINAL PRESENTATION TEXT

oratorios and masses by Bach, Handel, Mozart and Haydn have been acclaimed throughout Canada and the United States, in particular thanks to many broadcasts by Radio-Canada, the CBC and NPR in the United States. La Chapelle de Québec has performed regularly on tour with Les Violons du Roy, in particular in Handel’s Messiah and Bach’s St. Matthew Passion in Toronto, in an all-Vivaldi program in France and in Mozart’s Requiem in Toronto and the United States. The choir is often asked to appear with Bernard Labadie in the concerts he conducts with US orchestras, including the Los Angeles Symphony, with which it performed Handel’s Messiah in 2004 and Bach’s Magnificat in 2006. La Chapelle de Québec won a Juno Award for its recording of Mozart’s Requiem, released by Dorian in 2002.

Director: Bernard LabadieIn 2008, Bernard Labadie began his 25th season as the musical director of Les Violons du Roy and La Chapelle de Québec. He continues to play a key role in the regular season of both ensembles in Québec City and Montréal, and regularly joins them on tour at some of the most prestigious venues in North America and Europe. In recent years, for example, he has conducted one or both groups at the Lincoln Center and Carnegie Hall in New York, the Walt Disney Concert Hall in Los Angeles, the Kennedy Center in Washington, the Barbican in London, the Concertgebouw in Amsterdam, and the Salzburg festival. Under his leadership, Les Violons du Roy and La Chapelle de Québec have recorded over fifteen albums for the Dorian, Atma and Virgin Classics labels, two of which have received Juno Awards. A new album of concertos by C.P.E. Bach with Norwegian cellist Truls Mork will be recorded next November for Virgin Classics. Bernard Labadie is also one of North America’s leading guest conductors. During the current season he will appear for the first time with the Boston, Chicago and Colorado orchestras, and will return to conduct the Los Angeles, San Francisco and Toronto symphony orchestras, as well as the New World Symphony in Miami. In 2009-2010, he will debut with the Cleveland Orchestra and make return appearances with the Philadelphia, Chicago, San Francisco and Houston orchestras. In 2010-2011, he will conduct the New York, Saint-Louis and Los Angeles symphony orchestras. Bernard Labadie is increasingly active in Europe, where in coming seasons he will appear with the Concertgebouw Orchestra in Amsterdam, the Swedish Chamber Orchestra, the Tampere Philharmonic Orchestra in Finland and the Iceland Symphony Orchestra. He will also return to conduct the Northern Sinfonia in Newcastle, the Hanover Radio Philharmonic Orchestra, and the Musikkollegium Winterthur in Switzerland. He has been invited to conduct the Malaysian Philharmonic Orchestra for three weeks of concerts in July and October, 2009, and has just returned from a tour of Australia where he conducted the Melbourne, Queensland and Tasmania symphony orchestras. As a specialist of the Baroque and Classical periods, Bernard Labadie has regularly conducted period-instrument ensembles such as Ensemble Arion in Montréal, the Handel & Haydn Society in Boston, the New York Collegium, and Philharmonia Baroque in San Francisco. Last July, he appeared for the first time with the Orchestra of Collegium Vocale in Ghent, Belgium. He will conduct the Academy of Ancient Music in London in 2011 for the first time. A passionate opera-lover, Bernard Labadie was artistic director of the Opéra de Québec from 1994 to 2003 and of the Opéra de Montréal from 2002 to 2006, and has appeared as a guest conductor at the Mostly Mozart Festival and the Sante Fe Opera. He will debut with the Metropolitan Opera in New York in September 2009 in Mozart’s The Magic Flute. As a leading ambassador for music in his native city of Québec, Bernard Labadie was made an Officer of the Order of Canada in 2005 and a knight of the Ordre national du Québec in 2006. In 2008, he received the Banff Centre’s National Arts Award for his contribution to the development of the arts in Canada, as well as an honorary doctorate from Laval University.


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Bonsoir, ici Michel Keable. Au nom d’Espace musique, la radio musicale de Radio-Canada, je souhaite la bienvenue aux mélomanes rassemblés ce soir au Palais Montcalm de la Ville de Québec, ainsi qu’aux auditeurs des radios membres de l’Union Européenne de Radio-Télévision qui sont avec nous dans le cadre de la Journée Spéciale Euroradio de Musiques de Noël. Nous sommes extrêmement heureux et honorés de nous joindre à vous pour souligner la fête de Noël, cette brève pause annuelle que l’on fait pour parler d’amour, de paix et de sérénité, et ce, tout en musique. Nous vous invitons à célébrer Noël, à la française, avec Les Violons du Roy et La Chapelle de Québec sous la direction du chef Bernard Labadie. Nous sommes au Palais Montcalm à Québec, dans la salle Raoul-Jobin, cette salle baptisée en mémoire du célèbre ténor de réputation internationale, né ici-même à Québec. Quatre fois centenaire, Québec est reconnue comme le berceau de la civilisation française en Amérique, ce dont nous sommes très fiers. Nous sommes maintenant aux derniers jours de cette année faste et mémorable remplie d’événements culturels de grande qualité. Le chef d’orchestre Bernard Labadie est un ambassadeur musical exceptionnel de la Ville de Québec. Depuis la création des Violons du Roy, il y a maintenant 25 ans, il est au cœur de l’activité musicale. La réputation internationale de l’ensemble n’est plus à faire: la formation a suscité les critiques les plus élogieuses pour ses interprétations de la musique du 18e siècle. Ce nom des Violons du Roy rappelle le célèbre orchestre à cordes de la cour des rois de France. De là, il n’y a qu’un pas pour mettre en valeur des noëls de compositeurs français. Aujourd’hui, Les Violons du Roy nous offrent des œuvres des compositeurs Marc-Antoine Charpentier, Bernard Aymable Dupuy et Michel-Richard de Lalande. La Symphonie de noëls N° 2 de de Lalande ouvre le concert. Le manuscrit de la partition précise que les quatre suites que compte ce recueil "se jouent dans la Chapelle du Roy la nuit de Noël". Sans plus tarder, accueillons Bernard Labadie et Les Violons du Roy dans l’interprétation de la Symphonie de noëls N° 2 de Michel-Richard de Lalande. Musique: Michel-Richard de Lalande: Symphonie de noëls No 2 - 06:00 Les Violons du Roy, sous la direction de Bernard Labadie, interprétaient la Symphonie de noëls N° 2 du compositeur parisien Michel Richard de Lalande. Depuis le Moyen-Âge, le temps de Noël a engendré de nombreuses œuvres musicales. Plusieurs sont apparues à la cour des rois de France, mais d’autres ont été composées ailleurs dans le royaume, parfois loin de la cour, comme à Toulouse. C’est là que nous retrouvons le compositeur et chanteur Bernard Aymable Dupuy. Né en 1707, Dupuy a servi la Maîtrise de Saint-Sernin pendant presque un demi-siècle. Le compositeur faisait preuve d’autorité et d’indépendance dans son travail. Il a joui à Toulouse d’une bonne réputation et a suscité une estime certaine chez ses contemporains. Bernard Aymable Dupuy a écrit une soixantaine d’œuvres sacrées. Le noël dont nous entendrons quelques extraits, "Au milieu de la nuit", est conçu comme une cantate française pour deux (2) chœurs et petit ensemble instrumental dans laquelle dialoguent bergers et anges. Fait intéressant à noter, ce compositeur n’a semble-t-il été édité, pour la première fois, qu’en 2002! C’est donc un grand oublié qui réapparaît après 250 ans de silence. Pour cette deuxième œuvre, entrent en scène les membres de La Chapelle de Québec. Fondé également par Bernard Labadie en 1985, ce chœur est formé de chanteurs professionnels choisis tant au Québec qu’au Canada. Ces deux ensembles ont donc grandi et mûri ensemble grâce à la direction artistique dynamique et éclairée de Bernard Labadie. Accueillons les solistes, la soprano Tracy Smith Bessette et le baryton-basse Alexandre Sylvestre. Ils se joignent à La Chapelle de Québec et aux Violons du Roy, sous la direction de Bernard Labadie,

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pour interpréter des extraits du noël "Au milieu de la nuit" de Bernard Aymable Dupuy. MUSIQUE: Bernard Aymable Dupuy: Noël "Au milieu de la nuit" - 15:00 1. Ouverture 6. Air gracieux et léger 9. Gavotte (soprano et chœur) 10. Deux airs 14. Air gai (basse et chœur) La soprano Tracy Smith Bessette et le baryton-basse Alexandre Sylvestre, La Chapelle de Québec et Les Violons du Roy, sous la direction de Bernard Labadie, interprétaient des extraits du noël "Au milieu de la nuit" de Bernard Aymable Dupuy. Le prochain compositeur, Marc-Antoine Charpentier, malgré sa bonne réputation et l'appréciation de la cour, a passé toute sa carrière dans l'ombre de l'omniprésent Jean-Baptiste Lully. Charpentier a cependant été au service de la duchesse de Guise, une cousine du roi Louis XIV. À la mort de celle-ci, Charpentier est entré au service des jésuites pour lesquels il a composé plusieurs œuvres sacrées. Cette filiation avec les jésuites revêt une importance intéressante pour nous, puisque c’est sans doute par le truchement de ces missionnaires envoyés en Nouvelle-France qu’un des brefs motets de Charpentier, le Regina coeli, s’est retrouvé à Québec. Les archives des Augustines de la ville de Québec qui détiennent ce manuscrit peuvent en tirer une certaine gloire ! Bernard Labadie a choisi d’interpréter l’une des œuvres les plus célèbres écrites pour Noël en France. À l’instar de beaucoup d’œuvres sacrées de cette époque, le dernier tiers du XVIIIe siècle, la Messe de Minuit pour Noël de Marc-Antoine Charpentier a été composée à partir de thèmes profanes et populaires. Nous reconnaîtrons tour à tour les chants "Joseph est bien marié", "Une jeune pucelle", "Les bourgeois de Châtre", "Où s’en vont ces gais bergers" et quelques autres noëls français… Laissons-nous donc charmer par ce bouquet festif préparé par La Chapelle de Québec et Les Violons du Roy, auxquels se joignent les sopranos Shannon Mercer et Tracy Smith Bessette, les ténors Jeremy Budd et Antonio Figueroa, ainsi que le baryton-basse Alexandre Sylvestre. Bernard Labadie dirige "La Messe de Minuit pour Noël" de Marc-Antoine Charpentier. MUSIQUE: Marc-Antoine Charpentier: Messe de Minuit pour Noël, H. 9 - 23:00 Nous venons d’entendre "La Messe de Minuit pour Noël" de Marc-Antoine Charpentier. La Chapelle de Québec et Les Violons du Roy, les sopranos Shannon Mercer et Tracy Smith Bessette, les ténors Jeremy Budd et Antonio Figueroa ainsi que le baryton-basse Alexandre Sylvestre étaient sous la direction de Bernard Labadie. C’est ainsi que se termine ce concert proposé par la Société Radio-Canada. Il vous parvenait de la Salle Raoul-Jobin du Palais Montcalm de Québec. Il soulignait à la fois cette fête de Noël présentée dans le cadre de la Journée Spéciale Euroradio de Musiques de Noël de l’Union Européenne de Radio-Télévision, et la fin de l’année consacrée au 400e anniversaire de la fondation de la Ville de Québec. Preneurs de son: Martin Meilleur et François Légaré Réalisatrice de l’enregistrement: Chantal Bélisle Réalisatrice de l’émission: Michèle Patry Cette émission est une production d’Espace musique, la radio musicale de Radio-Canada. Ici Michel Keable, en mon nom personnel et au nom de toute l’équipe de Radio-Canada, je vous souhaite de très joyeuses Fêtes et vous transmets nos meilleurs vœux pour la prochaine année. [INDICATIF EURORADIO - FIN DE LA JOURNEE SPECIALE]

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Documents

mus print.framePrint?p print - European Broadcasting … · We will now hear the Suite No. 2 in D. The five movements are: Overture, Alla Hornpipe, Minuet, Lento and Bourrée. Handel: