Classic – Stefan Plewniak

Cantates et Petits Macarons

December 28, 2021

CANTATAS AND LITTLE MACAROONS

„On a quiet summer afternoon, with the living room door half open, through the doorway comes a smell of perfume, mu ed laughter from the courtesans and the sweet sounds of the violin virtuoso…”
There is a generous buffet, gently decorated with a Croquembouche – a pyramid of cream put s stunned with candied fruit, sugared violets from Toulouse, a sprig of dill sprinkled with tinted icing sugar, nutmeg spiced pastilles, almond dragees from Verdun and mounds of delicately flavoured macaroons.

is is a place where you can read, play billiards or backgammon and listen to the newest cantatas, that tell of the deeds of the gods and of idyllic landscapes with shepherds and shepherdesses. e cantatas provide the perfect excuse to talk about love, to tell short stories and simple tales o en ending with a plain moral: „We watch pleasure ́s departure, just as we are trying to learn about it” (LN Clérembault La Muse de l’Opera). In that way Mirtil and Amaryllis from Le berger fedèle („Faithful Shepherd” by JP Rameau) triumph over Diana’s murderous rage with the purity of his love, and the great sacrifice becomes a covenant, that breaks the curse of Arcadia.

These cantatas, just like the short salon operas, are composed of symphonic ariettas and recitatives. ey are as exquisite as the delicate avoured desserts pictured above. It could be said that with the works of Clérambault, Montéclair and Rameau, the French Cantata reached a kind of apogee, pushing the limits of its theatricality and becoming increasingly more operatic. On one hand, these composers borrow the varied pace, exuberance and quick modulations from the Italian style. In the first story, „ e Faithful Shepherd” by JP Rameau, Mirtil „sighs and moans all the time” – an effect achieved with a tearful chromatic line in the basso continuo, obtaining amazing and protagonising minor harmonies. On the other hand, they expand the instrumental parts, using trumpets, horns, violins and even timpani, which far from being a mere accompaniment to the story also set the scene. In Clérembault’s La Muse de l’Opéra there are numerous descriptions of the context of the scenes such as the Tempest (Tempest), Sommeil (Dream) and the Prélude infernal (Prelude for hell). ere are several scenic images: „terrible floods” literally presented by the billows, contrasting with morning bird songs played on the ute or the shepherd’s bagpipe mimicked by the buzzing bass viola. JP De Montéclair’s great orchestration creates an amazing dialogue between the martial trumpet and the joyful bagpipe in Le Retour de la Paix.

François Couperin, less engaged with cantata writing than his contemporaries (his vocal secular works uses a sti „serious aria – light aria” structure) is one of the most important chamber music composers of the French Baroque, in which he reaches an artistic peak with Le Gouts Reunis ( e combined tastes). As if he were a master alchemist, and using his music as a sort of philosophers’stone, he combines the French and Italian style, represented by J.B. Lully and A. Corelli, in a perfect mix. L’Apothéose de Corelli (Apotheosis of Corelli) is built as a big Italian sonata in seven parts. At the beginning of each part, a description of the piece is written, allowing the listener to follow the story and enjoy the adventures of our hero, Corelli himself.

The titles read as follows:

« Corelli at the feet of Parnassus asks the Muses to take care of him. » (Grave)
« Corelli, fascinated by his welcome on Parnassus, expresses his joy. He moves on with his companions. » (Joyful)
« Corelli drinks from the spring of Hippocrene, and his company moves on. » (Moderately)
« Corelli is full of enthusiasm, caused by the waters of Hippocrene. » (Lively)
« Corelli, exhausted by all his enthusiasm, falls asleep; his troupe plays a gentle lullaby. »
« The Muses wake Corelli up, leading him to Apollo. » (Lively)
« Corelli’s gratefulness. » (Cheerfully)Marin Marais was one of the first to introduce trio compositions, typically used by the Italians, into France. His famous Sonnerie de Sainte Geneviève du Mont de Paris (Bells of St. Genevieve in the Hills of Paris) is an amazing example of virtuosity on the viola da gamba. All of it is achieved by a very simple material – three tones that imitate bells and a never ending passacaglia, that allow the viola da gamba, a French instrument, to engage in a competition with the Italian violin, and win?…At the royal court, salons, theaters, and churches the Italian style remained fashionable; it was the pinch of salt that enhanced the aroma of cloves and macaroons, but only when tamed, and re ned to the gentleness and depth of the French delicacy. François Couperin said „Let us pronounce Sonada and Cantada (instead of sonata and cantata) as we already pronounce ballada and serenada. No matter what the recipe, each of these works portrayed in the CD is an invitation to celebrate the combined favours (Goûts Réunis), a tiercake made of layers and favours, that makes us succumb to the pleasures of the feast.

Macaroons (recipe)

<< Grind half a pound of fresh, blanched almonds, washed and well dried, when rubbed sprinkle them with a few drops of orange blossom water and one sugar, in order not to turn almonds into oil, then remove them from the mortar and beat well in a stoneware bowl with half a pound of sugar, add four eggwhites, beat them neatly with sugar and almonds; put button size macaroons on paper; bake on a low heat; when they are baked and in a beautiful color, serve it in that form. In order to frost them, if somebody likes, put one sugar through a sieve on a plate, add lemon juice and a bit of eggwhite, whip them together with a spatula until it becomes white; cover macaroons with it and put them into the stove for a moment in order to dry the frosting >>

The Heart of Europe

December 28, 2021

Poland’s fascinating location on worlds maps is often discussed in the context of past centuries. It’s central location in Europe was one of the reasons for many political disagreements, but it also allowed for numerous and rich cultural exchanges. The meetings of East and West has many dimentions and, in this context, Poland lies in the center, linking various cultures and religions and
serving as carrier of diverse cultural and social trends. Traveling to the XVII century we can observe amazing process in which Poland played important role of the fighter, being one of the military super powers, but also role of important cultural partner for the countries from North, South, East and West. The XVII century for the Polish- Lithuanian Commonwealth it was the time of the military and political importance in Europe. Time of many battles and wars against empires like Sweden and Turkey, but also against Russia and Zaporozhian Cossacks.

Open to the West, Polish literatury and musical culture drew on the discoveries and ideas emanating from Venice, Padua, and other important centres in Italy. Sweden during the “Age of Greatness” (1648-1721) by communication with Poland and other countries in northern Europe was growing and flourishing culturaly.

On the other hand Polish political environment during the seventeenth century places it against the Ottoman Empire’s Islamic culture. Fascinated by the influence of the totally different Oriental world, Poland engaged in a cultural exchange with the Seraglio – the Topkapi Palace and residence of the Ottoman Slutans – with the colorful figure of Wojciech Bobowski – his Turkish name: Alī Ufqī : Horizon (1610 – 1675) who was a musician, a composer, a painter, and as a multilingual interpreter who made a brilliant career in diplomacy of the Sublime Porta. Born in Poland in 1610 he was captured by Tartars and sold as a slave to the seraglio in Istanbul, where he spent next 20 years and where his incomparable skills could shine: he played instruments and as the first he wrote down turkish music (with european notes). His psalms written in a european, but very simple (Calvinist) manner, sung in Turkish language and probably in Turkish way, possibly with an accompaniament of instruments from the seraglio… This was a real meeting point and melting pot of west-east tradition.

Traveling to the Nordic countries we can find Adners and Gustav von Düben who belongs to one of the most important musical families in XVII century Sweden. Gustav was born and died in Stockholm. He was the son of the German-born Andreas Düben, who had been organist at the Thomaskirche in Leipzig, and son of the composer and court kapellmeister Anders Düben (the Younger). In 1663, he succeeded his father as both hovkapellmästare, director of the Royal Swedish Court Orchestra, and organist of the German St Gertrud Church in Stockholm.

Polish music of 17th century is expressed in the genious composers of Mikołaj Zieleński, Marcin Mielczewski, and Bartłomiej Pękiel, mostly in Venetian style. The casp of the 16th and 17th centuries in Italy marks the development of the opera on the one hand, and the blossoming of the church music on the other. The need for contrasts, the introduction of instruments to lithurgical music, polychoral music, and the concertizing style – all part of the Venetian School – were taken up and developed further on polish soil by various local composers who studied this style abroad. Mikołaj Zieleński’s ( c.1500 – c. 1616 ) Offertoria et Communiones were published in Venice in 1611. His style was highly regarded in the city on water. Zieleński’s younger compatriot, Marcin Mielczewski ( c.1600 – c.1651 ) used Renaissance techniques for liturgical forms and applied canti firmi of Gregorian origin into his compositions but, as a master of counterpoint, he also gave them a modern and powerful sound in terms of tonality and instrumentation. The youngest Bartłomiej Pękiel ( ? – c.1670 ) served the court in Warsaw from at least 1633. He was the assistant to Marco Scacchi when the latter was head of the Royal Chapel there, and later was Kapellmeister himself from 1649 to 1655. His music stile and expression is real treasure needed to be rediscovered.

Originality of the project lies in this juxtaposition of three worlds – Nordic, East and West – and in a showing a way necessary to achieve their synthesis in language, religion, and culture – a way originated in the works and lifes of 17th-century musicians from so many different and far backgrounds.

Fulget in templo legifer – anthem to st. Wojciech (Anonymus, XIII w.)
Anonymous – Tabulatur Joannis de Lublin (1490 – 1550 ) – Rex
Anonymous – Tabulatur Joannis de Lublin (1490 – 1550) – Szewczyk
Grzegorz Gerwazy Gorczycki (1665 1734) – Laetatus sum
Grzegorz Gerwazy Gorczycki (1665 1734) – In Virtute tua
Heinrich Isaac von Biber (1644 1704) Battalia
Mikołaj Zieleński (1550 – 1616) – Offertoria totius anni – Magnificat
Ali Ufki/Wojciech Bobowski (1610 – 1675) – Uyan Ey Gözlerim Gafletten Uyan
Psallat chorus in hac die – sekwencja o św. Stanisławie (Graduał KlarysekGnieźnieńskich, XIII w.)
Anonymous – Cantional Zamoyskich – Pieśń o posiędźieniu y o zniewoleniużałosnym ziemie węgierskiey
Johann Joseph Fux (1660 – 1741) – Turcaria – Eine musikalische Beschreibung derBelagerung Wiens durch die Türken anno 1683
Marcin Mielczewski (1600 – 1651) – Triumphalis Dies – Ode to st.Marcin
Tabulatura Amoenitatum Musicalium Hortulus – Caspar Klosemann (1616 – 1657)
Mikołaj Gomółka – Już się zmierzka

Eleganza Capricciosa

December 27, 2021

Situated on 120 islands formed by 177 canals in the lagoon between the mouths of the Po and Piave rivers at the northern extremity of the Adriatic Sea, Venice became known as the “Queen of the Adriatic” reflecting its historic role as a naval power and commercial centre.

In 1668, “An Italian Voyage” by Richard Lassels was published, and the institution of the Grand Tour of Europe was born. The essential place to visit, was Italy. In the north, Venice was recognized as a greatest music centre both for its concerts and its operatic traditions. The violin was especially prized among Venetian composers, perhaps due to the proximity of eminent violin makers and families such as Amati and Stradivarius.

A fortuitous background indeed, into which Antonio Vivaldi was born in Venice on March 4th, 1678. In 1738 Vivaldi was in Amsterdam in Vienna where he conducted a festive opening concert for the 100th Anniversary of the Schouwburg Theatre! In 1740/41 he arrived to Vienna, his final destination.

Vivaldi’s music became widely known, and performed, throughout Europe, due in large part to his publications with Estienne Roger of Amsterdam, whose distribution was well- organized. He had, for example, a distributor in Leipzig with whom Bach was in regular contact.

Bach indeed adapted a number of Vivaldi’s works for organ and harpsichord, and as concertos for harpsichord and strings. He also included several of Vivaldi’s works during the popular musical evenings which he organised during the 1730s at Zimmerman’s Coffee House in Leipzig.

Today Vivaldi is perhaps best known for his concertos in Venetian style, which he created and established for many future generations.

Cappella dell’Ospedale della Pietà and the new program L’Eleganza Capricciosa 2017 is part of the 300 year celebration of this marvelous works by Antonio Vivaldi. Cappella dell’Ospedale della Pietà is a baroque orchestra based on the model of the famous Antonio Vivaldi orchestra in Venice. Cappella dell’Ospedale della Pietà is no ordinary orchestra, but the only orchestra in the world comprising young talented women. It is based on the model of the orchestra from the 18th century, founded at a shelter for orphaned girls in Venice. The prestigious orchestra was promoted and developed by Antonio Vivaldi – “Maestro di Violino e di Coro” himself. Vivaldi’s extraordinary compositions as well as the exceptional artistic level contributed to Cappella dell’Ospedale della Pietà fame throughout Europe as well as being recognized as one of the best orchestras worldwide. Cappella recorded fantastic CD with the NYC MET opera solist, as well as with Venice and Vienna soloists Miriam Albano and Natalia Kawalek. The CD – Carnevale di Venezia presents the best arias of Vivaldi’s operas. L’Eleganza capricciosa is a new CD recorded in 2017, waiting for it’s release in 2018.

Stefan Plewniak a graduate from Conservatories in Krakow, Maastricht and Paris initiated the revival of Cappella dell’Ospedale della Pietà in 2013. Capella dell’ Ospedale della Pietà comprises young, passionate, international musicians from Italy, Poland, Austria, France, specialized in playing on period instruments. Cappella dell’Ospedale della Pietà’s goal is to perform music by Antonio Vivaldi and Venetian masters. During the past years the orchestra has been invited to perform in Germany, Austria, Slovenia, Italy, Poland. In the near future performances are planned in other European countries as well as the USA, China, Japan. Concerts by Cappella dell’Ospedale della Pietà are characterized by an unique atmosphere, high artistic level, a particular sound idiom and incredible energy.

Mendelssohn Violin Concerto

February 15, 2018

NOR59 Orchestra

The FeelHarmony Orchestra

Stefan Plewniak – violin solo & conductor

Mendelssohn – Italian Symphony no 4 op 90

Italian Symphony, byname of Symphony No. 4 in A Major, Op. 90, orchestral work by Felix Mendelssohn, so named because it was intended to evoke the sights and sounds of Italy. Its final movement, which is among the most strongly dramatic music the composer ever wrote, even uses the rhythms of Neapolitan dances. The symphony premiered in London on March 13, 1833.

In 1830–31 Mendelssohn, barely into his twenties, toured Italy. He had gone south from Germany to enjoy the climate and the art, both of which he apparently found satisfactory. The region’s music, however, was a different story, as Mendelssohn vented in letters to friends and relatives: “I have not heard a single note worth remembering.” The orchestras in Rome, he reported, were “unbelievably bad,” and “[i]n Naples, the music is most inferior.” Despite these negative reactions, or perhaps in hopes of erasing them, Mendelssohn began his Italian Symphony while still on tour. The piece was completed in the fall of 1832, on a commission from the Philharmonic Society of London, and the composer himself conducted its premiere. The work was a tremendous success, and Mendelssohn described it as “the jolliest piece I have so far written…and the most mature thing I have ever done.”

Despite the audible delights of the piece, the Italian Symphony was not easy in the making. Even its creator admitted that it had brought him “some of the bitterest moments” that he had ever experienced. Most of those trying times seem to have been spent with an editor’s pen in hand, looking for ways to make the piece better. In 1834, over a year after the work’s public premiere, Mendelssohn began extensive revisions on the second, third, and fourth movements. The following year he reworked the first movement, and he was sufficiently satisfied with the result to allow another London performance in 1838. Yet Mendelssohn still withheld the composition from publication and refused to permit its performance in Germany. He continued tinkering with it until he died in 1847. Four years after Mendelssohn’s death, Czech pianist Ignaz Moscheles, who had been one of Mendelssohn’s teachers and had conducted the 1838 London performance, edited an “official” edition that finally appeared in print.

Musicologists have offered many interpretations of the Italian Symphony. For example, the extroverted opening movement might call to mind a lively urban scene, perhaps of Venice. The reverent second movement likely represents Rome during Holy Week, for Mendelssohn’s letters reveal that he was impressed by the religious processions he witnessed. The third movement, a graceful minuet distantly reminiscent of Mozart, is suggestive of an elegant Florentine Renaissance palace. Neither these nor any other interpretations of the first three movements are definitive, however. By contrast, the fourth, and final, movement needs no speculation. It depicts without a doubt a rural scene in southern Italy, for it blends two lively folk dance styles: the saltarello and the tarantella. The dances, different in rhythmic structure, are alike in general character. Both are wild and swirling, abundantly energetic (bordering on frenetic), and unquestionably Italian. In the symphony’s uninhibited finale, Mendelssohn, so deeply displeased with Italian concert music, showed his favorable reaction to the country’s folk music. He also demonstrated that Italian regional music styles could be used to great effect in an orchestral composition.

Betsy Schwarm

Mendelssohn – Violin Concerto op 64

“I should like to write a violin concerto for you next winter. One in E minor runs through my head, the beginning of which gives me no peace,” Mendelssohn wrote to his colleague, Ferdinand David, in 1838. Friends since childhood, David was selected by the composer in 1835 to serve as concertmaster of the Leipzig Gewandhaus Orchestra, where Mendelssohn was principal conductor. Mendelssohn put the concerto on the backburner for several years, knocking around ideas and seeking advice from David on the technical demands and possibilities. He completed the concerto in 1844 and it was premiered by David the following year.

For classical violinists, it is impossible not to encounter Mendelssohn’s E minor violin concerto. It is one of the first “mature” Romantic concertos students learn and has been a staple of concert programs and discographies for nearly two centuries. Mendelssohn’s structural choices more or less align with those of previous composers; but his few changes, combined with an embrace of the violin’s virtuosic possibilities, helped make this work emblematic of Romantic era virtuosity and expression. First, he does away with the long orchestral intro: the soloist introduces the iconic theme after a measure and a half of orchestral murmuring. Second, all movements are connected through the use of attacca: little to no stopping between movements. And lastly, Mendelssohn wrote out the first movement’s cadenza and placed it early, at the end of the development section, extending the dramatic tension and setting up a recapitulation that is familiar yet unpredictable.

The Allegro molto appassionato is the soloist’s show. The orchestra does have a moment to shine after the soloist’s first entrance, but the thematic developments are driven by the violin’s memorable motives and fiery technique. In the Andante, the main theme is memorable and passionate, making full use of the violin’s lyrical strengths. The third movement, Allegretto non troppo—Allegro molto vivace, begins with a solemn introduction that makes the transition to the finale an exciting jolt to the system. The main theme is joyful and sparkling through its E major setting, the use of spiccato, and ascending and descending scalar runs. The fierce energy is maintained through the nearly nonstop forward motion of the solo part; lyrical sections serve as recharging stations for the return to technical gymnastics that bring the work to a thrilling conclusion.

A. Kori Hill