Uczestnicy Kursu Interpretacji (Wratislavia Cantans 2014), fot. Łukasz Rajchert
Wratislavia Cantans on tour
Young Masters
16.09.2016
Fri.
7:00 PM
Kamieniec Ząbkowicki, kościół pw. Wniebowzięcia NMP i św. Jakuba Starszego
Programme:

Marcin Józef Żebrowski
Rorate coeli
Quem terra, pontus, sidera
Missa Pastoritia: Domine Deus, Quoniam, Benedictus
Ave maris stella
Vesperae in D: Laudate pueri, Credidi, Laetatus sum, Nisi Dominus
Magnificat

Performers:

Andrzej Kosendiak - conductor
Soloists – participants of the 41st Oratorio and Cantana Music Interretation Course  
Festival Orchestra

Venue:
Kamieniec Ząbkowicki, kościół pw. Wniebowzięcia NMP i św. Jakuba Starszego
pl. Kościelny

The Oratorio and Cantata Music Interpretation Course in Wrocław is held annually during the International Festival Wratislavia Cantans. The organisers are the Vocal Faculty (Department of Vocal Music) at the Karol Lipiński Music Academy in Wrocław and the Polish Association of Teachers of Singing. The initiator and director of the course in the first quarter of the twentieth century (1976-2000) was professor Eugeniusz Sąsiadek, now replaced by professors Piotr Łykowski and Bogdan Makal.
The aim of the organisers is to create conditions for the students of vocal music academies to develop skills in performance practice, both vocal and instrumental, in connection with the latest discoveries made by music historians, whose knowledge allows for proper reading of old scores. The seminars held during the course are open to wide audience. Practical classes are complemented with theoretical lectures. With the favour of the management of the International Festival Wratislavia Cantans, the best course participants have the chance to present themselves during festival concerts – events of the highest rank, in front of a demanding audience. This can be a vital experience for young singers taking their early artistic steps. Aleksandra Kurzak and Piotr Beczała, today's leading singers who took part in the courses in their student years, can serve as best examples.
Each course is a separate event, because the participants always work on a different repertoire. This year's theme is the music of Polish baroque, and the key work prepared for performance during the Festival will be Magnificat by Marcin Józef Żebrowski, composed for the orchestra in Jasna Góra. It is a piece that clearly promised the upcoming era of classical music: each part captivates with the beauty of melody, flowing freely, revealing stunning motifs, harmonised in a discreet, yet poignant way. The choral parts in Magnificat are quite simple, as if the composer had  in mind not particularly skilful singers: students or perhaps even more talented monks, who could join in if they wished. The power of the whole composition is expressed in solo arias and duets, in the melodic invention, and perfect use of the instrumental virtuosity of the members of the ensemble. Żebrowski’s Magnificat is not only an outstanding example of mid-eighteenth century European music, but also a testament to the high performative level of the ensemble from Jasna Gó

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