Il Suonar Parlante Orchestra / fot. Luis Duarte
Early Music Academy
Telemann in Pless
6:00 PM
NFM, Red Hall

G.Ph. Telemann  
Concerto in A minor for recorder, viola da gamba and orchestra TWV 52:a1
Concerto alla Polonese in G major TWV 43:G7: I. Dolce, II. Allegro
Overture in B flat major TWV 55:B8 „Ouverture burlesque”: II. Scaramouches (arr. V. Ghielmi)
Cyganji Tanz from the manuscript from Sepsiszentgyörgy (arr. V. Ghielmi)
Magyar Tanz  from the manuscript from Sepsiszentgyörgy  (arr. V. Ghielmi, S. Palúch)
Iai Devlale So Tẻ Kẻrav – traditional Lovari song (arr. G. Gibelli)
S. Palúch Hajduk Dance  after a melody from the manuscript of Annae Szirmay-Keczer (1688)
J. Bihari Adagio affectuoso
V. Ghielmi, S. Palúch Mozart the Gypsy after Violin Concerto No. 5 in A major KV 219 ‘Turkish’ by W.A. Mozart
S. Palúch Mozart Sîrba  after Violin Concerto No. 5 in A major KV 219 ‘Turkish’ by W.A. Mozart

J.G. Graun Concerto in D minor for viola da gamba and orchestra: III. Allegro
G.Ph. Telemann Solo per voi tra mille – aria from Pastorella venga bella TWV 20:62
A. Vivaldi Concerto in D major RV 208 „Grosso Mogul”: II. Grave recitativo (arr. A. Tampieri, M. Comendant)
F. Benda Concerto in G major for harpsichord, strings and b.c.: III. Allegro scherzando
G.Ph. Telemann Overture-Suite in E flat major TWV 55:Es3 „La Lyra”: III. Vielle (arr. V. Ghielmi)
Šol páii pe luludjori –  traditional Lovari song (arr. G. Gibelli, S. Pazlúch)
Saltus Pollonicus and Hungaricus from the manuscript from Uhrovec (arr. V. Ghielmi, S. Palúch)
Cântec de leagǎn – traditional Moldavian lullaby (arr. G. Gibelli, M. Comendant)
J.Ph. Kirnberger Masura (arr. V. Ghielmi, S.Palúch)
Trana nanna – traditional Lovari song (arr. S. Palúch)


Il Suonar Parlante Orchestra:
Vittorio Ghielmi – viola da gamba, artistic direction
Graciela Gibelli* – voice
Dorothee Oberlinger* – recorder
Stano Palúch*, Alessandro Tampieri*, Nicolas Penel – violins
Laurent Galliano – viola
Marco Testori – cello
Riccardo Coelati Rama – double bass
Marcel Comendant* – dulcimer
Shalev Ad-el – harpsichord

*solo parts

NFM, Red Hall
plac Wolności 1, 50-071 Wrocław
from 35 to 55 zł

Fiery workers of a cigar factory, Budapest chansonistes and princesses hiding in tabors – when in the 19th century colourful gypsy clothes, spontaneous rhythms and exotic scales took over European opera scenes, it was already a manifestation of the commercialization and petrification of a culture that had been present in Europe for centuries. As a result, each meeting with Gypsy and local music resulted in a new quality, each confrontation with both traditions emerged differently, and that will be presented during the concert by the musicians of Il Suonar Parlante Orchestra conducted by Vittorio Ghielmi.

The unusual programme offered to us by Vittorio Ghielmi, Artistic Director of Il Suonar Parlante Orchestra, was born from reading an 18th-century manuscript from Sepsiszentgyörgy (now Sfântu Gheorghe in Romania). Among the serious and learned compositions there are also Gypsy melodies. These fragments are devoid of elaboration, as if they were written down ad hoc, with the passion of a documentary filmmaker. Several melodies were arranged by Ghielmi and the ensemble violinist Stano Palúch to varying degrees – here we find simple arrangements in the recreated (and imaginary) style of Gypsy bands, but also far-reaching transformations that are in fact original compositions. For comparison and complementation, the programme includes Lovarian and Moldavian songs. Whoever wrote down the Gypsy dances and melodies was undoubtedly an educated musician. This is evidenced by the presence of copies of Hasse or Telemann in sources written with the same hand.

In his autobiography from 1740, the Hamburg Cantor describes his contacts with Polish and Haná (Moravian) music played on bagpipes and violins. In Pszczyna (then Pless) and Kraków, he admired the improvisations of musicians accompanying dances: “an attentive man could gather ideas for his whole life in eight days”. The clearly distinguishable fragments in his work – in concertos, overtures or suites – in the accompaniment only a bourdon, weird steps in the melody, sharp consonances in harmony – are undoubtedly a reminder of that “barbaric beauty” with which Telemann was so enchanted in his early years, and which, as a serious and respected composer, he never dared to fully render or quote in crudo.

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