The works of Telemann and Schubert fill concert halls across Poland for the 18th edition of the music festival dedicated to the melodies of the 18th Century. During his time as Kappellmeister to Count Erdmann von Promnitz at the beginning of the 18th Century, Telemann was exposed to the "barbaric beauty" local music and dance, which left impressions on his music. Franz Schubert's "Winter Journey" of a wandering lyricist is given a novel rendition with the addition of an unusual, folk-based instrument...
Matthias Loibner i Nataša Mirković - De Ro photographed by Julia Wesely
The works of Telemann and Schubert fill concert halls across Poland for the 18th edition of the music festival dedicated to the melodies of the 18th Century
Exploring the boundaries between classical and folk, convention and innovation, the undertaking sheds light on the relationship between music of the past and its Mazovian connection. While, it is influences are not always easy to trace unless they are documented, or - as in the case of Georg Philipp Telemann - the composer has described the way in which his oeuvre was inspired by folk music that can later be found in his oeuvre.
br>During his time as Kappellmeister to Count Erdmann von Promnitz at the beginning of the 18th Century, Telemann traveled with him to his summer residence in Pless - today southern Poland. It was there he was exposed to the "barbaric beauty" local music and dance, which left impressions on his music, otherwise inspired by the French, Italian and German styles. In 1740 Telemann noted:
One has difficulty believing what marvelous inspirations such flute players and violinists may have in the fantasies they improvise whenever the dancers take a break. If someone were to note them, he could, in a week snatch up enough ideas for a lifetime (...) After this stay, I wrote various large concertos and trios in this style which I put in Italian form by alternating adagios and allegros.
The Holland Baroque Society, a young orchestra, has taken on the challenge of understanding Telemann's fascination with Polish, Slovak and Czech folk music, inviting two Slovak musicians to join them in this mission: violinist Miloš Valent and playing dulcimer Jan Rokyta. Their joint venture is not only an attractive artistic event but also a quasi-scientific insight into the nature of the technique of the prominent German composer and admirer of the Slavic folk music. The concert of Holland Baroque Society is entitled Barbaric Beauty - Georg Philipp Telemann and his Slavic inspirations.
The festival's second major focus is Franz Schubert's 1827 Winter Journey, however in this instance the piano has been replaced by the hurdy gurdy. This instrument accompanied European music since the Middle Ages, going through vicissitudes along two parallel lives: in both high culture and popular (folk) culture. These paths would often cross, sometimes literally, sometimes metaphorically - Franz Schubert ended one of his most famous series with the song Der Leiermann - the story of a lyrist, country musician wandering from a village to a village whose stories are accompanied by the sounds of a hurdy gurdy.
This was the piece that inspired Matthias Loibner, an Austrian musician specialising in hurdy gurdy to transcript the piano parts of the entire series for this particular instrument. To realise this vision Loibner was joined by a sopranist Nataša Mirković - De Ro. Together they recorded two albums: Ajvar & Sterz (2005) with Austrian and Balkan music and Winterreise (2010). The latter forms the basis of the performances at Mazovia Goes Baroque.
Programme:Barbaric Beauty - Georg Philipp Telemann and his Slavic Inspirations
March 9, 2011 - Łódź, Artur Rubinstein Philharmonic
March 10, 2011 - Warsaw, Polish Radio's Witold Lutosławski Concert Studio
Franz Schubert's Winter Journey
March 11, 2011 - Warsaw, Polish Radio's Witold Lutosławski Concert Studio
March 12, 2011 - Gostynin, Gostynin Castle
March 13, 2011 - Łochów, Łochów Palace