ARTISTS

 

PROGRAM NOTES

CAPPELLA DELLA LUCE

Oddiseys

 

PROGRAM NOTES

The recent discovery of more than seven thousand pages of sheet music that sounded in the Jesuit Amazon for two centuries is a clear example of what remains to be done around the recovery of the American repertoire of past centuries. In Portugal and Brazil, as in the rest of the music libraries of ancient America, we find one of the main witnesses to the artistic past of Amerindian territories. The music composed in the mission towns as well as in American cathedrals during the seventeenth and eighteenth centuries presents interesting differences regarding conceived in the imposing frame of European cathedrals. Music in the American territories was one of the main drivers of the complex conception of evangelization, and a meeting place between different cultures where the process of syncretism manifested obvious and fruitful way. Our program covers the Americas Colonies periodos and territories beginning in Chiquitos and Sucre (Bolivia) in the figures Bassani and Torrejón-Velazco, through Cuzco and Lima (Peru), in the figure of J. De Araujo  (Guatemala) and then Puebla and Oaxaca (Mexico) in the figure of the great Portuguese composer Gaspar Fernandes.

 

The first part of our program presents two prominent composers of the period: GB Bassani and Domenico Zipoli. His music exhibit an open and candid language; simple melodic lines richness, its clear formal, harmonic and contrapuntal structure exude an aura of mystery as evocation of childhood that still give us a serene meditation message yet alive enthusiasm for a "new world". The second part of our program consists Guineas and Neglillas. These pieces are a clear sign of the importance that the African culture in America in the early s. XVII. These songs make mention popular and the particular way of speaking indigenous Africans and American Indians (former Portuguese dialect) characters. The power relations that are perceived through the texts of these works denote the configuration of a class society with well defined limits, even when regulated by white, highly dependent on other ethnic groups.

 

Dame Albricias Mano Anton, que Jesu nace en Guinea.

Quien lo parí? Una luncuya y un Viejo su pagre son.

 

 

 

 

JEWISH and SEPHARDIC MUSIC

Al-Andalus sounds.

ROCIO de FRUTOS & Mediterranean Artists

 
PROGRAM NOTES

The Sephardic Jewish musical traditions in Europe and inspired a large body of works and songs for centuries. The Jewish presence has not gone unnoticed and its contribution to the culture of southern Spain, especially during the period of Al-Andalus (Arab period until 1492) has been more significant in the areas of medicine, mathematics, science and musical course. The Al-Andalus program features songs and melodies of this period and culture of the Mediterranean. These songs inspired by love and faith stand out for their simplicity and clear melodic line.

 

Sephardic music has its roots in the musical traditions of the Jewish communities in medieval Spain and Portugal. Since then, it has picked up influences from Morocco, Turkey, Greece, Bulgaria, and the other places that Spanish and Portuguese Jews settled after their expulsion from Spain in 1492 and from Portugal in 1496. Lyrics were preserved by communities formed by the Jews expelled from the Iberian Peninsula. These Sephardic communities share many of the same lyrics and poems, but the melodies vary considerably. Because so many centuries have passed since the expulsion, a lot of the original melodies have been lost. Instead, Sephardic music has adopted the melodies and rhythms of the various countries where the Sephardim settled in. Traditions spread from Spain to Morocco and several parts of the Ottoman Empire including Greece, Jerusalem, the Balkans and Egypt. Sephardic music adapted to each of these locales, assimilating North African high-pitched, extended ululations; Balkan rhythms, (for instance in 9/8 time); and the arabic maqam mode.

 

 

LENT PROGRAM I

BACH´S WORLD

SEVILLE CHAMBER CHOIR & BAROQUE ENSEMBLE

St. Mónica / 18.30

 

PROGRAM NOTES

It would seem that the work of Johann Sebastian Bach needs no introduction and explanation, for its beauty and depth are imposed, they have elevated him to the cupisde of the Western classical music tradition. The porgrama Bach's World (Lent I) presented on this occasion cover a selection of arias and choruses of cantatas and passions of the great German composer. The initial cantata dazzles with its wealth of lively rhythm and counterpoint; three solo arias (which are part of the St Matthew Passion BWV 244) portray the pain and anguish inspired around the figure of Jesus during his passion in Jeruzalem; Peter crying, the pain of Mary and the anxiety and fear of his disciples. Johann Sebastian Bach has gone down in history for its beautiful melodic lines and complex contrapuntal plot, but which certainly characterize the German composer is his deep understanding of religious texts sentiemiento and inspired. Bach gets a wonderful synthesis of beauty and technique, which does not give the feeling of never before faith through each one of his compositions

Erbame dich mein gott...

 

 

FLAMENCO AND INDIAN CLASSICAL MUSIC

Ustad Chote +  Ignacio Lusardi Monteverde +  Artists.

St Augustine Ruins / 19.30

 

PROGRAM NOTES

When the seventies the great sitar player Ravi Shankar share some musical encounters with the famous flamenco guitarist Paco de Lucia is already clear that putting these two languages have much in common despite the geographical and cultural distance that separates them. This experience in artistic dialogue presented in Ketevan is inspired by the encounter of the seventies. A strong ties linking the Gypsy culture with Classical India; the Indian origin of Roma ethnicity and culture, which in turn been transformed and concocted by the sieve of Arab culture, manifested a spirit of freedom and creative euphoria that is also present in Indian classical music. This collaboration of styles results in an incredible show of color and rhythmic and melodic richness. The momentum and power of flamenco and purity of style and technique virtuous Indian classical tradition weave a web of incalculable artistic beauty.

 

 

PRIMA CARMINIS

MISSA CRIOLLA & ETHNIC SONGS

 

PROGRAM NOTES

This program runs through the sounds and beliefs of different cultures. Rescuing the sacredness of texts, this program places special stress upon the rhythm and timbre richness of different cultures. Carminis is a premium sound experience and complete and complex spirituality. The sounds of ancient Europe, Africa, America, Asia and India are exposed on a plot of sound dialogue rich in colors and expressiveness. The richness of the inspired word of God, and the sound that rises as the incienzo in the liturgy gives this program an atmosphere of sanctity and devotion that simultaneously express the most genuine of human culture; rhythm, harmony and innate need to raise your voice and sing the wonders of creation. First part presents Haikus (Japan), Guineas and Neglillas (rom Aérica and Africa),  Bakti and Raga sounds (India) and gregorían and medieval melodies (Europe).

 

MISA CRIOLLA  - Creole Mass

Misa Criolla was an early non-Latin Mass post-Second Vatican Council.  The Washington Post described Misa Criolla as "a stunning artistic achievement, [that] combined Spanish text with indigenous instruments and rhythms". It led to album sales numbering in the millions internationally. Ramírez once told The Jerusalem Post how Misa Criolla was inspired by a visit to Germany after World War II While there he had an encounter with a group of nuns, which led him to consider writing "a spiritual piece". This would eventually become the Misa Criolla.  The Misa, a mass for either male or female soloists, chorus and orchestra, is based on folk genres such as chacarera, carnavalito and estilo pampeano, with Andean influences and instruments. It is also one of the first masses to be composed in a modern language following the authorization of the use of the vernacular by the Second Vatican Council. Ramírez wrote the piece in 1963–1964 and it was recorded in 1965 by Philips Records


 

Mame de iyo

Miwa nara washino

Kusa no tsuyu

I pass as do all things dew on the grass

(Japanese Haiku)



 

CONTEMPORARY

Lent Program II

SEVILLE CHAMBER CHOIR & KETEVAN ENSEMBLE XXI

Conducted by: Mtro Santiago Lusardi Girelli

St. Monica / 18.30

 

PROGRAM NOTES

This program covers works of different composers of Western classical tradition of the twentieth century. Loudness shines by its rich harmony and timbre plot. The combination of naked sound of the choir with solo instruments such as saxophone, Viola or body give this concert a wealth of colors and atmospheres that inspire the spiritual sense and devotion. The Lux Aeterna by Morten Lauridsen dazzles with its tenderness and devotion, while Withbourn welcomes the work of the Indian tradition sounds in the use of improvisation, Tampura and percussion. The texts of concerts come from the Christian liturgy (Requiem and Mass) and those of "Luminosity" are all poems inspired by saints and mystics of Christianity highlights and other religions, including the Zen Buddhist nun Ryonen, Isaac of Nineveh and Julian of Norwich.

 

Sixty time have these eyes beheld the changing scenes of autumn

I have said enough about moonlight, ask me no more.

Only listen to the voice of cedars and pines, when no wind stirs.

 

Ryonen, Zen Buddhist nun (born in 1797).

 

 

CHAMBER MUSIC  

Impressionism  & Indian Dance

KETEVAN ACADEMY ENSEMBLE + WINDS

Debussy, Ravel & Satie

St. Monica / 19.00

 

PROGRAM NOTES

The "dance of Impressionism" consists of works of the Impressionist period that developed in the late nineteenth century France. Chamber works focused on three major French composers; Debussy - Ravel - Satie; This program portrays beautifully blurred lines and unexpected colors. The characteristic beauty and dreamlike atmosphere of the Impressionist period combined with the delicacy and subtlety of Indian classical dance takes us to a new and unpredictable experience. This artistic experience of co-existence wants to lead us through the sounds and forms to a world where the contemplation of beauty leads us directly to spiritual rapture. The beauty and goodness are like faces of the same coin, the faces of the divine and yearnings of every man.



 

BCO – BOMBAY CHAMBER ORCHESTRA

KETEVAN ACADEMY ENSEMBLE

GOA UNIVERSITY CHOIR & SEVILLE CHAMBER CHOIR

St Augustine Ruins / 20.00

 

PROGRAM NOTES

In this program we present a case of Scottish composer Karl Jenkins. His work has been highlighted in the last decade around the world for its multicultural and inter-religious language, as well as its creative conception of orchestral language Croal; concept much closer to the popular music that the academic purism. The "I offer you Peace" covers parts of four major work of K. Jenkins; Peacemakers, Armed Man, Requiem and Stabat Mater. "I offer you peace" it is a program built by four parts and describes a process from conflict to resolution and peace embrace: Invocation, War Conflict, Reconciliation process, Celebration. The pieces are thus describing texts and symphonic by a continuous process of dialogue and the search for peace. The texts used are of various saints and prophets of various religions and traditions of the world; Tagore, Gandhi, Teresa of Avila, Christian Liturgy, Haikus Japanese, and Hebrew texts among others.
In this concert the Bombay Chamber Orchestra presented by the ensemble formed by teacher and musicians Ketevan Academy, the Choir of the University of Goa, the Chamber Choir and soloists from Seville of Spain, Germany, Italy and Argentina.